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BIBLIOTHECA UNIVERSITATIS LEIDENSIS E. J. BRILL / LEIDEN UNIVERSITY PRESS LEIDEN 1986

CATALOGUE OF BALINESE MANUSCRIPTS IN THE LIBRARY OF THE UNIVERSITY OF LEIDEN AND OTHER COLLECTIONS IN THE NETHERLANDS PART TWO

BIBLIOTHECA UNIVERSITATIS LEIDENSIS CODICES MANUSCRIPTI XXIII CATALOGUE OF BALINESE MANUSCRIPTS IN THE LIBRARY OF THE UNIVERSITY OF LEIDEN AND OTHER COLLECTIONS IN THE NETHERLANDS H. I. R. HINZLER Part Two Descriptions of the Balinese drawings from the Van der Tuuk Collection E. J. BRILL / LEIDEN UNIVERSITY PRESS LEIDEN 1986
Codices Manuscripti is a series of Manuscript catalogues which is published on behalf of the University Library of Leiden. Editorial board'. J. J. M. van Gent • P. F. J. Obbema • J. J. Witkam ISBN 90 04 07234 9 90 04 07236 5 Copyright 1986 by Dr. H. I. R. Hinzler, Leiden, The Netherlands, for the descriptions of the drawings from the Van der Tuuk collection and the additional photographs. Industrial copyright 1986 by E. J. Brill, Leiden, The Netherlands All rights reserved. No part of this book may be reproduced or translated in any form, by print, photoprint, microfilm, microfiche or any other means without written permission from the publisher PRINTED IN THE NETHERLANDS BY E. J. BRILL The photographs of the drawings from the Van der Tuuk collection are published with the authorization of the University Library of Leiden. UNIV. Ieiden BtBL.
‘ : * . CONTENTS Preface vu Abbreviations ix Map of Bali x General Introduction 1 The collection of drawings 1 The artists 4 The drawing material 5 The way of drawing and painting; the colours 7 The artists and their styles 9 The inscriptions 11 Language and spelling 12 Van der Tuuk’s purpose for the drawings 13 The use of the collection 14 The missing drawings 15 Introduction to the artists 16 Artist No. 1 16 Artist No. 2 17 Artist No. 3 18 Artist No. 4 19 Artist No. 5 22 Artist No. 6 23 Artist No. 7 24 Artist No. 8 26 Artist No. 9 26 Artist No. 10 26 Artist No. 11 30 Artist No. 12 31 Artist No. 13 31 Artist No. 14 32 The heat-haze ornaments 33 The rock ornaments 33 Clothes, jewelry and hairstyles 34 Innovations 34 The subjects 35 The value of the collection 37
Descriptions of the Balinese drawings from the Van der Tuuk Collection (Cod. Or. 3390, 1-307 and Cod. Or. 17.994, 1-3) 39 The missing drawings. A postscript 485 Bibliography 488 Index 495
PREFACE The purpose of this catalogue is in the first place to open up part of the rich collection of Balinese material that is kept in the Leiden University Library. In these two volumes the Balinese drawings of the Van der Tuuk Collection will be treated—but as the drawings give so much information, not only on the literary aspects of Balinese society, but also on cultural aspects and the arts, I decided to supply the descriptions with as much contextual information as possible. The principle behind this is that a reader will not read the whole book from beginning to end, but will leaf through it and pick out those items he is interested in. So I have provided a description of each drawing that is as complete as possible, and do not refer to what was said in a previous description of the same matter, thus running the risk of a certain amount of repetition. This book would never have been accomplished without the stimulus, help and criticism of many persons. I wish to thank in particular I Gusti Ngurah Ketut Sangka of Krambitan, who read the manuscript with me and suggested many corrections and improvements. I am further indebted to I Ketut Suwidja, B.A. of the Gedong Kirtya in Singaraja, himself an artist, who gave valuable information and comments, to Ni Putu Suwitri, a painter from Kamasan, to I Ketut Rinda, a gambuh specialist from Blahbatuh, to the dancers Ni Ketut Reneng from Kedaton and I Gusti Madé Pasek from Krambitan, to dalang Pan Robin in Krambitan and Jero Dalang Diah in Nagasepa, to I Nyoman Karajn Sangsit, to the numerous stone-sculptors in Banyuning, Panarukan, Abian Semal, to the wood-sculptor and painter Resi Agung in Tegaltamu and to the late Ida Bagus Gedé Geria of Sidemen, who tried to give me an insight into Old Javanese and Balinese literature as seen from the Balinese point of view. I wish to mention Ida Padanda Madé Singharsa of Panarukan, Ida Padanda Istri Raka Talaga of Dén- pasar, Ida Padanda Wayan Datah of Bodha Kling and Ida Padanda Kamenuh of Singaraja, who always gave advice on matters of religion. I am also indebted to the Dutch Bible Society for enabling me to study Van der Tuuk’s letters, and to Mrs. Drs. F. Brinkgreve for her help in correcting the proofs. Finally I wish to thank Mr. J. J. Witkam, Curator of Oriental Manuscripts at the Leiden University Library, for his kind help. Thanks to grants from the Netherlands Foundation for Tropical Research (WOTRO) and the Bureau of Indonesian Studies, I was able to visit Bali on several occasions. My research on Bali was sponsored by the Lembaga Ilmu Pengetahuan Indonesia (LIPI). Leiden, December 1983.

ABBREVIATIONS b Bal. BKI BY c KBNWB KITLV KNAW 1 NBG NION NKBG OJ r t Utt VBG ZDMG bottom. Balinese. Bijdragen van het Koninklijk Instituut voor Taal-, Land- en Volkenkunde. Bharatayuddha. centre. Kawi-Balineesch-Nederlandsch Woordenboek. Koninklijk Instituut voor Taal-, Land- en Volkenkunde. Koninklijke Nederlandse Akademie van Wetenschappen, left. Nederlands Bijbelgenootschap. Nederlandsch Indië Oud en Nieuw. Notulen van het Koninklijk Bataviaasch Genootschap voor Kunsten en Wetenschappen. Old Javanese. right. top. Uttarakanda. Verhandelingen van het Bataviaasch Genootschap voor Kunsten en Wetenschappen. Zeitschrift der deutschen Morgenlandischen Gesellschaft.

GENERAL INTRODUCTION The Collection of Drawings In 1896 the Leiden University Library was endowed with a collection of 483 Balinese drawings on paper. These came from the legacy of Herman Neubronner van der Tuuk, a language specialist who was stationed in Bali from 1870-1894. Van der Tuuk (photograph No. 47) died at the age of 70 after a short illness on the morning of 17th August in the Military Hospital in Surabaya. Apart from the drawings, his books, texts, photographs and other study-materials were bequeathed to the Leiden University Library where they arrived in seven shipments in the course of 1896 and 1897. The whole legacy was first sent from Buléléng, where Van der Tuuk lived, to Batavia via Dr. J. L. A. Brandes. The latter went to Bali on the instructions of the Ministry of Education, Religion and Industry to deal with Van der Tuuk’s materials (Decree Ag 17086/94, dated 26th August 1894). In the correspondence between the Ministry of Education, Religion and Industry and the Governor-General, and in the Minutes of the Royal Batavia Society (NKBG) information on the procedure can be found. The above correspondence is kept in the National Archives (Arsip Nasional) in Jakarta. Photocopies of the Decrees and letters in question were kindly put at my disposal (Cod. Or. 18.166). According to Enclosure No. 8277 of 25th August 1894 the Ministry made a proposal to send Dr. J. L. A. Brandes, an Indonesian language specialist, to Buléléng accompanied by a scribe versed in indigenous alphabets. Brandes’ task was twofold: to bring back the property of the Government from Van der Tuuk’s effects and to pick out those materials bequeathed to the Leiden University Library. The proofprints and other materials connected with the Kawi-Balinese- Dutch Dictionary with which Van der Tuuk was occupied at the time of his death were reckoned to the property of the Government. Brandes went to Bali probably immediately after the Decree of 26th August 1894 and stayed there at least till the end of the year. This can be concluded from the Minutes of the Royal Batavia Society. He was present at all the meetings of 1894 till 7th August (NKBG 1894 XIII), but he was not present at the meetings of 4th September, 2nd October, 6th November and 4th December. The Secretary, Mr. J. H. Abendanon, com municated at the meeting of 6th November (NKBG 1894 XXXII: 117) that he ‘had received the manuscripts left by Van der Tuuk through Brandes, who is temporarily on Bali’. Brandes was again present at the meeting of 8th January 1895 (NKBG 1895 XXXIII). After his return to Weltevreden he was engaged on cataloguing the manuscripts and bringing some order into the books and other materials. ‘It took a full year to bring some order into the manuscripts on paper
and palmleaf, part of which arrived higgledy-piggledy in a chest (from Buléléng)’ he wrote in his Introduction to the Catalogue of the Manuscripts from the Legacy of Van der Tuuk (Brandes 1901, I: VII). It appears from Decree No. Ag 17205/95, dated 17th September 1895, that Brandes was authorized by the Government to order the material that was bequeathed to the Leiden University Library and to prepare the shipping of it from Batavia to Holland. This means that he had to make lists of the contents of the chests. Unfortunately these lists, except one, have disappeared. We only know from the Decrees the number of chests that were shipped, the names of the ships and the companies; sometimes the contents of the chests are briefly mentioned. In October 1895 11 chests were sent with writings by Van der Tuuk (Decree Ag 19129/95, dated 12th October 1895). In November 1895 another 11 chests were sent (Decree Ag 21202/95, dated 1st November 1895 with as Appendix the inventory by Brandes). The contents were books and Sumatran manuscripts on bamboo and bark. In January 1896 ten chests were shipped (Decree Ag 534/96, dated 14th January) . No inventory was added, because the contents consisted of printed books. There is no correspondence on the shipping of the fourth cargo. In March five chests were sent (Decree Ag 3936/96, dated 3rd March 1896). Brandes’ letters with lists of the contents of the chests and a catalogue of the complete legacy were added, but have disappeared now. Two more chests with writings followed in September 1896 (Decree Ag 18920/96, dated 28th September 1896) and in April 1897 (Decree Ag 8314/97, dated 27th April 1897). The contents of these chests did not seem to belong strictly to the legacy of the Leiden University Library. The Director of the Ministry was first asked to give his opinion as to whether the material belonged to the legacy or not. On the basis of this data, however, it is impossible to discover by which shipment the Old Javanese and Balinese texts and the drawings were sent. Brandes decided to catalogue the manuscripts in Old Javanese and in Balinese while they were still in Batavia, because they ‘formed, apart from the spoken language material, the key to the Kawi-Balinese-Dutch Dictionary’ by Van der Tuuk which was about to appear (Brandes 1901, I: 1). He must have made notes and a preliminary version of his Catalogue of the Manuscripts of the Legacy of Van der Tuuk before the texts were shipped. In his Introduction to Part One of the Catalogue Brandes remarks that ‘apart from the manuscripts, also a large collection of original drawings formed part of the bequest. These represent for the most part illustrations of episodes described in the texts that comprise the catalogue. Although an enumeration of these drawings would have been suitable as an appendix for instance, I have abandoned the plan for an inventarization of the drawings, because I was too involved in getting the Kawi-Balinese-Dutch Dictionary ready for the press’. It is strange that Brandes, although also interested in art and archaeology, seemed to forget about the drawings. Neither did he pay attention to them later, when his obligations to the dictionary had
come to an end. It is possible that his sudden death in 1905 prevented him from studying the drawings. The drawings arrived in a plaited box (kompék) 43 cm long, 23 cm wide and 11 cm high in Leiden. The box is decorated with geometric motifs in red and black. Such boxes are made specially for storing manuscripts on lontar-leaves. The drawings were numbered (Nos. 1-307) and added under Cod. Or. 3390 as an appendix to the Supplement of the Catalogue of Javanese and Madurese Manuscripts of the Leiden University Library compiled by H. H. Juynboll in 1911. The drawings were not arranged by artist or by subject, but in a rather arbitrary way. It is not quite clear at what time they got their individual numbers. In 1900, however, these numbers had already been given. This is apparent from notes on four pieces of cardboard with photographs of some of the drawings which came into the possession of the Royal Institute of Linguistics and Anthropology (KITLV). These notes were made by Rouffaer. It is rather complicated to refer to the pieces of cardboard, as each board contains five different numbers corresponding to different numbering-systems. In his description on the first board (numbered 22, XV and VII, a), Rouffaer mentions that the photographs on the board were made from the drawings which were kept in the Legatum Warnerianum in Leiden, and which had received the numbers 1-307. The painter Nieuwenkamp, who studied the drawings before he went to Bali in 1903, says (Nieuwenkamp 1906-10: 19) that the drawings were kept in a disorderly state, and that he had put them in order. He alludes to the fact that he had grouped together 30 drawings illustrating a particular story, Bharatayuddha. It is more likely, however, that his order was a temporary one and that the curator of the Legatum had already given the numbers to the drawings when they arrived. In 1982 the collection was enlarged with three more drawings (Cod. Or. 17.994, 1-3) which had come later to Holland by a roundabout route via England. Now the drawings amount to a number of 482 divided over 306 1/2 folios. Three and a half folios have been lost since 1911 (Cod. Or. 3390, 258, 291 and 296 containing love-scenes, and half of Cod. Or. 3390, 284, Rama shooting the golden deer). I have not yet been able to discover when these drawings disappeared. Obviously the thief had a taste for erotic scenes! Van der Tuuk must have sent at least three drawings (Cod. Or. 17.994, 1-3) to his friends or contacts in England. These drawings bear inscriptions by Van der Tuuk in Dutch, which have been crossed out by him, and in English. These three drawings were found in a book bought at an auction in London by the late Th. P. Galestin. This must have happened long before 1965 when I heard the story at a lecture given by Professor Galestin. It has not been possible, however, to discover the exact date of the purchase or the former owner of the book. The title of the book is also not known. One would expect Van der Tuuk to have accompanied his gift with a letter in which he explained the origin and the purpose of the
drawings. Contacts in England who can be considered in this respect are Reinhold Rost and Trübner’s Publishing Company. Dr. Reinhold Rost, a specialist in Eastern languages, was appointed oriental lecturer at St. Augustine’s Missionary College in Canterbury from 1851 until his death in February 1896. He was the secretary of the Royal Asiatic Society in London from December 1863-July 1869 (Beckingham 1979: 74; Wollaston 1897: 291). He received many distinctions and honorary memberships (e.g. of the Royal Batavia Society in 1876 through the mediation of Van der Tuuk; NKBG 1876 XIV: 41-42), as he was highly esteemed for his knowledge. Van der Tuuk regarded Rost as a competent linguist and he draws the attention of Dutch scholars to him (a.o. in various letters to Engelmann which are in the collection of the Dutch Bible Society; 19th October 1865, 20th February 1866, 24th February 1867). In 1881 Van der Tuuk’s article ‘Notes on the Kawi language and Literature’ appeared in the Journal of the Royal Asiatic Society. The contents had been communicated to Rost in letters written in 1878 and 1879. In NKBG 1879 XVI: 73 part of a letter by Van der Tuuk written in May 1878 is printed. In this letter he writes that he has been corresponding with Dr. Rost. I have not yet found allusions to Rost in later letters. We can conclude that Van der Tuuk and Rost communicated with each other at least from 1865 till 1879. It is possible that Van der Tuuk had sent some of the Balinese drawings together with the letters with notes on the Kawi literature for instance, to show that these texts were still known and used by artists. Unfortunately Rost’s correspondence has not yet been traced in England or elsewhere, so that I was unable to find out whether it contained letters from Van der Tuuk or not. The second possibility is that Van der Tuuk sent the drawings to a contact person at Trübner’s. Trübner was the editor of the Journal of the Royal Asiatic Society in which Van der Tuuk’s articles appeared. They had some of his publications (1864, 1865) in stock and they also supplied the English versions of some of his linguistic publications (Van der Tuuk 1866; Nieuwenhuys 1982: 179). The three drawings might have been meant as illustrations to the article on the Kawi literature. However, there is no certainty about this, nor about the clues leading to Reinhold Rost as the second owner of the drawings Cod. Or. 17.994, 1-3. The Artists The drawings were made by different artists. On the basis of a comparison of the stylistic characteristics, the colour palette and other technical details which will be described later, fourteen artists can be distinguished. Only two of them signed their works and mentioned the place where they lived. These are Ida Madé Tlaga of Sanur and Ida Putu Héma of Badung. Van der Tuuk himself refers in KBNWB III: 21 to drawings from a particular area. Under ‘Senén’, the name of a servant figure, he notes that ‘drawings containing this figure were made by an artist in Badung’ (these drawings are Cod. Or. 3390, 187 and 245). By means of
comparing styles I was able to ascribe many more drawings to the artist from Badung. Nieuwenkamp gives in his Bali and Lombok (1906-1910: captions to his drawings) and in his article in NION 1929: 14 the name of another artist, I Ketut Gedé, whom he met in Singaraja in 1905. It turned out that this man had made a particular drawing for Van der Tuuk, a copy of which he kept in his domestic sanctuary. Again by means of comparison of style I was able to ascribe a large group of drawings to this artist. Nine other artists can only be identified as being either from Buléléng (North Bali) or from what I call South Bali (the regencies of Tabanan and Badung). Of one small group of drawings, made by the same hand, the origin of the artist can not be identified. The Drawing Material The drawings are made on laid paper, except for Nos. 3390, 297 and 299. The size of most of the paper is foolscap (about 34 x 43 cm). It almost always has marks (watermarks and countermarks). Some of these marks have dates. Two drawings (Cod. Or. 3390, 297 and 299) are of a different, larger size (55.5 x 74.3 and 74.5 cm) and have been done on unmarked paper. A small number of drawings are on foolscap paper without marks. It is probable that Van der Tuuk himself gave the paper to the artists because for the transcriptions of most of the Old Javanese and Balinese texts copied by himself (for instance Cod. Or. 3959, Bhomantaka marti) or copied by his scribes, and for the majority of the drawings, the same marked paper was used, namely that of the factory of Jan, Claes and Aris Van der Ley. We also have to take into account that paper was not yet commonly used by the Balinese at that time, and that it was scarce. Moreover even now it is still not unusual for a patron to provide an artist with his materials (paper, cloth, paint). It is therefore probable that when Van der Tuuk contracted an artist, he gave a bundle of sheets of the same type or mark from his stock to the artist in question. As a result the study of the marks on the paper can give us indications as to the artists, and, if the folios are dated, the terminus post quem the drawings were made. According to Jones 1981: 18 the lapse of time between the manufacture of paper and its use in Malay manuscripts in Indonesia after 1869, when the Suez Canal was opened, amounted in some cases to only one year and seldom more than three or four years. This can also be applied to the paper that arrived in Bali. The oldest dated paper has a watermark consisting of Dame Britannia in a crowned medallion (see Jones 1981, fig. 4). The countermark is Munro 1881 (Nos. 3390, 1-4, 6, 7, 9, 11-22, 24-28). Of Nos. 3390, 5, 8 and 10 the date has been cut off, but it was probably 1881 as well. The drawings on this kind of paper were made by the same artist (No. 1). The paper is very thin and as a result often damaged at the sides or torn in the centre along the fold. According to Voorn
(personal communication February 1983) Munro was a Scottish paper manufac turer in Edinburgh. The date 1881 implies that the paper was shipped shortly afterwards, and that it may have arrived in Bali around 1882. This means that the drawings were made after that time. This type of paper will be referred to as ‘Dame Britannia, Munro 188T in the descriptions in the catalogue. Another group of drawings was also made on thin English paper of a beige col our. The watermark consists of a coat of arms with a monogram inside repre senting the letter M, which stands for Munro. The countermark is superfine 1885 (Nos. 3390, 73, 77, 79-81, 85), 1886 (Nos. 3390, 64, 84, 87-91, 93-98, 100-102, 104 and probably also 86, 92, 99 and 103), and 1887 (Nos. 3390, 76, 82 and probably also 75 and 83). The final digit of the date is sometimes hardly visible, because it is hidden by the paint of the drawing. Nothing particular is known about these marks, except that they also belong to paper manufactured by Munro. The numbers Cod. Or. 3390, 55-104 containing the above dated paper and some unmarked folios are bound and signed by the artist Ida Putu Héma of Badung (artist No. 5). This means that the whole group was made after 1887. This type of paper will be referred to as ‘Munro, superfine’ in this catalogue. A small group of drawings was made on thick Dutch paper. It bears the mark P.v.L. in the centre. This means that we are dealing with paper from the factory of Pieter van der Ley in Zaandijk (Voorn 1960: 117). This factory was bought by Van Gelder in 1852, but it continued bearing its own mark. After 1814 the factory produced a type of paper (‘anderhalf olifants’) with P.v.L. in the centre as in our drawings (Voorn 1960: 127). Unfortunately it is not yet known over which period of time this paper was produced. There were too many small paper mills in the second half of the 19th century producing paper with a large variety of new, but also of old-fashioned, marks. Records giving the various marks and the period during which they were used hardly exist. It is therefore not yet possible to trace the period during which the majority of the late 19th century marks were used. Nevertheless I decided to note the paper marks in this catalogue, because, as already mentioned, they sometimes show that a particular artist used only one particular kind of paper, and because the marks and the time during which they were used might be important for those doing research on paper-manufaction. Twelve of the thirteen drawings by artist No. 3 are on P.v.L. paper (Cod. Or. 3390, 225-228, 233-240), as well as three of the six drawings by artist No. 8 (Cod. Or. 3390, 127, 129, 130). This means that, apart from stylistic characteristics, the drawings can also be ascribed to these two artists on the basis of the paper used. This type of paper will be referred to as ‘P.v.L.’ in the catalogue. The fourth type of paper which is also not found very frequently has the arms of Amsterdam as a watermark and Van Gelder as a countermark. This paper is from the Dutch factory of Van Gelder in Wormer or in Apeldoorn (Voorn 1960: 433-439, 488). It is used for three of the six drawings by artist No. 8 (Cod. Or. 3390, 128, 246, 248), all four drawings of artist No. 12 (Cod. Or. 3390, 229-232),
and for five of the numerous drawings by artist No. 4 (Cod. Or. 3390, 41-44, 54). The subjects of the last five drawings are closely related, namely games of skill and martial arts. These five drawings are composed in the same way. It is therefore possible that they were made in the same period of time. This type of paper will be referred to as ‘Amsterdam, Van Gelder’ in this catalogue. The majority of the drawings by the other artists were made on rather thick laid paper with a watermark consisting of a Dutch lion with a sword in a crowned medallion with an inscription. The inscription is either ‘pro patria eendragt maakt magt’, or ‘concordia res parvae crescunt’, and only in two cases ‘concordia eendragt maakt magt’ (Cod. Or. 3390, 157, 174). The countermark is in all cases VdL. This means that the paper was made by the factory Jan, Claes and Aris van der Ley in Zaandijk (Voorn 1960: 121, 127), the paper with the watermark ‘con cordia res parvae crescunt’ being made after 1846 (Voorn 1960: 135). Of the other inscriptions (‘pro patria eendragt maakt magt’ and ‘concordia eendragt maakt magt’) we know only that they were used in the second half of the 19th cen tury. Paper with these marks was mainly used by Van der Tuuk for his transcrip tions and copies as mentioned above. The above marks will be referred to as ‘VdL, concordia’, or ‘VdL, pro patria’ in the descriptions in the catalogue. A small number of drawings are on thick Dutch foolscap paper without marks. Cod. Or. 3390, 50, 51, 252, 254, 255, 283-287 are by the same artist No. 4. Of these drawings Nos. 283-287 depict the same type of subject (episodes from the Ramayana), and all the drawings use gold leaf. They might have been made as a series in the same period. Nos. 51 and 252 contain processions. They also belong together. Nos. 50, 254, 255 contain dancers and episodes from a dance drama. They might also have been made as a series. Cod. Or. 3390, 36, 38 and 216 are by artist No. 5. These three drawings, however, do not form a particular series. The other unmarked foolscap sheet of paper was used by artist No. 9 (Cod. Or. 3390, 131). As this is the only drawing made by this artist, I cannot say anything in particular about this. The drawings on unusually large paper and without marks (Cod. Or. 3390, 297 and 299) are by the same artist (No. 5 from Badung). The sheets have been folded horizontally and vertically to make them easier to carry. There is no cor respondence in subject between the two drawings. The other drawings by this ar tist are mainly on Van der Ley paper. The Way of Drawing and Painting; the Colours All drawings were sketched in pencil first. In many cases these sketches are still visible. After this the majority of the drawings were coloured with colours on a water and glue base (Cod. Or. 3390, 29-126, 131-232, 236-240, 242-245, 251-291, 293-307; Cod. Or. 17.994, 1-3). The contours, however, are in black ink. A small group of drawings have contours in black ink and are coloured with
black and grey ink (Cod. Or. 3390, 1-22, 24, 26-28) and another group is in black ink with contours in grey (Cod. Or. 3390, 127-130, 233-235, 241, 246, 248-250, 292). There is one line drawing in ink only (Cod. Or. 3390, 25), but it is unfinished. The artist (No. 3) might have intended to colour it later like his other drawings (Cod. Or. 3390, 225-228, 233-240). Two drawings consist merely of sketches in pencil (Cod. Or. 3390, 23, 247). It appears that each artist has his own characteristic colour palette. This makes it possible to recognize the majority of the drawings as being made by a particular artist. By means of the artist’s preference for certain colours his region of origin can also be deduced. (This can of course also be deduced by certain style characteristics, but this subject will be treated later). In North Bali there existed a preference for vivid colours, like violet, magenta, bordeaux-red, light red, turquoise-like green and a bright green with much yellow in it. In South Bali dark colours are preferred, like dark green, dark blue, brown, and colours mixed with grey. The preference for vivid colours in North Bali and for darker colours in South Bali can still be seen at present. We may wonder now whether the artists themselves chose their colour palette or not. We have to take into consideration that the colours used in the drawings were probably provided by Van der Tuuk, and that he may have influenced the artist’s choice. Another possibility is that the artists used only those colours that were easily available. The colours, as well as the paper, were probably sent via Balinese messengers. Van der Tuuk himself did not travel much in Bali, but had a network of contacts in various regencies. He sometimes refers to these contacts in his letters (see for instance a letter from 1st November 1870 printed in BKI, 3/5: 212, relations in Klungkung) and in his dictionary. It is difficult to say exactly what kind of paint was used by the artists. For black they probably used blocks or powder of Chinese ink that had to be mixed with water. This kind of black is still used in Bali by painters. It is probable that Van der Tuuk gave the paint to certain artists, and that he chose European paint sold in tubes or dry that had to be mixed with water, such as water colours, gouache or poster paint. Another possibility is that coloured ink on water base was used. This is not likely, because such ink penetrates the paper, so that the colours become visible on the back of the paper, and this is not the case with the drawings. Van der Tuuk might have bought these paints in Surabaya. At least the artists from North Bali used these ‘modern’ water colours, as well as Ida Madé Tlaga (artist No. 10) from Sanur in the regency of Badung, and artist No. 11, also from Badung. The two other artists from Badung (Nos. 5 and 6) probably used ‘in digenous’ paint made from plants, pieces of stone or from powder imported from China. The traditional colours, which are still used in the paintings in wayang style in Kamasan (regency of Klungkung) and wayang figures in South Bali, are made from plants and rocks: ochre (péré) is made from a porous rock found in the sea close to Serangan, south of Dénpasar, or out of Chinese powder (atal). Red
(kéncu) is also made out of powder imported from China, as also blue (muruh, pelung). White, however, (pamutih, putih) consists of a mixture of the finely ground ash of burnt pig-skull, chalk, water and glue. The powders are also mixed with chalk, glue and water. We know that these colours were already used before 1887 from a note written on a small piece of lontar palm-leaf (pipil; Cod. Or. 3061, c), which originally belonged to the collection of the Museum of Ethnology in Leiden, but was transfered to the University Library in Leiden in 1887. This piece of lontar-leaf contains a note on the cost of paint for wayang figures. It says: béyan mulas wayang: ancur aji 200, kéncu aji 90, atal muruh mangsi aji 72, cost for the paint of wayang figures: fish-glue for 200, Chinese red for 90, ochre, indigo and black for 75. It is also difficult to say what kind of drawing instruments were used by the artists. The traditional pen, still used by painters in Kamasan, is of bamboo. This consists of a flattened piece of bamboo cut obliquely on the ‘writing’ side. When we consider the black stripes in the background of the draw ings made by artist No. 1, I am inclined to think that he used such a pen. A Chinese brush (bak cina) may have been used too. I do not know whether Euro pean brushes had already been introduced in the second half of the 19th century. Dip-pens were already known in Bali by the end of the 19th century, and these might have been used for the outlines of the figures drawn in ink. The Artists and their Styles Before dealing with the artists who worked for Van der Tuuk and their styles it is necessary to investigate what is known about Balinese art at the end of the 19th century. Drawing and painting are of particular interest. These were regarded more as crafts than as forms of art. Craftmanship was anonymous. Drawing and painting had a function that could almost always be related to religion. The patrons who commissioned drawings and paintings were almost always kings and administrators of temple organizations. Drawings were made on lontar-leaf to serve as illustrations or elucidations of texts. Texts that were suitable for illustra tion were kakawin and kidung. The subjects of these texts are derived from the epics Mahabharata (Arjunawiwaha, Bharatayuddha, Bhomakawya, etc.), Ramayana, fables (Tantri), and romantic and heroic stories such as Malat. Treatises on magic were also illustrated. All these texts were regarded as sacred, and theoretically only the members of the three higher classes (brahmana, ksatriya and wésya) were allowed to read and to possess them. The illustrations of such texts had to be drawn on leaves of about 50.7 cm long and 3.5-4 cm wide. This means that only ten to twelve figures with a maximum height of 3 cm could be carved on one leaf. An elaborate background with landscapes or buildings is rarely depicted in the drawings on lontar, as there is not enough space. The draw ings consist of small lines and stripes, preferably perpendicular to the grain of the leaf. A kind of knife (pangutik) was used as instrument. The incisions were
blackened with a mixture of the ground ash of burnt kemiri nuts and coconut oil. The drawings are very refined and elegant and many of them show great skill on the part of the craftsmen (see for instance ‘Darmo Lelangon’ by I Nengah Dana, Pleyte 1912). Paintings were made on wood and cloth and in the form of wayang figures used in the wayang puppet play. Paintings on boards are mounted in pavilions (balé) where rituals take place and in the back of an open shrine in a temple or domestic sanctuary, not only in a palace but also in the dwellings of the lower class Balinese (jaba). These boards can be quite large: 1.80 x 1.36m, but they can also be smaller if they are mounted in a shrine, viz. 0.40 x 0.20m. Paintings on wood were everywhere made by local craftsmen. Specimens of such paintings on wooden boards made at the end of the 19th century are kept in the Museum of Ethnology in Leiden (Juynboll 1912: 30-32, pi. VI, VII, VIII). These were mounted in the pavilions of the palace of the king of Tabanan, which was devastated by the Dutch in 1905, so the paintings must have been made before this date. There is a very interesting painting on a wooden board which is depicted in Pleyte 1901, pi. II (photograph No. 48). As the book appeared in 1901, the painting must have been made before this date. The style and characteristics of some of the figures in the painting are remarkable. This will be explained later. Unfortunately Pleyte did not mention the name of the artist in the text accompanying the photographs, nor did he mention in which collection the object was kept. He says only that the artist was from Buléléng. Cloth paintings were made on prepared pieces of handspun cotton of various seizes depending on where they were mounted. The majority of the painted cloths are used only on the occasion of a religious festival or ritual. They are mounted around pavilions, in wooden partitions on pavilions, and as bed-curtains in pavilions. Their sizes vary from 1.80 x 1.10m, 1.45 x 1.35m, 1.80 x 0.90m to paintings which are metres long but with a width of only about 0.30m. The centre of cloth painting was and still is Kamasan in Klungkung. The oldest specimens of paintings are the cloth paintings captured during the second Bali expedition in April 1849 in Buléléng and the third in May 1849 in Klungkung. One painting, judging from the style made in Kamasan, but displayed in a palace in Singaraja where it was captured, is depicted in Pleyte 1901, pi. XIV and the paintings cap tured in Kusamba (close to Kamasan in Klungkung) are depicted in Bastian 1893: pi. 1-13. All these drawings on lontar and paintings on wood and cloth show what is called the ‘wayang style’; this is regarded as the ‘traditional’ style. By ‘wayang style’ is meant the style of drawing and painting in which figures are depicted in the manner of flat Balinese wayang puppets. The appearance of these puppets (their faces, shape of the eyes, noses, mouths, their clothes, crowns and jewelry), and the colours of their skin are fixed for each figure. There exist two style- traditions, that of North Bali and that of South Bali, and these differ slightly. The
figures are nearly always depicted en trois quarts and their appearance is highly stylized. Perspective is not used. The setting of the figures in a painting on wood or cloth consists of fixed motifs and ornaments: rock ornaments (karang) with animal’s or demon’s heads at the base and a cock’s spur ornament at the top, wall ornaments, floor ornaments, heat-haze ornaments (awon-awon) and cloud or naments (cf. Hinzler 1981: 204-205). It is highly probable, and it can also be proved in the case of I Ketut Gedé, that craftsmen who had worked on lontar, board or cloth were engaged by Van der Tuuk to make drawings on the new material, namely paper. Other artists who also may have made drawings for Van der Tuuk are the makers of wayang figures, sculptors in wood and stone and silversmiths. There was a centre of wood and stone carvers in Sawan in north-east Buléléng at the end of the 19th century and at the beginning of the 20th century (Pleyte 1901; Nieuwenkamp 1929: 68) around the brahman Ida Nyoman Karang. When Van der Tuuk lived in Bali, Bratan (situated close to the place where his house was) was a centre of silversmiths who decorated their work with fine engravings. Usually an artist is, and was, specialized in one kind of painting or drawing: either drawing on lontar palm-leaf, painting on cloth and wood, carving in stone and wood, cutting and painting wayang figures, or engraving in silver and gold, which includes the making of the mallets used for the decorations. It is clear that an artist who worked for Van der Tuuk and who was used to drawing on lontar palm-leaf would make another composition and draw in a way different from an artist used to painting on a large piece of wood and cloth, or to carving in stone and wood. The material in which an artist is used to work influences at least his composition and sense of colour, and to a certain extent also the subjects he depicts. In the Introduction to the Artists I shall treat each artist, his characteristics and, if need be, his innovations. The Inscriptions The majority of the drawings have inscriptions or captions on them. There are inscriptions in Balinese or a kind of Old Javanese and in Balinese script, made by the Balinese, and inscriptions in Balinese, Dutch and English by Van der Tuuk himself. In some cases there are inscriptions in Dutch in Latin script made by others after the collection had arrived in Holland. The inscriptions in Balinese script display various handwritings. This might be an indication that these inscriptions were made by the artists themselves, although this need not be so. The artist I Gusti Nyoman Lémpad from Ubud (born circa 1862, died 1978), for example, who made very fine line drawings, pretended not to know how to write and had his works signed by his son.
There are remarkable differences in the way the inscriptions in the drawings have been executed. The drawings by artists No. 1, 9 and 13 are provided with names of figures and terms by Van der Tuuk only. In the drawings by artist No. 13 Van der Tuuk has tried to write in a clumsy Balinese script, that looks more like Javanese script, the names of the figures depicted. The drawings by the other artists are in the first place given short inscriptions in Balinese script to explain the names of the figures or objects depicted. Artist No. 4, I Ketut Gedé from Singara- ja, also gives long explanations of what is depicted, like someone telling a story. Ida Madé Tlaga from Sanur (artist No. 10) gives captions in the frames of his drawings containing information on the Old Javanese text on which he based his drawings and mentioning the caption of the episode which he depicted. Ida Putu Héma from Badung (artist No. 6) sometimes gives genealogies in the captions added to his drawings. In all cases the texts in Balinese script show a hand versed in writing. The inscriptions in Balinese script have sometimes been transcribed or completed by Van der Tuuk in Latin script. He used pencil, black and violet ink and indelible pencil. We often find notes in ink and pencil on the drawings. We know from his letters that he used black ink at the beginning of his stay in Bali, violet ink in 1872 and 1874 and that he started using indelible pencil around 1883. The use of a particular type of ink or pencil, however, need not give an indication of the year in which he studied the drawings. It simply indicates that Van der Tuuk studied the drawings over a rather long period. Language and Spelling Various languages are used in the texts by the artists (and hence by me in the descriptions), viz. Old Javanese, Balinese and sometimes Sanskrit. I decided to use as much as possible one spelling system, namely the Balinese, and only use the spelling systems for Old Javanese and Sanskrit in the case of quotations from and titles of texts written in these languages. This implies that I spell Ramayana when I refer to the Old Javanese and Sanskrit versions of the text, and Ramayana in a Balinese context. The spelling of the Balinese and Old Javanese in Balinese characters in the drawings is arbitrary and chaotic. I have tried to give a literal transliteration in Latin script of each term and added between brackets a transcription according to the present spelling system for Balinese as used in the Kamus Bali-Indonesia 1978. I decided to use the spelling for Old Javanese found in Zoetmulder’s Old Javanese-English Dictionary (Zoetmulder 1982). In the case of references to Sanskrit terms I have used the transcription system generally applied in Europe. Regarding the transliteration of the Balinese aksara in Latin script, there were no problems in finding the transliterations for the aksara danti. In the other cases I decided to transcribe na rambat and its gegantungan by na, na kojong by na, da madu and its gegantungan by da, ta tawa and its gegantungan by ta, ta latik and
its gegantungan by tha, sa danti gegémpélan, sa sapa and its gegémpélan by sa, sa saga and its gegantungan by sa, ga ghora by gha, ba kembang by bha, pa kapal by pha, nya danti by ha, the bisah by h, a kara matedung by a, u kara matedung by ü, pa marépa and cakra marépa by rë, nga lele by le, the pepet by ë, wa and suku kembung by wa, ya and nania by ya, one carik by a coma and a double carik by a semi-colon. Van der Tuuk’s Purpose for the Drawings Allusions by Van der Tuuk to the drawings or to their purpose have not yet been found in his letters and notes, as far as I have been able to study them. One would expect that he mentioned the drawings in his reports to the Dutch Bible Society and to the Ministry of Education, Religion and Industry, which were his employers from 1870-1873 and from 1873-1894 respectively. In his cor respondence with the Dutch Bible Society, which has been partly edited by Nieuwenhuys (1962 and rev. ed. 1982), however, there are no allusions to the drawings. Van der Tuuk’s correspondence conducted with the Ministry has un fortunately disappeared. Abstracts, in the form of ‘Mail-reports’, still exist, but do not contain information on this subject. In his letters to friends and colleagues Van der Tuuk sometimes informs them of the progress of his work and of his method of working. He mentions, for instance, the texts he was reading and copy ing, but till now I have not found any reference to drawings or artists. Among his notes kept in the Leiden University Library I found only some letters written by Balinese scribes who copied texts for Van der Tuuk (Cod. Or. 3388, u). The only source in which references to the drawings can be found is the Dictionary. It ap pears that Van der Tuuk on the one hand used the terms written in the drawings as lemmata in his dictionary. This can be proved by the fact that he sometimes gives exactly the same text as found in the drawings. On the other hand Van der Tuuk referred to ornaments and objects depicted in the drawings by saying ‘see the plate’ to give the reader an idea of what they looked like. Van der Tuuk had already used ‘explanatory plates’ in his Batak-Dutch Dic tionary (Van der Tuuk 1861), but these plates, showing baskets, pipes, knives, textiles, etc. used by the Bataks in Sumatra were drawn by Von Rosenberg and not by Sumatrans. An explanation of these plates is given at the end of the dic tionary. It is therefore possible that Van der Tuuk had a similar plan in mind for some of the Balinese drawings. But he did not work this out consistently, probably because of lack of time. In many cases he could well have referred to a figure or an event depicted in a drawing, but did not do so. I want to mention in this respect KBNWB I: 369, anja-anja (cf. Or. 3390-29); IV: 1028, baris biasa (cf. Or. 3390-242); IV: 1001, buto bligo (cf. Or. 3390-1); I: 500, buta énggér (cf. Or. 3390-10); I: 32, éndé (cf. Or. 3390-41); IV: 1073, bebengkulan (cf. Or. 3390-41).
In his letters Van der Tuuk complains that it is so difficult to compile a Balinese dictionary, because there does not exist a comprehensive literary tradition in pure Balinese. ‘Nobody can write Balinese without the use of Kawi words’ (letter to Engelmann, 30th July 1870, coll. NBG). This is indeed true for the situation in the second half of the 19th century. This may also explain why Van der Tuuk took refuge in the explanations in the drawings for his dictionary. References to terms written in the drawings can be found for instance in KBNWB IV: 709, gudrug, a clownish figure, with a reference to the Ambarsari dance. This dance is depicted and described in Cod. Or. 3390, 254, 255. In KBNWB IV: 241, pelita sari, ‘Like a damar kurung, but with a dragon ( = snake)’. Such a lamp is depicted in Cod. Or. 3390, 251. KBNWB IV: 574, karang musi, ‘an ornament in the shape of a rat en profil’, refers to Cod. Or. 3390, 129. References to the plates can be found for instance in KBNWB IV: 903, patulangan singa bréng, a kind of sarcophagus, ‘see the plate’. This sar cophagus is depicted in Cod. Or. 3390, 253. KBNWB IV: 758, karang gelap, an ornament in the shape of a lightning head, ‘see the plate’ refers to Cod. or. 3390, 20, 46, 130 and 250. KBNWB IV: 690, gramus, a demon in the suite of Gatotkaca, ‘see the plate’ refers to what is now Cod. Or. 3390, 29. KBNWB IV: 842, karang bina, an ornament that is rather puzzling, ‘see the plate’ refers to Cod. Or. 3390, 129. KBNWB IV: 371, Jerubud, ‘name of Senén’s son in the plates representing the Malat in Badung’, refers to Cod. Or. 3390, 134. KBNWB III: 21, Senén or Nang Senén, ‘name of a servant in the Rangga Lawé, according the drawings made in Badung; his name is not mentioned in literary texts’. Nang Senén is depicted in Cod. Or. 3390, 187 and 245. KBNWB I: 240, awon-awon, ‘an ornament that indicates air, for instance in the drawings in which Rawana flies through the air with Sita’ refers to Cod. Or. 3390, 117. The Use of the Collection Since the arrival of the collection in Holland in 1896 not much attention has been paid to the drawings. Some drawings were photographed in 1900 (Nos. 3390, 3, 4, 6, 10, 13, 14, 16, 18, 143, 144, 234-236) and these photographs were kept for some time in the Royal Institute of Linguistics and Anthropology in The Hague. Rouffaer gave a short description on the boards on which these photographs were glued. (They are kept now in the University Library in Leiden). The painter Nieuwenkamp studied the drawings before his departure for Bali in 1903-4. ‘Nieuwenkamp has now managed to take over the Balinese style of drawing to such an extent that he can draw effortlessly like a Balinese’ remarks Rouffaer in the preface to Nieuwenkamp (1906-1910: VII). Nieuwenkamp also made woodcuts of many drawings and reproduced them in his books and articles (1906-1910, 1919, 1924/25, 1929).
Injuynboll’s catalogue (1911: 474-485) the drawings are mentioned in the Ap pendix with short captions referring to the texts illustrated in the drawings. Juyn- boll mentions in his articles (1902, 1903, 1913, 1926) some of the drawings and also adds reproductions, but he never gives descriptions of what is depicted in the drawings. He only regards them as text illustrations and just mentions the text or passage to which they refer. Other authors used particular drawings (Hallema 1924/25, Hooykaas 1973(2), Noto Soeroto 1920, Prijono 1938) too. They reproduced a drawing or part of a drawing out of interests in a text and not because they regarded them as examples of Balinese art or the work of serious ar tists. Only Seltman 1975 tries to explain what is depicted. The Missing Drawings While correcting the proofprints of this Volume, my attention was drawn to three drawings on wooden panels. As one of these panels clearly represents a copy of a scene from one of the drawings of the Van der Tuuk Collection, the question was raised as to whether the scenes on the two other panels were also based on drawings from this Collection, and in particular on scenes from the missing draw ings. A solution to this problem will be offered at the end of this Volume on page 485.
INTRODUCTION TO THE ARTISTS In the following I shall treat each artist as briefly as possible by mentioning his works, his colour palette and style characteristics. I shall also analyse the subjects or stories depicted by him and try to indicate his region of origin and his original craftmanship, and, if possible, the time when he worked for Van der Tuuk. Artist No. 1 Cod. Or. 3390, 1-22, 24, 26-28 are made by this artist. He worked in black and grey ink. He coloured the whole surface of the object drawn, and sometimes also the background in various nuances of black and grey. To colour the background is not characteristic of traditional Balinese painting. The subjects consist of or naments called karang. These can be carved in stone walls, gateways of temples and palaces and on shrines as well as in wood in panels, doors and open wood work, and mounted in temples and palaces as well. Moreover the artist made figures of men, animals and demons to be depicted in reliefs on walls and gateways of temples and palaces and on shrines. The style of the figures is wayang style in the case of the ornaments, but there is a tendency to depict rocks, trees (Cod. Or. 3390, 9, 20), animals (Cod. Or. 3390, 4) and human beings (Cod. Or. 3390, 11) in a naturalistic way. The ornaments are characteristic of North Balinese ornamentation, in particular of the temples to the east of Singaraja (Krobokan, Banyuning, Sangsit). We know what these temples and their ornaments looked like from photographs made in 1873 by H. Veen of Surabaya, and we know that Van der Tuuk had used these photographs. In the Minutes of the Royal Batavia Society of 7th October 1873 (NKBG 1873, XI: 136-137) it is noted that Van der Tuuk will be asked to deter mine what is represented. Such photographs by H. Veen and provided with cap tions written by Van der Tuuk have been found in the latter’s private collection (Cod. Or. 3329 A, 4-23). It is probable that Van der Tuuk asked his informants not only for the names of the temples, but also for the names of the architectural details and ornaments for his dictionary, and that he had asked the sculptors to draw them for him afterwards. This might explain the presence of so many draw ings by other artists as well with ornaments and architectural details provided with their names. These names are also found in the Kawi-Balinese-Dutch Dic tionary, and Van der Tuuk also refers to these drawings. The terms by which the ornaments are denoted by artist No. 1 turn out to be specific to North Bali (karang rupa, Cod. Or. 3390, 17; singa gadarba, Cod. Or. 3390, 6; karang gelap, Cod. Or. 3390, 20, 21; karang curing, Cod. Or. 3390, 24). The appearance of certain ornaments, for instance the top-pieces of the gateways (Cod. Or. 3390, 5, 26) are characteristic of Buléléng, in particular
Krobokan and Sinabun. The headdress and jewelry of the rangda figure in Cod. Or. 3390, 10 is also characteristic of North Bali. This leads to the conclusion that the artist lived in Buléléng, in the area east of Singaraja. The artist was not used to drawing or to painting on paper of a small size, as can be seen from the fact that the drawings are very large and have strong outlines; the details (jewelry, crowns, faces) are not worked out in the same careful way as an artist versed in drawing on cloth, wood or wayang figures. This is another piece of evidence which leads us to believe that the artist was a sculptor. The countermark of the paper shows the date 1881. This implies that the artist worked for Van der Tuuk around 1882. Artist No. 2 To this artist is ascribed in the first place a sketch in pencil with ornaments of the karang type in wayang style (Cod. Or. 3390, 23). It is possible that Cod. Or. 3390, 249 and 250 were also made by this artist. These drawings are in black and grey ink and also contain ornaments in wayang style to be sculpted in wood or stone. The sketches in pencil in Cod. Or. 3390, 23, however, are quite large and coarse in comparison with the drawings in Cod. Or. 3390, 249 and 250. This might have been the reason why the artist did not finish them. Another possibility is that the sketches of Cod. Or. 3390, 23 were made by another artist, for instance by No. 3, who works in a very refined way, or by artist No. 4, who works in a somewhat ‘wilder’ way than artists No. 2 and No. 3. Unfortunately there are no other ornaments of the karang type that can be ascribed to artist No. 3, which makes comparison impossible. Regarding artist No. 4, we can use Cod. Or. 3390, 46 as an example. Both drawings (Cod. Or. 3390, 23 and 46) contain some karang with protruding tongues. Those of Cod. Or. 3390, 23 (karang cawiri, karang saé) have a flat end with a bend in the centre, but those of Cod. Or. 3390, 46 are curled upwards at the end (karang cawiri, karang rupa, and karang buta sungsang). This means that one artist had different ideas about the tongues of demons in general and of the karang cawiri in particular, and that he represented the karang cawiri twice in a different way. The shape of a tongue, however, usual ly does not change, so we may conclude that both drawings are made by different artists. I have ascribed Cod. Or. 3390, 249 and 250 also to artist No. 2, because the shape of the tongue of the karang cawiri in Cod. Or. 3390, 250 bears a resemblance to that of Cod. Or. 3390, 23. Drawings Cod. Or. 3390, 249 and 250 are very refined and detailed. Small, neat, parallel stripes close to the contour lines are a very prominent feature. This is also to be seen in the drawings by artist No. 3. The way in which the round, bulging eyes of the demons are constructed also bears a resemblance to the drawings of artist No. 3, but the handwriting of the captions in Cod. Or. 3390, 249 and 250 differs from that of artist No. 3, so that I decided to ascribe Cod. Or. 3390, 249 and 250 also to artist No. 2.
I cannot say much about the colour palette of this artist, because only a few drawings in pencil and in black ink can be ascribed to him. It appears from the refined style of Cod. Or. 3390, 249 and 250 that the artist was used to working on small objects. He might have been a specialist in wood carving, but it is also possible that he made magical drawings on lontar palm-leaf. Caterpillars (Cod. Or. 3390, 249) are often depicted in magical texts. The artist must have lived in North Bali, as the names of the ornaments are characteristic of this region. There are no indications as to the period when the drawings were made. Artist No. 3 Apart from the possibility that Cod. Or. 3390, 249 and 250 were drawn by this artist, two bundles of four drawings in colour (Cod. Or. 3390, 225-228, 237-240) and one in ink (Cod. Or. 3390, 233-236) and the unfinished Cod. Or. 3390, 25 in ink can be ascribed to him. He worked either in ink (Cod. Or. 3390, 25, 233-236) or he used a colour palette of pale, but bright colours, probably poster paint. The use of light red, light magenta and a light green with much yellow is characteristic for him. Other colours used by him are red, light magenta, ochre, pink, light grey, black and white. He emphasizes the outlines of his figures with light grey to suggest their contours. The subjects depicted are mainly derived from the OJ Ramayana. The outlines of the figures are very fine and delicately shaped. Details in the headdresses of the figures, in their clothes, their jewelry and the shape and colour of some of the figures show that the artist is from North Bali. The small curled line at the top of the double coif of Anoman in Cod. Or. 3390, 239, top, may serve as an example (cf. for instance Cod. Or. 3390, 199, 210 and 33, also made by artists from North Bali). The heavy moustaches that are curled upwards at both ends of figures of the coarser type like Rawana (Cod. Or. 3390, 239), the wavery sash on the belly of Anoman (Cod. Or. 3390, 239) appear to be an invention of North Balinese makers of wayang figures (personal communica tion of Jero Dalang Diah from Nagasepa, I Nyoman Kara from Sangsit, and I Ketut Suwidja, Singaraja). The fact that the black curls of the headdresses of the sepit urang type are surrounded by a white line is also characteristic of North Balinese artists (cf. for instance Cod. Or. 3390, 303 by artist No. 4). The servant Twalén has a beard consisting of small dots, which is Buléléng style. The colour of the skin of his companion Mredah is green (Cod. Or. 3390, 237). The colour of Méganada’s skin in Cod. Or. 3390, 240 is light grey. These colours are also characteristic of North Bali. In South Bali Mredah has pink skin and Méganada brown. The gateway (paduraksa) in Cod. Or. 3390, 236A is also typical of North Bali. The Sang Hyang Dedari dancers with the fans in Cod. Or. 3390, 228 and the rejang rénténg dancers in Cod. Or. 3390, 239 might belong together and express
the kind of amusement in domestic sanctuaries of royal palaces and in temples that was popular at the end of the 19th century in Buléléng. There is a photograph of a platform with two dancers with a fan in Van der Tuuk’s photo-collection (Cod. Or. 3329, B, 1-2) which might refer to an event that inspired the artist. The composition of the drawings is harmonious, but lively. Many figures are shown engaged in very active movements (fighting, gesticulating during a meeting). The figures representing characters from the Ramayana are drawn in wayang style (for instance Rawana, Méganada, Wibisana). Their faces are more or less expressionless. They are depicted en trois quarts like wayang figures. Their gestures as well as the movements of their bodies and limbs are those of dancers. They are clad as wayang figures should be clad in Buléléng. The figures forming their ‘entourage’, however, are drawn in a different way. Their faces clearly show expressions (for instance Cod. Or. 3390, 239), their gestures are not derived from dance movements, but are the movements of real men. They are clad like the Balinese of that time. Another interesting feature is the foreigners depicted in Cod. Or. 3390, 240. They give us an idea of how they were seen by the Balinese. The small scenes of daily life (the dancers, the small boy in Cod. Or. 3390, 239, the parrot hanging from the roof of the pavilion, the squirrel in the tree, the musicians) are also important. They can be regarded as innovations add ed to the traditional wayang style. On the other hand the artist often used the or naments of ‘classical painting’ for the background: the rock ornaments, the clouds. The floor ornament in Cod. Or. 3390, 225 can also be found in the paintings in Kamasan. The artist did not try to use perspective in his work. Sum marizing we can say that the artist originated from Buléléng, and that he was ac customed to painting on larger objects. I am not sure whether he was a painter on wood or a maker of wayang figures. There are no indications of the period in which the drawings were made for Van der Tuuk. Artist No. 4 The majority of the paintings of the collection can be ascribed to artist No. 4 (Cod. Or. 3390, 29-35, 37, 39-54, 106-109, 117(?), 119-126, 132, 133, 143, 144, 180, 181, 183-186, 191-196, 198(?), 199(?), 207(?), 208(?), 209-211, 217-224, 242, 247, 251-256, 282-288(?), 298, 302-307, Cod. Or. 17.994, 1, 2). Sometimes it is rather difficult to ascribe a drawing to this artist (Cod. Or. 3390, 117, 198, 199, 207, 208, 282-288), but there are enough details (the chignon of Smara in Cod. Or. 3390, 198, 199; the long index finger of Rawana and the shoulder sash with the batik pattern in Cod. Or. 3390, 117; the stone ornaments in Cod. Or. 3390, 207, 208, 198, 199) to ascribe these drawings to artist No. 4 as well. It is probable that the artist worked over a long period of time for Van der Tuuk, in which he developed his style.
The drawings are coloured except for a sketch in pencil (God. Or. 3390, 247). The artist used water colours: bright magenta, light magenta, and very often also bright bordeaux-red and very dark bordeaux-red. Moreover he used light and very light blue, salmon-pink, yellow, light and dark green, light brown, orange- brown, turquoise, white, grey, black and sometimes also gold leaf (Cod. Or. 3390, 283-287, 302-307). Gold leaf is still applied in expensive cloth-paintings in Kamasan to indicate jewelry. He also often has a coloured background done in soft grey (Cod. Or. 3390, 50, 51), green (Cod. Or. 3390, 286), or blue (Cod. Or. 3390, 49) in his drawings which is not found in traditional Balinese painting. In order to suggest the contours of the figures he also accentuated the outlines with a grey line. The subjects depicted vary a lot. There are episodes from texts in Old Javanese: the Bharatayuddha (Cod. Or. 3390, 29-35, 303-307), the Ramayana (Cod. Or. 3390, 107, 108, 117, 120, 122, 124, 247, 282-287), the Uttarakanda (Cod. Or. 3390, 47-49), the Arjunawiwaha (Cod. Or. 3390, 288, 302), the Smaradahana (Cod. Or. 3390, 198, 199, 207, 208), the Sudamala (Cod. Or. 3390, 209), the Tantri (Cod. Or. 3390, 184-186, 191-196), the Malat (Cod. Or 3390, 52, 53), the Arjuna Pralabdha (Cod. Or. 3390, 180, 181, and 17.994, 1, 2), from texts in Balinese: the poems Mégantaka (Cod. Or. 3390, 218-224), Rajapala (Cod. Or. 3390, 210, 211), and Juarsa (Cod. Or. 3390, 37, 40, 45, 298). He also depicted ornaments (Cod. Or. 3390, 46, 217), a calendar (Cod. Or. 3390, 39), games and martial arts (Cod. Or. 3390, 41, 43, 54), dance dramas like baris kupu atarung (Cod. Or. 3390, 125, 254, 255) and an unknown Panji story (Cod. Or. 3390, 126, 132), dancers (Cod. Or. 3390, 42, 44, 50, 133), erotic scenes (Cod. Or. 3390, 143, 144), sarcophagi and religious objects and processions (Cod. Or. 3390, 51, 217, 252, 253, 253, 256). The scenes derived from the kidungjuarsa are remarkable. Juarsa was and is comparatively little known. It appears from the catalogue of Van der Tuuk’s manuscripts (Brandes 1901, I: 270-274) and from KBNWB IV: 385 that he borrowed some lontars from Muslims from Banyuwangi (East Java). It is possible that Van der Tuuk ordered the Juarsa drawings after he had told the artist the story. The composition of the figures in the drawings consists of standard scenes: audiences (Cod. Or. 3390, 33, 35, 40, 47, 180, 184, 196, 198, 207-210, 221, 224, 283, 288, 307), unfriendly meetings (threatening, shooting, stabbing, capturing): 29-32, 34, 37, 40, 45, 48, 107, 108, 119, 120, 122, 124, 126, 131, 181, 185, 186, 192, 199, 210, 211, 218-220, 222-224, 284, 285, 287, 298, 302, 304-306), figures just standing (Cod. Or. 3390, 106, 109, 117, 121, 123, 133, 242, 282), bewailing (Cod. Or. 3390, 37, 219, 221). Yet there are other figures depicted in scenes that vary considerably: pursuit, car rying, lying, climbing, playing, dancing, walking (Cod. Or. 3390, 39, 41-44, 50-52, 54, 125, 126, 132, 143, 144, 185, 191, 193-195, 254-256, 298). All drawings show some general characteristics: a lively composition, strong outlines, a suppleness of the attitudes of the figures which are almost always
depicted in dancing attitudes; long index fingers. The figures depicted in the standard scenes represent characters in the stories based on literary text in Old Javanese and they are in wayang style. The figures in other attitudes do not play a role in the Old Javanese texts and are not depicted in wayang style. The male and female figures of the refined type in wayang style have a very small lower lip, that has the shape of a small hook. The servants Twalén and Mredah have more than one tooth in their upper jaws, which is rather excep tional. Mredah has green skin, which is characteristic of North Balinese wayang style. The figure of Gedé Brangbangan is also a North Balinese invention known from wayang. The wild (galak) way in which the figures of the coarser type are depicted is also typical of North Bali. The large moustaches curled upwards at the end, for instance of Twalén, Mredah, of the heroes of the coarser type (Rawana) are also typical of North Bali. Duryodana (Cod. Or. 3390, 30) has a crown on his head. This is also the case in Cod. Or. 3390, 156 by artist No. 7. This crown represents the North Balinese tradition of depicting Duryodana. In South Bali he always wears a kind of cap with a sharp triangle (candi rebah) as for instance in Cod. Or. 3390, 146, 170, 177 by artist No. 5. If figures representing ordinary Balinese are depicted by artist No. 4, they show human traits and they wear clothes showing the fashion at the end of the 19th century. These figures also have expressions on their faces. Their attitudes in scenes of pursuit, carrying, etc. are not those of dancers. The trees and backgrounds (hills, parallel curving lines, parallel lines) in these drawings show European influences. The artist also tried to use perspective depicting buildings (for instance in Cod. Or. 3390, 45). If scenes from the epics (Ramayana, Bharatayuddha) are depicted, the artist used more traditional ornaments (rock ornaments, heat-haze ornaments) than in drawings based on other literary stories (Mégantaka, Tantri) and in drawings with scenes of the daily life (gamblers, dancers) these ornaments are not used. Based on the analysis of style, details of clothes and the colour of the skin of par ticular figures, we can show that the painter originates from North Bali. His skill in composition shows that he was used to painting on large objects. As already mentioned, Nieuwenkamp 1906-1910: contents and 1929: 66, 72-76 provide us the name of the artist, I Ketut Gedé, and the place where he lived, Singaraja. The crucial drawing is Cod. Or. 3390, 185, that of the palmwine-maker. During Nieuwenkamp’s visit to Bali in 1903-4 he entered the domestic sanctuary of a wood-carver’s house in Singaraja. There he discovered a drawing resembling Cod. Or. 3390, 185 mounted at the back of an open shrine. Nieuwenkamp, who knew the Van der Tuuk collection because he had studied it before he left Holland, recognized this drawing as resembling an item made by one of the ar tists who worked for Van der Tuuk, and so he asked by whom it was made. The father of the wood-carver turned up. His name was I Ketoet (old spelling) Gedé, and he confirmed that he had made drawings for Van der Tuuk. At the time of the meeting with Nieuwenkamp he was already an old man. Nieuwenkamp made
a sketch of the shrine with the drawing in it and dated this 4th September 1906 (Nieuwenkamp 1929: 74). Another piece of evidence for the origin of the painter is the drawing on wood depicted in Pleyte 1901, which has in its caption ‘from Buléléng’ (photograph No. 48). This proves our supposition that I Ketut Gedé was originally a specialist in painting on wood. There are, unfortunately, no indications as to when the artist worked for Van der Tuuk. Artist No. 5 Artist No. 5 made a large number of drawings (Cod. Or. 3390, 36, 38, 118, 134, 135, 145-148, 150, 169-179, 187-190, 197, 200-202, 204, 212, 214-216, 244, 245, 269, 270, 272-276, 293-295, 297, 299-301; 17.994, 3). He used many colours mixed with grey, so that they become darkish. Moreover they are rather watery, which suggests transparency. His characteristic colours are bluish-green, yellow- ochre, greyish salmon-pink, dark blue and dark green and a bright red that tends to orange. He further used green, blue, yellow, brown, white, grey and black. The outlines of the figures are indicated by a darker colour than is applied in the centre of the figures. I am not completely sure whether this artist only used in digenous colours mixed with water or also some European water-colours. The scenes depicted are derived from the Adiparwa (Cod. Or. 3390, 36, 169, 201, 202, 204), the Udyogaparwa (Cod. Or. 3390, 216), the Bharatayuddha (Cod. Or. 3390, 145-148, 150, 170-179), the Kalapurana (Cod. Or. 3390, 200), Tantri (Cod. Or. 3390, 187-190, 197, 244), the Arjunawiwaha (Cod. Or. 3390, 38, 293-295, 297), the Arjunawijaya (Cod. Or. 3390, 299, 301), the Niti Praya (Cod. Or. 3390, 300), the Ramayana (Cod. Or. 3390, 118, 270-276) and the Ut- tarakanda (Cod. Or. 269). The artist worked in wayang-style only. The attitudes and the gestures of the figures are more often those represented in the paintings known from Kamasan than those represented in dance, although a great number of the ‘entourage’, namely the figures of the servants, helpers, ordinary Balinese, represent characters known in the dance-theatre. The composition of the figures is also that known from the older paintings on cloth and wood: standing heroes and sitting or kneeling servants often imitating the gestures and the behaviour of their lords. The scenes can be divided into audiences (Cod. Or. 3390, 36, 38, 145, 146, 150, 176, 197, 245, 272, 275, 295, 300), non-friendly meetings: threatening, shooting (Cod. Or. 3390, 118, 169, 170, 177, 179, 189, 190, 200, 270, 294, 17. 994, 1), or fights (Cod. Or. 3390, 148, 175, 178, 202, 212, 214, 216, 269, 273, 274, 276, 297, 301). In a few cases another type of scene is depicted: leavetaking (Cod. Or. 3390, 172), bewailing (Cod. Or. 3390, 244, 299), carrying or capturing (Cod. Or. 3390, 187, 188, 201, 204), driving (Cod. Or. 3390, 171-174, 215) and two love-scenes (Cod. Or. 3390, 135, 293).
There are no innovations such as perspective or human expressions on the faces of the figures. The style of the drawings and the details in clothes, jewelry and headdresses point to South Bali. It appears from a note by Van der Tuuk in his dictionary (KBNWB III: 21) that the artist originated from Badung. The style of the drawings is closely related to that of artist No. 6, who was also from Badung. There is no indication as to when the drawings were made. The skilful way in which the figures are arranged over the paper shows that the artist was used to drawing on objects of a large size. He was probably a painter on wood. Artist No. 6 Of artist No. 6 a book with coloured drawings is known (Cod. Or. 3390, 55-104). The artist did not use a great variety of colours. His palette agrees much more with that of the traditional paintings than that of the other artists from South as well as from North Bali. He used bright red, pink, salmon-pink, dark and pale green, white, grey, black and light brown. He did not use blue very often. The drawings are only on the righthand side of the fold of a sheet, except for Cod. Or. 3390, 79 and 104, which are made on a foolscap sheet in the middle and at the end of the book. The artist nearly always portrays one figure per half sheet, and only three times a scene that refers clearly to a story (Cod. Or. 3390, 79, 86-87, 104). The book starts with figures playing an important role in the Ramayana (Cod. Or. 3390, 55, Rama; 56, Laksmana; 57, Sita; 58-78, 80-85, the monkeys; 79 be ing the only scene, referring to the fight of Bali and Sugriwa). The series con tinues with figures from the Uttarakanda, starting with the birth-scene of Sukésa (Cod. Or. 3390, 86-87) and continuing with the portraits of his demonic family, Rawana, Kumb’akarna, Wibisana, etc. They are the counterparts and the foes of the figures in the first group of drawings. Their genealogy and deeds are describ ed in the Uttarakanda, the prose continuation of the Ramayana. The series ends with a famous scene of Salya and Satyawati that refers to a story told in the Bharatayuddha. The figures are drawn in wayang-style. Their attitudes and gestures show dancing movements. The composition of the figures is rather dull. They sit kneel ing or stand and make obeisance, they stand and listen or they stand and talk. There is one fighting scene (Cod. Or. 3390, 79) and one leavetaking (Cod. Or. 3390 104) These scenes are depicted in the same way as shown in the traditional paintings on cloth and wood. The background is sometimes provided with heat- haze ornaments that are also known from the cloth paintings from Kamasan. Rock ornaments are also used, but rarely. They are of the type found in the wood paintings from Tabanan. The way in which the decorations in black (small parallel lines, stripes, circles) are applied is similar to that found in wayang figures made' of leather. In wood paintings or paintings on cloth they are not worked out in such great detail. The figures are very refined, even when they
belong to the coarser type. This is also characteristic of many wayang figures from South Bali. It is therefore probable that the artist was a maker of wayang puppets. Other features (the headdresses, the clothes) also point to that direction. A remarkable feature is the way in which the three-pointed ornaments (bajra) round the wrists and upper-arms of Bima and Anoman are depicted. They point towards each other. They usually both point upwards. Some North Balinese drawings of Bima and Anoman show the same feature (Cod. Or. 3390, 105, 151). This might have a reason and refer to a particular story, but I have not yet come across it. Informants could also not give an explanation. The artist signed his drawings. He calls himself Ida Putu Héma from griya Pratoda in ‘gumi Badung’. At first sight these data look quite reliable and easy to understand, but such is not the case. From the title Ida and the name of the house, griya, it would appear that the artist is a brahman. Putu refers to his birth order, meaning that he is the eldest son. The name Hema (Skt for gold), may be a fashionable equivalent for Mas or Kanaka, gold, which is more frequently used in Old Javanese and Balinese. Héma may refer to the fact that the brahman belonged to the clan of the brahmana Mas. (The brahmans are subdivided into brahmana Siwa, consisting of the clans Mias, Manuaba, Kaniten, Kamenuh, and the brahmana Boda, Buddhist brahmans). Pratoda gives some difficulties. A griya Pratoda does not exist in the regency of Badung nor in the town of Dénpasar (gumi Badung refers to what is now called the town of Dénpasar and some small villages in the immediate surroundings). It is probable that Pratoda is, like the clan name of the artist, a Sanskrit translation of a Balinese name. Pratoda means whip. In Old Javanese and Balinese a whip is called pecut or palu. So we have to look for a griya called Pecut or Pamecutan, or Palu or Pamalon. In the quarter called ‘Pamedilan’, (bedil = gun, cannon) north of the royal palace Puri Pamecutan in Dénpasar, there exists a griya which is called Pamedilan or Pamecutan. This may be the griya in question. Unfortunately the inhabitants did not know about any painters or sculptors as relatives in the 19th century. In and around Dénpasar there does not exist another griya that can be considered, so that we must leave the problem unsolved. The drawings are on paper with dated marks: 1881, 1885, 1887, so we may conclude that the artist worked for Van der Tuuk in the late 1880’s. Artist No. 7 Of artist No. 7 34 drawings are known (Cod. Or. 3390, 105, 110-116, 151-168, 267, 268, 271, 277-281). He used bright colours, whicht are applied very thickly. It is probable that he used poster paint. He had a preference for violet and light violet, dark almond-green and a lighter green that tends to turquoise. He also us ed red, bright pink, ochre, yellow, light grey, white, black and sometimes dark brown. He also used dark outlines to suggest the rounding of the limbs and bodies of his figures. The artist always depicted figures which are rarely placed in a set-
ting. The scenes or figures depicted refer to stories based on the Adiparwa (Cod. Or. 3390, 165), the Bharatayuddha (Cod. Or. 3390, 154, 156, 157, 166, 167), the Gatotkacasraya (Cod. Or. 3390, 152), and the Ramayana (Cod. Or. 3390, 105, 110-116, 267, 271, 277-281). In many cases only figures playing a role in the Bharatayuddha (Cod. Or. 3390, 151, 153, 155, 158, 159, 161-164, 168) are depicted and there is no particular episode depicted referring to a story mentioned in these texts. Cod. Or. 3390, 160 refers to a text used by dalangs (satua kawi padalangan) called Durmajati. The figures are arranged in stereotyped scenes: audiences (Cod. Or. 3390, 105, 110, 115, 151-154, 156, 157, 164-167, 277-281), fights (Cod. Or. 3390, 111-114, 267, 268), or friendly meetings (Cod. Or. 3390, 116, 160, 162, 271). Sometimes just standing figures are depicted (Cod. Or. 3390, 155, 158, 159, 161, 163, 168). The figures are in the wayang style characteristic of North Bali. The headdresses and crowns and hairstyles of the figures show many deviations from the wayang figures known in Buléléng. They are much more based on the accessories used in live theater in Buléléng. The cap-like headdress (kekendon) of many figures is probably an invention of the ar tist himself, as well as the square crown of the candi agung type. The caste-cords (ratnamala) and the headdresses show a great variety of karang: the one-eyed ogre’s head, the bird’s head with a complete beak, an ogre’s head en profil. In the drawings by other artists from North Bali and from South Bali only the garuda mungkur is found. The sashes with black and white checks crossed over the chests of figures of the coarser type (Pratipya, Dusasana in Cod. Or. 3390, 163 for in stance) are characteristic of North Balinese wayang figures. In Central and South Bali only the servants Twalén and Mredah, and Bima, Bayu and Anoman wear checks. The colours of the skins of many figures are typical of North Bali. Wana or Mredah has green skin (Cod. Or. 3390, 271), Méganada blue (Cod. Or. 3390, 115) and Kunti black (Cod. Or. 3390, 165), Twalén has short, prickly hair and two teeth in his upper jaw, which is also found in Buléléng and not in other parts of Bali. We may now conclude that the artist lived in North Bali. The figures are flat and in most cases depicted en trois quarts. The artist did not make use of perspective in his drawings; the trees in Cod. Or. 3390, 271 show European influence. The contours of the figures and the details of clothes and jewelry in black are done in a very fine way. This and the fact that the figures are placed not in a setting but alone on the paper may indicate that the artist was a maker of wayang figures, and that he was not used to drawing on wood. The drawings show a great agreement in style. This might indicate that the artist made the drawings as a series in a short period of time. Van der Tuuk refers in an article of 1879 to Sayongsarba as a name for Swayamprabha in Balinese wayang. I assume that he knew this rather exceptional figure from a drawing made by this artist (Cod. Or. 3390, 116). This implies that the artist made his drawings before 1879, and of course, after 1870.
Artist No. 8 Six drawings are by this artist (Cod. Or. 3390, 127-130, 246 and 248). The drawings, done in black ink with contour-lines in grey, are very refined. The outlines were probably done with a dip-pen. The subjects depicted are ornaments (karang) to be used in silverwork and in magical drawings. The style in which the drawings are executed is wayang style. The figures of the coarser type (Yama, Ludra, Kala Rahu) are rather refined. The headdress of the nymph in Cod. Or. 3390, 128 points to Buléléng. The corn growing on the tortoise as a symbol of Buléléng and certain names (karang rupa, karang gelap) also indicate that the ar tist lived in North Bali. Silversmiths in Bratan, close to Singaraja, recognized the style as that of a smith, but the artist might also have been a specialist in making magical drawings on lontar. There is no indication as to the time in which the drawings were made. Artist No. 9 Of this artist only one folio with four drawings is known (Cod. Or. 3390, 131). The artist worked in colour. His colour palette differs from that of the other ar tists. Light red and an odd bright light green that tends to yellow dominate. He further used a typical light salmon-pink, yellow, light greyish-blue, light ochre, light grey, black and white. I cannot determine whether he used water colours or poster paint. Three drawings are completely finished, but of the fourth drawing the details in black ink (jewelry, hair) have not yet been filled in. In the drawings four episodes from the OJ Sri Tanjung have been depicted. The scenes are an au dience (recto), unfriendly meetings (recto, verso) and a kind of procession. The setting consists of trees, stone ornaments, creepers and a pavilion. No perspective has been used. The stone ornaments and the trees resemble those used by artist No. 2 in Cod. Or. 3390, 225, although they differ in details. The figures are done in wayang style. They are very refined. The shape of the kerchief (kekendon) of king Sinduraja and the hairstyle of Sri Tanjung, the large ornaments behind the ears of the higher class figures, and the hairy legs of Sinduraja are characteristic of North Bali. Mredah in Cod. Or. 3390, 131, verso, top, however, has ochre skin as in South Bali, but his appearance is that of the North Balinese Wana. Twalén’s whiskers are those usually depicted in North Bali. We may conclude that the artist lived in North Bali. The fact that the drawings are rather small and detailed and refined might be an indication that he was used to drawing on small objects, for instance lontar-leaves. There is no indication as to when he worked for Van der Tuuk. Artist No. 10 Twenty coloured drawings (Cod. Or. 3390, 136-138, 149, 182, 203, 205, 206, 213, 257-266, 289) of which one, Cod. Or. 3390, 258 has disappeared, were made
by artist No. 10. The artist often used a light red, that tends more to orange than to red, light and dark blue, grey, white and black. His colour combinations differ quite a lot from those from the other artists. He often used thick brown and black dots and stripes to indicate the ground and blue for clouds and the sky, which is not characteristic of traditional Balinese painting. Most of the colours used by him, however, are from local materials. The subjects depicted are derived from episodes from the Adiparwa (3390, 203, 205, 206), the Arjunawiwaha (Cod. Or. 3390, 289), the Bhomakawya (Cod. Or. 3390, 257-259), the Bharatayuddha (Cod. Or. 3390, 149), Cupak (Cod. Or. 3390, 213), Malat (Cod. Or. 3390, 136-138), the Ramayana (Cod. Or. 3390, 260-263) and the Uttarakanda (Cod. Or. 3390, 264-266), and Tantri (Cod. Or. 3390, 182.) The style of the figures is wayang style, in particular that of South Bali, but the background, the trees, the clouds and the frames in which the draw ings are mounted betray foreign influences. The sky and the clouds are represented by blue with a rim in dark blue or black. The trees are always of the same type: a trunk with one or two branches which are slightly bent. The foliage is represented by a form in the shape of a pear with black contours filled with light and dark green dots. Such trees can be found in Chinese paintings, in particular glass paintings, and these were known at least in the 1920s, but probably already in the second half of the 19th century in Central and South Bali. The ground in the drawings is represented by dotted stripes. It is probable that this technique was influenced by that of the engravings which were used as wall decoration in palaces and official buildings and which could be seen in Netherlands Indies newspapers. A modernization, apart from the background, the colours and the frame, is also found in the patterns of the textiles worn by the figures in the draw ings. They have checks, flowers, and dots, and tally with the textiles used at that time. The composition of the scenes is harmonious but dull and does not show in novations. They show: audiences of a standing and a kneeling or sitting figure (Cod. Or. 3390, 136-138, 205, 206, 261, 264, 265), of a person sitting up high and a kneeling or sitting person who is placed lower (Cod. Or. 3390, 182, 213), or of two standing persons (Cod. Or. 3390, 260, 262, 263). Love-scenes, that are depicted rather frequently in comparison to the other artists, seem to be a speciali ty of this artist (Cod. Or. 3390, 257, 259, 289 and the missing 258). The reason why the artist might have preferred audience-scenes and love scenes will be ex plained later. Only three drawings represent a rather different type of scene: a sit ting figure (Salya) close to a woman lying on a couch (Satyawati; Cod. Or. 3390, 149), a bird (Garuda) holding an elephant and a tortoise in its claws (Cod. Or. 3390, 23) and a monkey (Bali) sitting close to a demonic figure (Rawana) plung ed into the sea (Cod. Or. 3390, 266). Each drawing is signed on the back in the same way: ‘gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5’, i.e. a drawing made by Ida Madé Tlaga from the griya Tlaga in Sanur; worthless,
weak; paid five. The script (0.4 cm high) is slightly larger than that found on palm-leaf manuscripts from the end of the 19th century (0.26-0.3 cm). It is straight, elegant and characteristic of a practised writer. This inscription tells us that the artist was a brahman (Ida), that he was a second son (madé) and that he originated from griya Tlaga in Sanur. The term ‘saking’, from, does not imply that he actually lived in griya Tlaga, but that he was descended from it. It is the convention among artists and poets to call their creations ‘worthless’ and ‘weak’, so the information by Ida Madé Tlaga on the quality of his work need not be taken at face value. ‘Paid five’ refers to the fee paid to the artist, although it is not said of what it consisted. Moreover it is a rather unusual way of referring to a pay ment, as the term ‘pasangon’ indicates provisions, e.g. of rice. It is possible that Ida Madé Tlaga was paid in strings of Chinese coins (képéng or kéténg or picis), which were legal currency in the 19th century. The coins were bundled in strings of two hundred (satak). Five could then mean five satak. In this case one may wonder why the artist did not use the word peku (thousand) or busung, as these are terms to denote such a number of képéng. It is also possible that the artist was paid in Dutch Rixdollars. It is known from the inventory of Van der Tuuk’s belongings listed on his death that he owned a chest of Rixdollars (Nieuwenhuys 1982: 225) and he may have been saving these to pay his informants. From Van der Tuuk’s letters to Van Leeuwen of the Dutch Bible Society we get information on the cost of personnel and the way they were paid. In a letter dated 5th May 1870 (coll. NBG) Van der Tuuk writes that a cook and her husband cost Dfl. 25.— per month and a houseboy Dfl. 15. —. In the same letter he mentions that the currency in Buléléng are the Chinese ‘picis’, a thousand of which are the equivalent of Dfl. 3.12 1/2. But he remarks that it is very inconvenient to receive his salary in the form of Chinese coins, because they are too heavy. In a letter of 31st July 1870 to Van Leeuwen (coll. NBG) he remarks that the Balinese only want to be paid in silver coins of Dfl. 2.50. The number ‘five’ in the texts on the drawings would then refer to five Rixdollars, paid for the set of 20 drawings. This seems reasonable in comparison to the cost of the cook and the houseboy. In the above letter to Van Leeuwen Van der Tuuk remarks that one Rixdollar was equal to a sum of 850 képéng. I have investigated whether a griya Tlaga really existed or still exists, and whether anything is still known about Ida Madé Tlaga. (Part of this information has been published in Hinzler 1983). In the summer of 1982 I visited Sanur and found a griya Tlaga, which already existed at the beginning of the nineteenth cen tury. In this griya people remembered a man called Ida Way an (a first son) Tlaga, who was a dalang and made drawings. He lived in the second half of the 19th century, but the informants knew for certain that he made drawings only in black and white and never used colours, so that this was not the artist. However, I was told that another member of the family, also a dalang and a craftsman, had left the griya and settled in Renon, which is in the neighbourhood of Sanur. In the
griya Renon in Renon I met Ida Bagus Madé Supa, who happened to be the great-grandson of Ida Madé Tlaga. He was born around 1918, and still remembered his great-grandfather who died around 1924 and was very famous as a dalang and maker of wayang puppets. He also wrote manuscripts on palm-leaf and made texts with magical drawings. According to his great-grandson he was fond of drawing and made drawings ‘just for fun’ till his death. When he was young he had been ordained as a mangku dalang (a dalang allowed to perform wayang lemah during ceremonies) at the request of the Cokorda (king) of Badung who resided in Puri Pamecutan. (There were three Cokorda in Badung at that time: the Cokorda of Pamecutan, the Cokorda of Kesiman and the Cokorda of Dénpasar. The Cokorda of Pamecutan was the most powerful around 1880. The Ducth recognized only him and were willing to negotiate only with him [Jacobs 1883: 168], It is possible that Van der Tuuk came into contact with the artist via the Cokorda). This meant that he had to perform during the ceremonies of the court and was much appreciated by the Cokorda who patronized him. In the collection of lontar manuscripts of griya Renon there are still some fragments of lontar with texts and drawings which are ascribed to Ida Madé Tlaga, but drawings on paper no longer exist. There had been one or two which were hung above an entrance, but they have disappeared. The style of the draw ings from the Leiden collection, however, was recognized by Ida Madé Supa as being his great-grandfather’s. A comparison between the script on the lontars and the script on the drawings shows that they were written by the same hand. A com parison between the drawings on paper and those on lontar gives rise to some dif ficulties, as the drawings on lontar mainly represent magical objects and signs. If a figure is depicted, it is en face. Figures en face are always depicted in a clumsy way in Bali and differ from figures en profil or en trois quarts as depicted in the drawings on paper. The hands of the figures on the lontar, however, show the same peculiarities as those in the drawings on paper. They are extraordinary long and refined and so they can definitely be ascribed to Ida Madé Tlaga. Another discovery was the mention of Ida Madé Tlaga in a lontar containing a genealogy of the inhabitants of the griya Renon. On folios 37b and 38a of the Palelintih Griya Renon I found the following information, the translation runs as follows: ‘Let us speak of the wife of Ida Padanda Ketut Tlaga, Ida Istri Sangging. Two of her children lived, both sons. The elder was called Ida Wayan Tlaga. He was a mangku dalang. The younger, Ida Ketut Sangging, took the daughter of a sagung (a woman of the third class) from Jumatang as his wife. She was called Istri Sagung Anom. They had three children, a girl Ni Dayu Putu, a boy Ida Nyoman Sangging (the third child is not mentioned; probably it died). Ida Wayan Tlaga, who was a dalang, married two wives: from Ubud the daughter of Cokorda Ubud, called I Déwa Ayu Ungu, and further Ida Wayan Tlaga took a wife from Tebesaya. The second wife was called Dayu Ketut Géi géi. He had six children, boys and girls. All his sons were dalangs. The eldest was called Ida
Wayahan Tlaga, the best one, further Ida Madé Tlaga, Ida Anom Tlaga, and Ida Ketut Tlaga. We will not speak of his two daughters ( ) Ida Madé Gledag (another name for Ida Madé Tlaga) took six wives, three of them descendants of the Eastern Branch (the brahmana Kanitén), one of the Western Branch (the brahmana Mas), one of the Southern Branch (the brahmana Kamenuh) and one wésya wife (the third class)’. According to his great-grandson, Ida Madé Tlaga had the courage (and the money) to take six wives because he was patronized by the Cokorda. The reason why Ida Madé Tlaga (and his brothers) left griya Tlaga may be explained from his genealogy. His father had married two wives, one belonging to the ksatriya class and the other a brahman. In former days the children born from a wife belonging to a class lower than a brahmana were, in strict households, not allowed to stay in the griya, but had to settle elsewhere. It is important to know that Ida Madé Tlaga, his brothers as well as his father and other relatives, were a dalang or a sangging (artist, i.e. they made wayang figures and drawings). This is still a usual combination. The reason why the artist so often depicted audience-scenes might also be explained by the fact that he was a dalang. In the puppet plays meetings and audiences form the basic scenes. The preference for love-scenes might have been influenced by his preference for women in general, as seen from the fact that he had six wives. Artist No. 11 Of this artist four coloured drawings are known (Cod. Or. 3390, 139-142). The artist used pale water colours which produce a very refined effect: light bordeaux- red, a kind of pink that tends to red, red, light and dark green, light and dark blue, light ochre, ochre, yellow, white and black. His paintings have a coloured background, which is often light ochre or yellow and with a plain blue for clouds as artist No. 10. This is also not characteristic of traditional Balinese painting. The drawings are also provided with frames, like those of artist No. 10. They show European influences. The drawings all contain figures that play a role in the Malat, but no clear references to particular scenes or episodes are made. The composition of the figures in the drawings is stereotyped. Two audience-scenes (Cod. Or. 3390, 139, 140) of standing figures and two scenes with figures standing behind each other (Cod. Or. 3390, 141, 142) are represented. The figures are depicted in a very refined wayang style, characteristic of South Bali. Trees with creepers around the trunk and stag-horn fern motifs are always pre sent. These trees are also always found in the Kamasan cloth paintings. Although the drawings bear many resemblances to those of Ida Madé Tlaga (artist No. 10), there are some differences that made me decide that these drawings are by another artist. The handwriting of the inscriptions differs from that of Ida Madé Tlaga. The eyes, mouths, jewelry and hairstyles are depicted in a much more
refined way. The toes of the figures are also different. However, due to the great similarity in composition, this artist may have lived in the vicinity of Ida Madé Tlaga and has certainly been influenced by him. It is probable that he was one of his dalang-brothers. The composition of the scenes also points to a dalang as an artist. It is not known when the artist made his drawings for Van der Tuuk. Artist No. 12 Four coloured drawings of separate figures without a background were made by artist No. 12 on four half folios (Cod. Or. 3390, 229-232). The colour palette of this artist is very light and watery. He used light green, green, light brown, brown, yellow, light salmon-pink, red, light violet water colours and white and black. No particular scenes are depicted referring to episodes described in a story. However, three figures (Sidapaksa, Supraba and Gagar Mayang) can be regard ed as belonging together and illustrate personages who play a role in the Sri Tan- jung. Cod. Or. 3390, 231, the god Mahadéwa, cannot be related directly to this story. The figures are depicted in the wayang style characteristic of North Bali. Their ear ornaments, the headdress of the nymph Gagar Mayang, the jewelry in the double coif of Sidapaksa and Mahadéwa and their clothes point to Buléléng. The attitudes of the figures are known from dancing, but are rather stereotyped and stylized. At first sight the drawings resemble those made by artist No. 4, I Ketut Gedé, but details (the shape of the hands of the figures, their short arms, their rather short and thin legs, the difference in clothes and the use of a different col our palette) differ so much, that I would tend to ascribe these drawings to another artist. It is difficult to decide what kind of a specialist (painter on wood, maker of wayang figures) the artist was. It is also not known when he worked for Van der Tuuk. Artist No. 13 Eight very fine drawings in black and grey ink are known from this artist (Cod. Or. 3390, 241, 292). The outlines of the figures are in black ink, while the con tours are accentuated by light grey. All drawings are illustrations of the Ar- junawiwaha. The style is wayang style. No perspective is used. The backgrounds are very elaborate. The trees resemble those depicted in Cod. Or. 3390, 25 and 225 by artist No. 3 from Buléléng. The V-shaped ornaments on clothes and pots (Cod. Or. 3390, 241 and 292 recto and verso) resemble those depicted in Cod Or. 3390, 228, 238 and 240 by the same artist No. 3. The fact that the second servant of the righthand party is called Wana instead of Mredah points to North Bali, but his appearance resembles that of Mredah from Central and South Bali. The
strange clothes of Arjuna, in particular his long trousers in Cod. Or. 3390, 292 recto, bottom are more common in Buléléng than in Central or South Bali. The large ribbons (ron-ron) behind the ears of the male figures are also characteristic of North Bali. The fact that the double coif of Arjuna (Cod. Or. 3390, 292 recto and verso, bottom) has a vertical band made of jewelry in the centre points to North Bali. The garuda ornament on the back of the chignon is not met with in wayang figures in North, Central and South Bali. It is probably used in live theatre. The gateway in Cod. Or. 3390, 292 recto, top, is characteristic of Central Bali (Klungkung, Bangli). The fact that foreigners are depicted in Cod. Or. 3390, 292, recto, top, might also point to North Bali, because they were more common there than in other parts of Bali. The abundant quantity of hair on the legs of Baru and Twalén in Cod. Or. 3390, 292 verso, bottom, points to North Bali. The ornamentation used—clouds and rocks—are those of traditional painting and drawing and can be found everywhere. It is therefore extremely difficult to deter mine where the artist had lived. The composition of the drawings is stereotyped and traditional: meetings, audiences as in traditional Balinese paintings. The ar tist might have been a specialist in drawing on lontar, in view of the refined style in the drawings. It is not known when he worked for Van der Tuuk. Artist No. 14 This artist made eight coloured drawings on two foolscap sheets (Cod. Or. 3390, 243 recto and verso and 290, recto and verso). He used water colours. He had a preference for light red, and light green. He further used brown, yellow, pink, black, white and grey. The paint is applied rather irregularly, so that sometimes stripes can be seen. All drawings can be regarded as illustrations of the Arjunawiwaha. The figures are depicted in wayang style. They are depicted either alone, standing in a danc ing attitude, or fighting someone else. The setting (the cloud ornaments and the stone and floor ornaments) consists of traditional ornaments found in Kamasan, but also elsewhere in South and in North Bali. No perspective is used. The demonic figures and the servants have whiskers consisting of small round dots, which is characteristic of North Bali. The hair on the legs and the arms of the demons is typical of North Bali as well. Mredah’s skin, however, is light red and not green, as is usually the case in Buléléng. The jewelry in Arjuna’s chignon is again remarkable. The chignon is provided with a garuda ornament at the back, which is not in accordance with the tradition of depicting wayang figures anywhere in Bali. The sash-like wavy piece of cloth covering Arjuna’s belly (God. Or. 3390, 290, recto, verso, right), and the bellies of the demons, is characteristic of North Bali. This made me decide that the artist came from Buléléng. He must have been versed in painting, to judge from his compositions. As he did not follow the tradition of leather wayang figures, he might have been a specialist in painting on wood. It is not known when this artist worked for Van der Tuuk.
The Heat-haze Ornaments It appears that the shape of the heat-haze ornaments (awon-awon) is an in dicator of the region of origin of a drawing or painting and of the style (Kamasan versus South Bali and North Bali). I therefore decided to divide these ornaments into types. There are eight types of awon-awon ornament in all. (photogr No 49). Type No. I consists of an eye-like line drawn in black ink, with a red, white and blue dot. This is the common type of heat-haze ornament in the Kamasan paint ings and in other South Balinese paintings. It is used by artists No. 5 and 6. Type No. II consists of three half circles on top of each other with a long stripe perpendicular to the top half circle. A coloured dot is added in the centre. I have encountered this coloured ornament only in North Balinese paintings (artist No 4). Type No. Ill consists of the same ornament as type II, but no dot of colour is added. This ornament is used in Kamasan paintings in addition to the ornament of type I, but it is found very frequently by itself in North Balinese paintings (ar tist No. 4). Type No. IV consists of a combination of three semi-circles placed in a horizon tal row with a zig-zag line on top. A coloured dot is added at the bottom of each semi-circle. Type No. V consists of one such a semi-circle with a zig-zag line on top and a coloured dot at the bottom. According to painters from Kamasan this ornament and the preceding one were also used there in the past, but I have met types No. IV and V at present only in North Balinese paintings and drawings (artists No. 4, 13 and 14). Type No. VI consists of a kind of curved line with three bends. It is used in Kamasan and South Bali (artist No. 5) to indicate stormy weather. It is also used, but not frequently in North Balinese drawings and has the same purpose (artist No. 4). Type No. VII consists of a small zig-zag line with two small parallel lines beneath. I have only met this ornament in North Balinese paintings and drawings (artist No. 13). Type No VIII consists of an almond-shaped form coloured on the inside. It is found in North Bali (artist No. 4) as well as in Gianyar and Tegaltamu. The Rock Ornaments There are four types of rock ornaments (see photograph No. 50): a combination of three half circles (rocks) with triangles (called cock’s spurs) on top. This orna ment is frequently used in paintings in Kamasan and South Bali. It is used by ar tists Nos. 4 and 5. The second type is a half circle with a curved line on top. This is also found in paper drawings and drawings on lontar in Klungkung. It is used
by artists Nos. 4, 5, 13. The third type is a round form, with two or more half circles at the bottom. The ornament is coloured in various colours. It is found especially in Buléléng (artists Nos. 3 and 4). The last type is a kind of continuous curving line, which I only found in the drawings of an artist from Badung (No. 5). Clothes, Jewelry and Hairstyles It appears that the clothes, jewelry, headdresses and hairstyles of the figures are determined in the first place by the character of the text they illustrate. We can distinguish between the epics (Mahabharata, Ramayana) and texts based on this literature either written in Old Javanese or Balinese, and the Malat, to which Tantri, Amad, Rangga Lawé, Juarsa and Mégantaka also can be reckoned. Figures not playing a role in the above texts wear clothes worn by the Balinese in the 19th century. Within the three groups, regional differences can be discerned, which I call the North and the South Balinese tradition. The above statements also hold true for painting and drawing on other materials, in particular the Kamasan cloth paintings. The clothes, jewelry, headdresses and hairstyles of the figures illustrating the epics and Malat correspond for the greater part with those worn by the wayang figures. Some artists, however, added details known from the costumes of live theatre. Innovations We may conclude that in fact only artist No. 6, and to a certain extent also ar tist No. 5 from Badung, used colour combinations that can also be found in tradi tional Balinese paintings. I have in mind in particular the cloth paintings cap tured in 1849 on the Dutch Bali Expeditions. All the other artists experimented with colours and their application. In particular artists Nos. 1 and 4, 10 and 11 experimented by using a coloured background (ochre, brown, blue, grey, black) in their drawings. It is probable that they had seen this in Dutch or Chinese pain tings and in engravings. This is suggested in particular by the curved grey lines used by artist No. 4 in Cod. Or. 3390, 41-44, 48, 49, 54, 256, 286 and 298. The artists may have seen European paintings and engravings in palaces and official buildings where they were used as wall-decorations and in Netherlands Indies newspapers and on stationary. Van der Tuuk, for instance, read the Soerabaiaasch Handelsblad (Nieuwenhuys 1982: 155) in which many engravings can be found. The writing-pads and exercisebooks of that time also had engrav ings on the back representing animals in a landscape. Van der Tuuk made part of his notes on such stationary (Cod. Or. 3257). Jacobs 1883: 66 describes ‘two awful European plates’ which were mounted at the front of the pasanggrahan (lodging-house) in Gianyar. One represented the tale of Potiphar and Joseph and the other the tale of Boaz and Ruth; they had a text in French and Dutch. Such il lustrations must have been seen by the Balinese and may have influenced or in-
spired their technique of painting. It is important to notice that innovations in col our palette, style and composition can be observed in North Bali as well as in South Bali at the end of the 19th century. Most laymen writing on Balinese art (for instance Visser 1937) in the 1930’s claim that these innovations were restricted to artists living in the regency of Gianyar and ascribed them to Spies and Bonnet. Galestin 1962: 10, however mentions that foreign influences had ap peared earlier, but his suggestion was not taken up by others. At the end of the 19th century there already lived a small group of Europeans in North Bali, in Singaraja in particular, who might have made their influence felt. In South Bali foreign influences had disappeared by that time. A small number of Europeans in the entourage of the Danish trader Mads Lange had lived in Kuta since 1836. Lange died in 1856 and his company disappeared a short time after his death. Between 1856 and 1905, when the Dutch Bali Expedition resulting in the Puputan of Badung took place, not many Europeans lived in South Bali, so it is probable that there was not much direct European influence during that time. It is possible that the rulers of Badung, in particular Cokorda Pamecutan, who were quite powerful at that time, had European pictures and engravings in their palaces, and these were noticed by artists Nos. 10 and 11. The Subjects It appears that the majority of the drawings are devoted to scenes and figures from the Old Javanese Ramayana kakawin (82), while those from the Old Javanese Uttarakanda amount to 25. There are 35 drawings with scenes and figures from the Old Javanese Bharatayuddha kakawin, and 21 from the Old Javanese Arjunawiwaha kakawin, four from the Smaradahana, four from the Ar- juna Pralabdha, two from the Arjunawijaya, one from the Bhomakawya and one from the Gatotkacasraya. Further nine from the Old Javanese Adiparwa, one from the Udyogaparwa, one from the Kalapurana and one from the Nitipraya. There are 11 drawings devoted to the kidung Malat, and four to a theatrical play with figures from the Malat, two to the kidung Rangga Lawé, one to the kidung Sudamala and 17 to stories known from Tantri texts in prose and verse, two to kidung Amad, one to kidung Cupak, eight to kidung Juarsa and 11 to the geguritan Mégantaka. In the other drawings ornaments, games, dances, or chestras and religious matters are depicted. We may conclude that the kakawin literature, in particular the Ramayana and Bharatayuddha, was more frequently used for illustrations than Old Javanese prose texts or Balinese geguritan. Of the kidung literature Tantri and Malat figures were most frequently depicted. To our surprise Juarsa was also used, probably at Van der Tuuk’s request. The particular episodes chosen from a text and the composition of the figures in the scenes are also important. It turns out that different artists very often depict

Tantri The hunter in the tree chased by a tiger Cod. Or. 3390, 191(4), 189(5). If we compare these results with the scenes and the composition of the Kamasan cloth paintings the similarities are remarkable. We may now conclude that there must exist rules of composition for painting and drawing episodes derived from ‘classical’ literature that are valid for the whole of Bali. The Value of the Collection Today the drawings are of great value to us for several reasons. They provide us in the first case with data on the styles of drawing in the second half of the 19th century in North Bali and in South Bali. They show that already at that time in novations were being made in style, colour palette, application of the colours and in composition. It can be proved now that the artists from North Bali as well as from South Bali had already started to experiment with colours and forms and lines before Spies and Bonnet settled in Central Bali in the 1920s. On the other hand many drawings show us an older phase of traditional drawing in areas out side Kamasan which was hitherto unknown or hardly known to us. The various ornaments that indicate air and rocks are of particular interest in this respect. Apart from the above evidence, some other interesting features are shown in the drawings. For example, in one drawing two styles may occur. The figures representing characters known in literature are depicted in wayang style, while other figures (servants, ordinary men) are drawn in a more naturalistic way. The figures depicted in a naturalistic way often wear clothes and textiles (batik Rem bang, batik Betawi from Java, Indian textiles, songkét, ndek) and caps and hats used by the Balinese themselves in the 19th century. The hairstyles of the naturalistic figures also give us an idea of customs of the 19th century. The objects depicted in the drawings (lamps, cushions, chairs, etc.) provide us with data on the material culture of that time. The way the Balinese artists portrayed foreigners is also interesting to us, because it shows how they were seen by Balinese eyes. From the figures in wayang style we can learn about the different traditions that existed in North and South Bali in the 19th century. It is also important to notice that so many of these figures are depicted in dancing attitudes, and not in the stereotyped attitudes of ‘speaking’, ‘granting someone to speak’, or ‘obeisance’ known from the Kamasan style. (Before Bandem 1983 it was very dif ficult to find information in written sources on the techniques and poses of Balinese dance. I therefore had to consult informants on this subject.) The drawings also provide us with data about stage-plays, dances and games that were popular. It appears that in Badung episodes from Tantri and Rangga
Lawé were staged which had a particular set of servant types, and that in Buléléng baris kupu atarung with the story of Ambarsari was played. We are also informed about the orchestras accompanying certain types of dance and theatre. Many of these ensembles, such as gong cumangkirang, are no longer used. The drawings also give us valuable information about ornaments to be carved in stone and wood and used in temples and palaces. In particular the ornaments and their names specific to North Bali are illustrated. The scenes with episodes referring to literary texts are important for two reasons. In the first place because the kind of texts that are illustrated and the number of illustrations devoted to a particular text by various artists can indicate which texts were popular in the second half of the 19th century. It is, however, also possible that the illustrations of some of these texts, for instance kidung Juar- sa, were suggested by Van der Tuuk. In the second place the particular episodes chosen from a text and the composition of the figures in the scenes show us, because of their similarities to the Kamasan cloth paintings, that there must exist rules of composition. Finally the drawings can be used as ‘explanatory plates’ to the Kawi-Balinese- Dutch Dictionary by Van der Tuuk.
DESCRIPTIONS OF THE BALINESE DRAWINGS FROM THE VAN DER TUUK COLLECTION Or. 3390 Nos. 1-307 Or. 17.994 Nos. 1-3

Cod. Or. 3390-1 Four drawings on English paper, watermark Britannia, countermark Munro 1881. 33.3 x 42 cm. The sheet is folded vertically into two halves. On both the recto and on the ver so side of the sheet is a drawing, that is, on each side of the fold. Artist: no. 1. Origin: Buléléng. The edges of the sheet are damaged. The sheet is torn in the centre along the fold. The drawings nos. 3390-1-22, 24, 26-28 are probably by the same hand. They belong together stylistically and they show the same hand of drawing. The style, the characteristic details, and the names of some of the ornaments indicate that the drawings are definitely from Buléléng. As has already been pointed out in the Introduction, the ornaments in the drawings harmonize with those of temples East of Singaraja, such as pura subak in Krobokan, pura gedé Pamayun, pura dalem and pura Manasa in Banyuning, pura dalem in Bila, pura béji and pura dalem in Sangsit. It seems that the artist had lived in this region. Since his name is unknown to us, I shall call him artist no. 1. Recto, left: buta jereng, a demon with black and white spots A male demonic figure is sitting. He faces left. He is depicted en trois quarts. His huge spotted penis is stretched backwards between his legs and the demon is as it were sitting on it. His body is also covered with spots. He has big, protruding teeth and locks of curly hair on his head. He holds a cleaver in his raised right hand. He is pointing with his left index-finger to something or to someone. He is clad in a short loincloth. A text in ink written in Latin script by Van der Tuuk on the left says: buta djërëng (buta jereng). In KBNWB IV: 371 jereng is the name of a buta, demon, who according to the drawing has white spots”. This is an example of a reference to the drawings made by Van der Tuuk in his dictionary. Another in scription on the drawing by Van der Tuuk but now in indelible pencil states: slem metultul putih (selem matultul putih), black and white spotted. This is also used by him in the abovementioned passage from the dictionary. To point (nuding) at someone or at something with your index-finger (tuding) is a rude gesture, which can be one of the characteristics of a demon. Recto, right: buta asti, a demon with an elephant’s head A demonic male figure is sitting on his left knee. He faces left. He is depicted in profile. The head has a little elephant’s trunk. He has long, bristly hair. There is
a flower behind his ear. He holds a cleaver in his right hand, which is bent over his back. He wears a small checkered loincloth which is tucked up between his legs. There is a text in ink in Latin script by Van der Tuuk on the left saying: buta asti, elephant-demon. Verso, left: buta bligo, a demon with a belly like a gourd A demonic male figure is sitting on his buttocks. He faces right. His face is in profile and his body is three quarters on. He holds a human leg in his left hand and a chopping knife in his right. His teeth are large and sharp, his hair is half- long with a forelock. There is a flower behind his ear. His stomach is fat and oval. He wears a small loincloth tucked up between his legs. An inscription in Latin script in ink at the bottom on the left by Van der Tuuk says: buta bligo. A bligo or baligo is an oval gourd. Reference to this demon is made in KBNWB IV: 1000-1001. Verso, right: buta pepengkah, a female demon with spindly legs A demonic female figure is standing, her legs spread apart and her arms in an upward direction. Her body is en face, but her head is en profil turned to the right. She has large pudenda. Her body is covered with horizontal stripes. An inscription in ink in Latin script by Van der Tuuk at the bottom says: pë- pëngkak. This should be pepengah according to KBNWB IV: 320. “It is the name of a spirit with a large belly, a small head and spindly legs. She haunts forests and cremation grounds’’. (This is mentioned for instance in the OJ Sudamala II: 8). “She is also depicted on the drawings of Gatotkaca as part of his suite” (No. 3390-29). Again reference is made to the drawings in the dictionary. Demons play an important role in Balinese thought, in literature and in the graphic arts. They are supposed to attack the living on earth and to punish the dead in hell. Their names and characteristics are mentioned in texts on magic and on the wanderings of the soul, as for instance in Atma Prasangsa (Cod. Or. 13.153) and in Bima Swarga (Hinzler 1981; Hooykaas 1980 (1), (2)). Demonic beings are depicted in magical drawings in texts or on amulets (Hooykaas 1980, (1), (2)) and on paintings, sculptures and reliefs, especially those of the pura dalem, the temple devoted to the goddess of Death (Moojen 1926: CLXXX, Gianyar; CXXIX, Bejuning. With Bejuning the present Banyuning is meant). Cod. Or. 3390-2 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.6 x 43 cm.
The sheet is folded vertically into the halves. There is a drawing on the right half of the recto side and on the left half of the verso side. Ink, grey and black. Artist: no. 1 Origin: Buléléng. There is a hole on the verso side, left. The sheet is torn in the centre along the fold. Recto: karang rupanala, an ornament consisting of a rock and a fiery ogre’s head with two eyes and with fiery eyebrows A two-eyed ogre’s head with only an upper jaw is mounted under three rocks. The head is en face. Flames are emanating from the protruding teeth and from the eyebrows. The rocks, which are spotted, have vertical stripes on top. These may also indicate flames. A text in ink in Latin script by Van der Tuuk at the bottom on the right says: rupanala rnealis api (rupanala malis api), an ornament provided with a fiery ogre’s head with two eyes and with fiery eyebrows. The motif belongs to the group which may also be called karang rupa (KBNWB I: 760; Nos. 3390-17, 46, 127). The karang rupa is specific to Buléléng. An ornament with a two-eyed ogre’s head en face and without a lower jaw is called karang tapel in South Bali (see also Arsitektur Tradisionil Bali 1975: pi. 13). Verso: karang geni, an ornament consisting of a fiery ogre’s head with one eye A one-eyed ogre’s head is depicted en face. The eye in the centre consists of a fireball. The head itself is surrounded by fire. The mouth-part consists only of an upper jaw with protruding teeth and flames. A text in ink in Latin script by Van der Tuuk at the bottom on the right says: karang gni, (karang geni), an ornament depicting a fiery head. Both drawings belong to a category called karang or kekarangan, fantasy, ornamentation. The basis of such an ornament is a rock which on the bottom has representations of animals, birds, demons or ogre’s heads. The rock is often omitted, so that only the image remains. The ornaments (karang), are found on drawings and on wood and stone carvings on buildings and walls all over Bali (Moojen 1926: XLI, Batubulan; CLXXXVIII: Klungkung; CXXII, Banyuning). They are preferably placed in the centre of a panel or of a cornice, like the karang geni, but others may also be placed on the corners (bucu), so that in most cases only half of the ornament is visible to the viewers. The ornament is then called asibak, half. There thus exists a karang rupa and a karang rupa asibak. The karang asti, ornament in the shape of an elephant’s head, is an example of an ornament which is depicted only as a corner-piece.
Images with flames are to be found on the pura dalem and also on pura puseh, the navel temple in which the first ancestor who owned the land and settled down in the village is venerated. Cod. Or. 3390-3 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.2 x 43 cm. The sheet is folded vertically into two halves. There is a drawing on the left- hand side of the recto sheet and on the righthand side of the verso sheet. Ink, black and grey. Artist: no. 1 Origin-. Buléléng. The sheet is torn in the centre along the fold. Recto: patra punggel, a floral ornament in the shape of a bird A bird’s head with a floralistic body is depicted. The bird faces right. Texts in Latin script in ink by Van der Tuuk give the Balinese names of the various parts of the figure. We find from top to bottom on the lefthand side: achterkant, back side; patra punggel, (patra punggel), openwork (according to KBNWB IV: 339 this carving is of Balinese origin); walik, reversed for a spiral; kapakan, wing. On the righthand side we find from top to bottom: voorkant, front; mowan banjak (muan banyak), with the beak of a brown goose; k.nj. (kup- ing nyingnying), curled ear of a small mouse; balung tikël (balung tikel), curved bones; k.nj. (kuping nyingnying), again kuping njingnjing (kuping nyingnying); sësëmèn (sesemin), small, curly hair; patra, pattern, which is written close to the tail. On the neck of the bird is written ulëk (ulek), curl and këtjapitan (kacapitan, or more correct cecepitan), narrowing. The various parts of the bird’s body are compared with those of other animals. Balinese ornaments can be divided into two groups: patra or pepatran, floralistic patterns, and karang or kekarangan, ornaments with theriomorphic or human beings (Arsitektur Tradisionil 1975: 13). In this drawing we are dealing with a floral animal consisting of various floralistic patterns each having their own names. The patra punggel is to be found as part of the top-piece in the centre of a tem ple gateway in North Bali. Such a top-piece consists of a central construction (cf. Nos. 3390-5, 26) flanked by one or two pepunggalan (pura dalem Sinabun; pura désa Bungkulan; pura dalem Jagaraga; photographs Nos 1-3). It may also be mounted on top of a karang on the corner of a cornice (photograph No. 4, pura subak Krobokan). In South Bali we may also find a patra punggel, but of a slight ly different shape, on the gateway to a palace or to a temple. It may be mounted
on top of a wing (karna) flanking the gateway, on top of a karang (photograph No. 5 pura Nataran Pancoran, Gélgél), and on the ‘lobes’ (gébér) of gateways, on particular in Abian Semal and its environs. Verso: gelung kori, the crowned head of the god Wisnu as an ornament for a temple gateway A man’s head is depicted en face. He wears a diadem with two sharp or naments on the left and on the right, a high crown, ornaments of jewelry on top of the ears, behind the ears, and in the lobes of the ears, and a necklace with creepers. There are triangular ornaments in the middle of the forehead and on its sides. Texts in Latin script in ink by Van der Tuuk give the following explanations: at the top on the right is written ‘glung kori op de paduraksa’, gelung kori on the paduraksa. Gelung kori is the name of a high crown, but also of the top-piece of a gateway, a pilaster or a turret. A paduraksa is in North Bali the name of a temple gateway with an upper lintel, flanked by turrets (cf. KBNWB IV: 161; see No. 3390-236A). In South Bali it is a term for the turret in a wall, the turrets flanking a gateway and of the projecting section of a wooden beam provided with sculpture. At the bottom on the right is written by Van der Tuuk wisnu, Wisnu, the god who sustains life. Various parts of the headdress and the jewelry of the figure are also named. They are provided with special signs referring to those in the drawing: b skar tadji (sekar taji), a pointed ornament like an artificial cockspur made of iron; y pëtitis (petitis), diadem on the forehead; u tjuda manik (cuda manik), referring to the pear-shaped ornament on the forehead in the centre; x padu manik, jewel at the corners of the hair-line on the forehead, referring to the two pointed ornaments on the sides. The central part and the turrets of a paduraksa in North Bali consist of several panels with cornices, diminishing in size. A sculpted head may be mounted on the centre of each panel, or on each cornice (photograph No. 6, pura subak, Krobokan). According to the notes by Van der Tuuk, a sculpture with the head of the god Wisnu may also be used. We have come across a god’s head on the upper most roof of the pura dalem of Sukasada (Cod. Or. 3329 A-21) as it looked around 1873). The majority of the photographs of Cod. Or. 3329 A,B were made, according to the stamp on them, by H. Veen. In the ‘Notulen’ of the Royal Batavia Society of June 1873 (NKBG 1873, XI: 100) it is mentioned that Van Eck drew attention to photographs of Balinese temples made by H. Veen from Surabaya. These photographs were purchased by the Society, and it was decided in the meeting of August 1873 (NKBG 1873, XI: 136-137) that Van der Tuuk should be asked to provide them with the right captions. In Van der Tuuk’s legacy two portfolios of photographs were found, and photographs by H. Veen
are among them. These have captions in Van der Tuuk’s handwriting, so these photographs must be the ones mentioned in the ‘Notulen’. It is improbable that these prints are those of the Society, as members who had borrowed possessions of the Society too long were asked, as appears from the ‘Notulen’, to send them back. I have not found such a request. It is therefore possible that Van der Tuuk had himself ordered prints and that they form part of Cod. Or. 3329 A,B. Cod. Or. 3390-4 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.2 cm. The sheet is folded horizontally into two halves. There is a drawing on the recto side left and on the verso side right. Ink, black and grey. Artist: no. 1. Origin'. Buléléng. The sheet is torn in the centre along the fold. The edges of the paper are damaged. The (karang) senuk is mentioned by Juynboll 1903: 87. Recto', the tiger and the deer (macan, kidang) A tiger presses its forelegs down onto the back of a small deer. The tiger is depicted en profil and faces left. The deer is looking over its shoulder in the direc tion of the tiger. A text in ink in Latin script by Van der Tuuk on the right says: matjan (macan), tiger, and on the left: kidung, deer. Stone panels with animal stories in sculpture are often found on small buildings in temples and on walls all over Bali (see for instance Moojen 1926: LXXX, Bangli; CXIV, Sukasada). Verso: the tapir and the pig {senuk, bawi) A large wild animal is about to grasp a small pig. Both animals are facing left. A text in Latin script in ink by Van der Tuuk on the right says: senuk (senuk), tapir. KBNWB II: 23 gives “a representation of this animal can be found on tem ple gateways. It looks like a mythical animal with cockspurs”. Animals, and mythical animals in particular, were carved on temple-walls and gateways. In North East Bali (Bila, Sangsit) especially this has been done and is still widely practiced (cf. Rühl 1932: 26). In a note in Cod. Or. 3265: 13 Van der Tuuk gives the following information about the senuk, it “is the tapir, which is not a ferocious animal, but which according to a saying in Lampong (E. Sumatra), one should be wary of when it is having young ones”.
Neither drawing refers to particular stories in which a wild animal attacks another, but both refer the habits of wild animals in general. Cod. Or. 3390-5 A drawing on English paper, watermark Britannia, countermark Munro. Only the upper half of the word Munro is visible. The lower part of the text and the date, which in all probability was 1881, have been cut off. 43 x 33.2 cm. The sheet is folded horizontally into two halves. Ink, black and grey. Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold in the centre. Pucak paduraksa, top-piece of a temple gateway The background is light grey. An ornament with a rectangular basis and an oval shaped top is depicted. There are three rocks at the bottom. Those on the sides have the shape of a karang curing. Stylized leaves surmount the rocks and culminate in a flower. Such ornamentation is used as a top-piece (pucak) of the paduraksa and of smaller gateways to temples in North Bali. It can be flat or three-dimensional. In the pura subak in Krobokan we found a top-piece on a smaller gateway closely resembling the ornament on the drawing (photograph No. 7). The use of a col oured background is not characteristic of Balinese traditional painting. It is possi ble that in this drawing we see the influence of European drawings contained in newspapers or in private collections and perhaps shown to the artist. Cod. Or. 3390-6 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 42.2 x 33.2 cm. The sheet is folded horizontally into two halves. On each half is a drawing. Artist: no. 1. Origin: Buléléng. The sheet is torn in the middle along the fold and has been mended by being pasted onto another sheet of paper. Top-, singa gadarba, half-lion, half-' 1 donkey” A winged animal en profil faces left. It has the body of a spotted lion and the head of an elephant, but with only a small trunk. Flaming locks of hair cover the head.
A text in ink in Latin script by Van der Tuuk on the right gives the name of the animal: singa gadarba, a lion-donkey. KBNWB IV: 674 gives information about the donkey. “It was brought to Bali in 1881 and was before then unknown to the Balinese. Hence their astonishment describing it as having the head of a horse, but a scrotum like a cow”. This, however, does not tell us why the elephant’s head appears in the drawing. Combining parts of several animals to form a new one is not unusual in Balinese art. In No. 3390-16 we see a combination of a snake and a chicken, in No. 3390-22 a combination of a fish and a dragon, in Nos. 3390-46 and 253 a fish and an elephant. The keeping of donkeys seems to have been a hobby of Van der Tuuk himself. According to the inventory of his possessions made after his death in 1894 he had two donkeys (Nieuwenhuys 1982: 225). Udo de Haes (Van Eerde 1928: 871) reports that he kept two Arabian donkeys with the intention of breeding from these animals, since they had many advantages. They could climb mountains more easily than horses and needed less food. Although the donkey was not in digenous to Bali the name and its shape were known, since the singa gadarba is depicted on the sarcophagus of a craftsman (sangging) in Bangli (KBNWB IV: 674), and a donkey has to be drawn on the white cloth covering the corpse of a member of the fourth class in a cremation-ceremony. In such drawings, however, the donkey at present never has an elephant’s head. Bottom: salah rupa, half-monkey, half-pig Two animals of the same type are depicted, facing left. The bigger is above the smaller one. Their bodies are en profil and their heads en trois quarts. They have a monkey’s head, the body of a pig, and legs with feet like suckers. Their bodies are coloured by means of rows of small dots. This technique is not known in tradi tional Balinese painting. There is also a text in ink in Latin script by Van der Tuuk on the right which says: salah rupa half aap & half varken; ’t jong, a mixed outward appearance, half-monkey and half-pig; the younger one. Evidently mother and child are depicted. Animals and hybrid animals are often depicted on walls and bases of temples in Buléléng. Cod. Or. 3390-7 Four drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43 cm. The sheet is folded vertically into two halves. On each side of the fold there is a drawing on the recto side and on the verso side. Ink, grey and black.
Artist: no. 1. Origin: Buléléng. The sheet is torn in the centre. It has been repaired. Buta kala geni and buta kemong are reproduced by Nieuwenkamp 1906-1910: 140. Recto, left: buta kala geni, a demon of hell with a fiery head A male demon squats and faces left. He has a big, protruding upper jaw with large teeth, and elongated eye-teeth. Flames come out of his ears and head, he holds a knife in his left hand and a flaming stick in his right hand above his head. His body is en face but his head is en trois quarts. He has bulging round eyes. He wears a short striped loincloth tucked up between his legs. A text in ink in Latin script done by Van der Tuuk says: Kalagëni djuru këpung (kala geni juru kepung), om ze (crossed out), om ze naar de kawah te dri jven, kala gani, the fire demon, chasing souls, in order to drive them to the kettle. A demon of hell is depicted whose function it is to drive souls to the kettle. By “kettle” is meant the copper cauldron of hell under which a fire burns. Being boiled in the cauldron is one of the punishments of hell (Hinzler 1981: 200). Recto, right: rerégék, a female spirit which is hollow at the back A standing naked female figure is depicted. Her head is en face but the lower part of her body is en trois quarts turned to the left. Her pudenda are clearly visi ble and her belly is open, so that her intestines are shown. She has long hair and large round plugs (subeng) in her ear-lobes. She is looking down. Her hands are raised. A text in ink in Latin script by Van der Tuuk on the left says: rërègèk (rerégék), and on the right: eigenlijk ziet men van achteren hare ingewanden, in fact her intestines are visible at the back. In KBNWB I: 807 the rerégék is des cribed as a female spirit, beautiful in front but hollow at the back. She haunts cremation grounds (OJ Sudamala II: 9). She torments little children. In order to avoid this, offerings are given to her. In Buléléng and Soka (regency of Tabanan) a figure of a rerégék is made from palm-leaf on the occasion of the third-month ceremony of a baby. Verso, left: buta suah, a demon with teeth like a comb A naked male demon with a hairy body stands facing left. The head is depicted en profil, but the body en face. The eyes are of the female type. The demon has large pointed teeth in the lower jaw. He holds a club in his left hand. A text in ink in Latin script by Van der Tuuk on the left says: buta suwah (buta suah), a demon with many teeth like those of a comb (cf. KBNWB II: 204).
Verso, right: buta kemong or buta térong, a demon with eyes as big as a kemong or an orange A male demon sits facing left. His head and body are en profil. He has one big bulging eye, an enormous upper jaw with large teeth, and eye-teeth both in his upper and lower jaw. He wears a black and white checkered loincloth tucked up between his legs. His left arm rests on his knee, his right arm points upward. A text in ink in Latin script by Van der Tuuk on the left says: buta kemong (buta kemong) of térong, the demon named kemong or térong. A kemong is a copper or bronze idiophone in the shape of a kettle. It is used to announce the beginning and the end of a cockfight and it also appears among the instruments used in various orchestras. A térong denotes a sort of orange with a greenish- yellow peel which is thick and pimpled. In KBNWB II: 359 the buta kemong is described as “the name of a demon with eyes as big as a kemong”. The demon is called kemong or térong after his large and bulging eyes. The abovementioned three male demons live in hell, where they frighten and torture the souls of the dead. The female demon tortures men, in particular children on earth. The demons are represented on reliefs of pura dalem all over Bali. Cod. Or. 3390-8 Two drawings on English paper, watermark Britannia, countermark Munro. Only the upper half of the word Munro is visible. The lower part of the text and the date, which in all probability was 1881, have been cut off. 33.2 x 43 cm. The sheet is folded vertically into two. There is a drawing on the lefthand side and on the righthand side. Ink, grey and black. Artist: no. 1. Origin: Buléléng. Left: empas, a tortoise with a snake coiled around its feet The background is coloured with grey stripes. A tortoise is depicted facing left. It has four hands. We look down on it. A snake is curled around the hands. Its fiery head faces left. The tail, which is on the right, has a jewel at its tip. A text in ink in Latin script by Van der Tuuk says: ëmpas (empas), tortoise. In the drawing the concept of bedawang nala is expressed. This is the fiery tortoise, which is regarded as the basis of the world. In the Old Javanese Korawasrama: 202 the tortoise serves as a basis for the mountain Maha Méru, together with the snake Anantaboga. Together they bear the island of Java. This image has been borrowed in Bali. Here the tortoise is depicted, a snake coiled around its feet, under the stone seats of the gods Brahma, Wisnu and Iswara, in Besakih (Moojen 1926: CCIII), under the statue of Bayu in the pura dalem Krobokan (Cod. or.
3329 A-16), at the back of the méru in the pura balé agung in Bulian and on the wall of the pura dalem in Jagaraga. It has two snakes around its feet when it is depicted as a basis of the stone seat of Surya, the god of the Sun (Hooykaas 1964: 94-140; Moojen 1926: CLXXVII, Gélgél), and when it forms the base of the gedong in the pura dalem in Bila. According to sculptors in Buléléng as well as in South Bali it makes no difference whether one or two snakes are depicted. Right: karang rangda, an ornament with the head of the widow (rangda) of Jirah The drawing is surrounded by a rectangular frame in black ink. The background is grey. An ogre’s head en trois quarts facing left is depicted. It has two bulging eyes, a big nose, and a large left ear. The tongue is shaped like a stag horn fern (simbar). There are two rocks with the sekar taji gunung (cockspur) or nament on top of the head. The ogre has large teeth and fangs in the upper and in the lower jaw. A text in ink in Latin script by Van der Tuuk says: karang rangda, a rock- ornament with the head of a rangda (KBNWB I: 825 has the same text). The stag-horn fern is frequently used as an ornament in Bali. Originally the fern is an epiphyt living on the trunk of a tree. It grows where the trunk divides in to branches. In the graphic arts trees are often depicted with a stag-horn. In stone sculpture on buildings the karang ornaments combined with huge stag-horn ferns are mounted on architectural elements, such as the base of a balé, a balé kulkul, a gedong, or a gateway (Moojen 1926: XL, Batubulan; XLIV, Kesiman; LXXIX, Bangli). They accentuate the supporting, earthly element of the architectural part. The karang rangda expresses an association with the figure of the rangdéng Jirah, the widow of Jirah. According to the Calon Arang (Poerbatjaraka 1926), a Balinese text written in Old Javanese, this widow lived in Jirah in East Java, where she was a specialist in the black arts. Sometimes she changed herself into a witch with a long fiery tongue. Her teacher and patroness was the goddess Durga, who resides in graveyards and at cremation grounds. In Bali the pura dalem, the temple devoted to this goddess close to the cremation ground, has sculptures and ornaments which derive from the Calon Arang story. The karang rangda also belongs to the ornaments fitting for such a temple (Moojen 1926: CXXIII, Ba- nyuning) but it may also be depicted on other kinds of temples (see, for example, the pura Manasa, Sinabun; the pura désa in Sinabun and in Banjar (photograph No. 43), and the pura Emas Murub, Sempidi, a temple in the regency of Badung, but made by sculptors from Buléléng at least before the earthquake of 1917). It often happens in the graphic arts that floral motifs are used to represent an thropomorphic elements. The long tongue of the witch has been associated with and represented by the long leaves of the stag-horn fern. The fern ornament is not, however only combined with the karang rangda. It can be added to any kind of karang ornament all over Bali (Moojen 1926: LII, Klungkung; LXXI, Té- jakula; Nieuwenkamp 1928: pi. 44). The fern ornament is depicted as a beard.
Cod. Or. 3390-9 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sketches in pencil are still visible on the bottom right. Top: karang bréng A female mammal faces left. It has a spotted catlike body which is represented en profil. Its head is en face. It resembles an ogre’s head with two eyes. Its square tongue protrudes. It has small antlers. A text in ink in Latin script by Van der Tuuk on the bottom right says: bréng ook di bantang këndang (kendang), bréng, also on the wooden tube of a drum. In KBNWB IV: 903 similar information is given under “bréng”: “name of a kekarangan representing a spotted monster with four fangs and very long teeth, which is also depicted on the bantang kendang’ ’. In KBNWB IV: 860 the same information is given under “bantang”. In No. 3390-253 a sarcophagus in the shape of a bréng is depicted. Bottom: karang saé A male mammal with the head and the body of a lion faces left. The head and the body are depicted en profil. The animal has two small curved horns on the head. Its mouth is half open. A tendril protrudes instead of a tongue and a leafy branch runs backwards from its mouth. The tail ends in a leaf with three lobes. On the lefthand side of the animal a tree is depicted on a rock-ornament. The foliage is indicated by dots. A text in Latin script in ink by Van der Tuuk at the bottom on the right says: saè (saé). In KBNWB III: 6 we find “Chinese, a certain fable animal with wings and a human face, which is depicted as a decoration on a pavillion together with the singa barwang”. Reference is given to “the plate” with which this drawing might correspond. The description in the dictionary does not accord completely with what is meant at present by ‘saé’ in Balinese, since it does not have a human head. The word saé itself is also interesting. It is the Fou Kienese pronunciation of shi, lion. The Balinese term karang saé clearly refers to a Chines ornament. According to the sculptors in North and South Bali the main characteristics of a Chinese lion (saé) are the horn on the head and the creepers with flowers coming
from its mouth. The saé is often depicted with two claws holding the creepers. It is usually depicted in reliefs in stone or wood in the centre above the entrance of a gateway of a palace or of a temple in the whole of Bali (see, for example, the pura Emas Murub in Sempidi; the pura balé banjar Puri Pamecutan in Dénpasar made by Chinese craftsmen, and the new puri Kelodan in Ubud; photographs Nos. 8-10). It may also be depicted as a statue on top of a turret in a wall sur rounding a palace or a temple, and on a shrine in a temple. A statueof the singa barwang or singa ambara, the winged lion, is often found in combination with the Chinese lion. It is described in Nos. 3390-18 and 217. Cod. Or. 3390-10 Two drawings on English paper, watermark Britannia, countermark Monro. Only the upper half of the word Munro is visible. The lower part of the text and the date, which in all probability was 1881, have been cut off. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the rect- to and on the verso side. Ink, grey and black Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold in the centre. The drawing on the recto side is reproduced and described in Seltmann 1975: fig. 5, 67-78. The drawing on the verso side is mentioned by Juynboll 1903: 87. Recto: buta énggér A male demon sits naked facing left. His back is partly visible. His face and the lower parts of his body are en profil. He kneels on his left knee, his right leg is directed forwards. He has a large protruding upper jaw with enormous teeth. His penis is erect and it is huge with vertical stripes. A small bell hangs from it. Above it, on top of the penis, a small water-pot with a spout is mounted. The demon is about to ejaculate and some semen is already flowing. A text in ink in Latin script by Van der Tuuk at the bottom on the left says: buta ènggèr, (énggér), the demon énggér. Close to the bell gënta (genta), bell is written. According to KBNWB I: 500 this demon plays a role in wayang stories. The bell and the pot are, according to Seltmann 1975: 72-73, parts of a penis-pin. This is a metal pin which is stuck horizontally through the glans penis. At both ends of the pin ornaments can be fitted, like the pot and the bell. The stripes on the lower end of the penis may indicate a ‘cuff of tiger-fur, rendering the glans exaggeratedly swollen. The reason why a pot (caratan) is depicted on top of the pin might be the allusion to penis, since carat (KBNWB I: 594) is slang for penis.
The bell attached to the lower end of the pin is another phallic symbol, which is accentuated by the clapper in the form of a penis and testes. Such a demon may be depicted in a pura dalem. Verso: rangdéng Girah, a witch called the widow of Girah or Jirah A figure is depicted in one of the movements of Balinese dancing. She faces left. Her body is en face and her head en trois quarts. Her legs are spread (tampak sirang). Her elbows point upward (nyiku). She has a long, protruding tongue shaped like a spiral from which flames emerge. There are also flames emerging from her fontanel, her forehead, her navel, her elbows, her knees and her heels. She is clad in a short triangular loincloth. She wears a diadem and a cap (keken- don) with a triangular ornament on top and a garuda ornament at the back on her head. Her jewelry consists of a necklace, armlets, anklets, a girdle around her waist, ear-ornaments and a kind of ribbon which is crissed-crossed round her breast and her shoulders. Texts in ink in Latin script by Van der Tuuk mention the names of the jewelry and ornaments. At the top on the left is written: rumbing, referring to the triangular figure on the cap which has a point in an upward direction in the centre (cf. KBNWB I: 802). Badong is written close to the neck and refers to the necklace. Sëmbajut (semayut) written in the ribbon refers to the ribbon crossed about her. Between her legs at the bottom of the drawing is written: Rangdéng Girah, msëmbajut basang msubëng pëpusuhan mrumbing ati mbëbadong paparu (rangdéng Girah, masemayut basang, masubeng pepusuhan, marumbing ati mabebadong peparu), the widow of Girah with a ribbon of intestines crossed about her, with a heart as an ear-jewel through each lobe, with a liver as an orna ment on her head, and with a necklace made of lungs. Girah stands for the OJ Jirah (“g” and “j” are interchangeable in Balinese). Rumbing is at present the name of the high, broad, leather headdress mounted on the horns of buffalo when they take part in the races (makepung, magrumbungan) held in the regencies of Jembrana and Buléléng (Putu 1933: 381-384). The rangda, widow, from Girah, adorned with jewelry and supposed to consist in human intestines, is depicted. She is to be found on stone reliefs and in sculptures in stone or wood connected with the pura dalem, the temple of the god dess of the dead corpse, Durga. Her image is found all over Bali (see No. 3390-8). It is not unusual in Balinese iconography to depict flames at important spots of the body—joints, the navel, the fontanel—of persons with great magical power. The dancing attitude of the figure is characteristic of men and expresses vigour and readiness to act. The way in which the headdress and the jewelry is depicted is characteristic of the style of North Bali. This is also the case with the way in which the face is drawn.
Cod. Or. 3390-11 Four drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43 cm. The sheet is folded vertically into two halves. There are drawings on the recto and the verso sides at the top and at the bottom. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold in the centre. Recto, left: punishment of hell: a woman covered with penises A standing woman, her head and the upper part of her body en face, her legs en profil, faces left. She wears a short checkered loincloth. She has long hair. Her head, shoulders, elbows, hips, knees and heels are covered with penises. Two of them are tied around her waist like a belt. She is also holding a penis in each hand. A text in ink in Latin script by Van der Tuuk on the right says: atman nè djaruh mepenitjan (atma né jaruh mapanican), the soul of a lascivious woman. This is a torment of hell for an adulterous woman. In wayang performances in North Bali such a figure can be used in plays with scenes of hell such as Bima Swarga (Hinzler 1981: 200). Such a woman is depicted in a relief on the outer wall of the pura dalem in Sangsit (photograph No. 11). The drawing is reproduced in Prijono 1938: pi. Ilia. Recto, right: punishment of hell: being bitten by a dog of hell A woman stands with her hands raised. Her face and her legs are en profil, turned to the left, and her body is en face. She wears a spotted skirt and a checkered loincloth. She has long hair. A large round plug is in her left ear. A spotted dog sitting in front of her on the lefthand side is biting her skirt. A text in Latin script in ink by Van der Tuuk on the left says: atman luh nè tra bisa nunun (atman luh né tra bisa nunun), the soul of a woman who cannot weave. This is another punishment of hell. It is described for instance in the Balinese geguritan Jayaprana (Cod. Or. 3697: 29a, stanza 188): malih ada atma reko, atma tuara bisa nunun, makamben ban balulang, teka cicing mangébég di jalan-jalan, there is another soul, the soul of someone who cannot weave; she wears a leather loincloth. A dog comes, it bites and pulls her while she walks. The dog thinks that the skirt is a tasty piece of meat, because it is made of the skin of a bull. This scene is also depicted on a sculpture in the pura dalem of Sidan in the regency of Gianyar (Hinzler 1981: pi. 54), and on reliefs in the pura dalem in Sinabun and Sangsit.
The drawing is reproduced in Nieuwenkamp 1906-10: 57; Juynboll 1913: 82, fig. 2; and Prijono 1938: pi. Illb. Verso, left: punishment of hell: a woman being climbed by children A woman is standing. Her body and her legs are en face and her head is en pro fil, turned to the right. She has elongated breasts with wrinkles and with large nipples which indicate that she is old. She wears a long striped loincloth. Her hair is in a chignon on the back of her head. A naked little boy is lying on her head, a girl and a boy are climbing on each arm and holding her shoulder. A boy and another girl are sitting at her feet, each holding a leg. A text in ink in Latin script by Van der Tuuk on the left says: atman anak tra mras tjutju, (atman anak tra meras cucu), the soul of someone who did not hold the offering ceremony “meras cucu” at her burial or her cremation. The offering consists of money placed on a dadap leaf and a pile of clothes (rantasan) which are handed to one’s grandchildren. Being climbed by children is another punishment of hell. It is mentioned for instance in the geguritan Jayaprana (Cod. Or. 3910 (1)-16: stanza 191): atma tuara meras cucu .. ter sangsara majalan, pagalanting cucuné teka manyadang, the soul of someone who did not give “meras cucu” of ferings to the grandchildren is punished during the journey to hell with children hanging from her. The children are supposed to scream “why did you not give us the offering?”. In Cod. Or. 17.493, Mendem Sawa, Burial of a Corpse, from Jero Kukuh in Krambitan, such an offering ceremony is recorded and transcrib ed. The drawing is reproduced in Juynboll 1913: 84, fig. 4. Verso, right: punishment of hell: a woman as an indigo-dyer A woman stands facing right. She wears a long loincloth. She has wrinkles and large, flat breasts, indicating that she is an old woman. She is carrying a long pole with a kind of bowl containing a liquid in each hand. A text in Latin script in ink by Van der Tuuk at the bottom on the left says: at man pamesan (atma pamesan), the soul of an indigo-dyer. Close to the pole at the top on the right is written: panimbugan, a pot in which the cloth is dyed. Close to the bowl on the right: kau, coconut-shell. The wong pamesan, indigo-dyers, were most often regarded as the lowest of the fourth class (Sukawati 1941: 30) and as belonging to the tani kelen, or candala, the real sudra (cf. KBNWB II: 788). According to KBNWB IV: 1032 and III: 360 many indigo-dyers lived in Banyuning, Campaga and Tigawasa in Buléléng. Brahmans and the members of the second and third classes, (ksatriya and wésya) are not allowed to marry an indigo-dyer. In a Balinese geguritan Limbur I: 72 (Cod. Or. 4292: 7) a stanza is devoted to the souls of indigo-dyers: malih atman pangamesan rauh, abot pajalené, manyuhun nkeben manyangkil, mabeboréh
muruh, makalung belahan payuk, kapindo naraka nyané, sang Jogor Manik mangwastu, mulih maring mrecapada, atemahan woré alas, further, the soul of an indigo-dyer comes, his walk is impaised by burdens carried on the head in boxes, and on the arms, he is smeared with an ointment of indigo, he has a necklace of broken pots. His punishment is double, for Jogor Manik cursed him to return to the earth and to become a forest monkey. The indigo-dyers are sup posed to be reborn as monkeys in a forest on earth, which is not funny. In Buléléng, Karang Asem and Klungkung, it is believed that indigo-dyers use the blood of human beings in order to give certain textiles magical powers. This is particularly ascribed to the gringsing textiles made in Tenganan Pagringsingan, and to red ikat textiles called cepuk which are made in various parts of Bali, e.g., in Singaraja and on Nusa Penida. In Buléléng, Karang Asem, and Klungkung a gringsing “lekad sanan empeg” (Ramseyer 1975: pi. 44, 77), of which the story is told that it is dyed with human blood, is used during the purificatory ceremony of someone who has lost both his older brother or sister and his younger brother or sister. This situation is compared with a broken (empeg) yoke (sanan). A special ceremony has to free the remaining man or woman from dangers. A gringsing ‘ ‘lekad sanan empeg’ ’ with a checkered pattern with flowers changing into three red to brownish-red blocks, representing the three children, is bound around the waist of the man and the breast of the woman in question. Cod. Or. 17.487 (Upacara Sanan Empeg) contains the transcription of a recording of such a ceremony held in Jero Marga in Krambitan in 1973. The kain cepuk is used as a skirt for a girl during the nekeb-phase (seclusion) of a ritual for a girl of royal descent after her first menstruation (rajaswala) in the regencies of Tabanan and of Badung (Cod. Or. 17.484, Ngrajaswala and Cod. Or. 17.501, Upacara Nekeb). It is also used as a runner on the floor during pro cessions of persons undergoing a ritual belonging to the category of manusayad- nya, ceremonies for the living. In such cases, the textile is called kain wangsul, sacred kain. Cod. Or. 3390-12 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43 cm. The sheet is folded vertically into two halves. There is a drawing on the left and on the right of the fold. The former is upside-down. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is damaged along the fold and there are holes in the black parts on the left.
Left: karang ménda, a rock ornament in the shape of a buck The drawing is surrounded by a frame in black ink. An ogre’s head en profil faces left. The head, which is covered with black spots, resembles that of a buck. It has one round eye and a decoration of tendrils of a stag-horn fern (simbar) close to the back of the neck. Two rocks with the sekar taji gunung ornament are mounted on top of the head. A text in ink in Latin script by Van der Tuuk says: karang ménda, rock orna ment in the shape of a buck (he-goat). In KBNWB IV: 506 the same text is men tioned. Right: karang saé from Banjar, a rock ornament in the shape of a Chinese lion with leafy branches in its mouth An ogre’s head en trois quarts is depicted. It has two round eyes, fangs in the upper jaw, and a tongue consisting of tendrils running into a flower. There are two rocks with branches and leaves on top of the head. A text written in ink in Latin script by Van der Tuuk says: karang saè tjara Bandjar (karang saé cara Banjar), a rock ornament in the shape of a Chinese lion, depicted as is the custom in Banjar (cf. KBNWB II: 6). The karang saé is generally depicted en face. According to the custom in Banjar (West Buléléng) the ornament should be depicted en trois quarts and without horns. The creeper with flowers, which turns out to be the significant feature of the Chinese lion, is not omitted. I have not yet come across karang saé depicted in this way in the temples of Banjar, nor in the older photographs (Cod. Or. 3329 A and B) nor in the present decorations of the temples. The karang saé of other regions on Bali are depicted in Nos. 3390-9, 13, 23, 127 and 249, and in photographs Nos. 8-10 and 12. Cod. Or. 3390-13 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per and lower half. The latter is the wrong way up. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold in the centre.
Top: karang bujing, a rock ornament in the shape of the head of an owl An ogre’s head with three rocks on top is depicted en face. It resembles an owl’s head, but it does not possess a lower jaw. It has a long moustache. The leaves of a stag-horn fern are protruding from the mouth. A text in ink in Latin script by Van der Tuuk on the right says: karang budjing (karang bujing), a rock ornament in the shape of a kind of owl (KBNWB IV: 1019). Such an ornament is depicted on a relief of the aling-aling wall of the inner gateway of the pura dalem Bakung in Sukasada (Moojen 1926: CXVII). Bottom-, karang saéfrom Klungkung, a rock ornament in the shape of a Chinese lion with leafy branches in its mouth An ogre’s head is depicted en face. It has two bulging eyes, large eyebrows, a lower jaw as well as an upper jaw and fangs in both jaws. A stalk with a flower hangs down from both corners of the mouth and creepers go upwards. Three rocks are mounted on top of the head. A text in ink in Latin script by Van der Tuuk says: karang saé turah Klungkung, a rock ornament in the shape of a Chinese lion, as used in Klungkung. The difference between this ornament and that from Banjar (No. 3390-12) is that the former is en face while the latter is en profil. The creepers, which are characteristic of the Chinese lion are common to both ornaments. In the present karang saé of Klungkung the head is provided with claws holding the creeper coming from the mouth of the lion (photograph No. 12). Cod. Or. 3390-14 Two drawings on English paper, watermark Brittania, countermark Munro 1881. 45 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. The drawing on the bottom half is upside-down. Ink, grey and black. Artist: no. 1. Origin: Buléléng. Top: warak and kekua, a rhinoceros and a land tortoise Two animals are depicted. A quadruped en profil on the righthand side faces left. It has a curly tail with flames, a head with flames, and a heart-shaped orna ment along its spine. The mouth is half open and a long curly tongue protrudes. A text in ink in Latin script by Van der Tuuk on the bottom says: warak, rhinoceros.
A tortoise seen from the upper side is depicted on the left. The shell has horizontal stripes. A text in ink in Latin script by Van der Tuuk on the bottom says: këkuwa (kekua), land tortoise. Bottom.', barong, a quadruped with a huge masked face A quadruped with a huge masked face faces left. Its body is en profil and the front en face. A text in ink in Latin script by Van der Tuuk on the right says: barong. The barong is a mythical animal which enjoys great popularity especially in South Bali. It is depicted as a complete animal in stone sculptures. Sculpted barong flank the inner, and sometimes also the outer, gateways of the pura dalem. They are associated with the four demonic manifestations of the Four Brothers (kanda empat), Anggapati, Mrajapati, Banaspati and Banaspatiraja (Hooykaas 1974: 93). If only one barong is depicted, it is associated with Banaspati, as a representative of the four demons. The Four Brothers are the forces which guard a human being from conception until his death. The head of a barong only is depicted en relief as a karang. It is placed in the centre of a panel on a wall of a temple or of a palace, on turrets, and on split gateways. It may also be used as a cornerpiece (karang barong asibak; pura désa, Abian Semal; pura Nataran, Gélgél, photograph No. 13; pura dasar, Gélgél; wall and turrets of puri Kelodan in Ubud, photograph No. 14). It is as a karang not exclusively associated with pura dalem, but can also be found on other temples. In South Balinese theatre, wooden barong masks are combined with a body made of textile and leather. The whole figure is then carried by two men. The masks are the possession of temples and sometimes also of royalty. The barong’s head may vary. The following heads can be found: gajah (elephant), bangkung or bangkal (boar), singa (lion), két or kékét (a kind of tiger) and macan (tiger). In De Zoete and Spies repr. 1973: 90 a barong lembu (cow) from the village of Bualu is also enumerated, but it was never seen in action by the authors. Such a cow-mask is exhibited now in the Museum Pusat in Jakarta, and in the Bali Museum in Dénpasar (see Ramseyer 1977: pi. 289). The barong may be used on the follow ing occasions: 1) a temple festival (déwayadnya), 2) a vow (sesangi), 3) a ceremony for a living human being (manusayadnya), 4) galungan (the period be tween friday klion sungsang till wednessday umanis dungulan), 5) an epidemic or great dryness. (Galungan is a kind of ‘All Souls’ day on which also all saints are celebrated). In the case of a temple festival the barong can be, but need not be, used in the stage-performances of the Calon Arang play in South Bali. These per formances usually take place in the evening of the day of the climax of the festival. The barong is the personification of good forces. It dances and fights the rangda, which is the personification of the evil forces. In the pura Panataran in Apuan there is a very elaborate temple festival once every three years. (Bali Post
20-7-1979: 2-3). Barong and rangda masks from temples from all over South Bali (a.o. Ubud, Gianyar, Sempidi) come together in Apuan. There is a procession of barong on wooden sedans. They accompany the god visiting the temple on his way to the ritual bathing place and back again at the temple. At night the barong dance. In the Balinese geguritan Kékékan (Cod. Or. 15.325) the origin of the barong Két or Kékékan, as it is called in this text, is described. In it, the servant of the god Siwa is sent to earth as a barong to eat the offerings which are put on the ground on the occasion of galungan by the Balinese. The reason why he is sent is because nobody eats the offerings. The barong is hindered after its arrival on earth by the rangda from Jirah. She has asked permission from the goddess Durga to kill the barong. It is killed indeed, but brought to life again by an envoy of the god Siwa. In the case of a vow a folk tale may be staged (bebanyolan) in South Bali, which ends in the fight of a barong, representing the good party, with a demoness (not the rangda, who only performs during temple festivals), representing the bad par ty. Such a bebanyolan performance may also take place at the occasion of a ceremony of the third month of a baby and a marriage. A story which is often per formed as a bebanyolan in Krambitan is called Putu Mosél (Cod. Or. 17.403). During the time around galungan and during epidemics or great dryness the barong encircles a village or part of a village (ngalelawang), thus preventing evil forces to pervade. It is accompanied by a small orchestra. During the period of galungan various offering ceremonies take place for the gods and for the demons and culminate in an elaborate offering ceremony for the god Widi and the divine ancestors. Widi is the god in which all the gods of the Balinese are united. It is possible that the barong derives from the Chinese dragon and that the whole idea of purification by means of a procession with an animal is Chinese (Belo 1949: 32-33). The appearance of the barong in the Calon Arang stage per formances seems to have occurred later than other earlier aspects of the Calon Arang which today appear with the barong. It is not yet known when this took place. It is interesting that the rangda-barong play nor the “barong veneration” exist in North Bali. During temple festivals only temple dances like rejang, rejang rénténg and péndét are performed (see photographs Nos. 40 and 41). Cod. Or. 3390-15 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43.2 cm. The sheet is folded vertically into two halves. There is a drawing on the left and on the right of the fold. Ink, grey and black.
Artist: no. 1. Origin: Buléléng. Mentioned by Juynboll 1903: 87. Left: karang bawi, a rock ornament in the shape of a pig An ogre’s head en profil faces left. The head is like that of a pig. It has one large oblong eye. Tendrils from the stag-horn fern (simbar) are depicted under the lower jaw and neck. There are two rocks with sekar taji gunung ornaments on top of the head. A text in ink in Latin script by Van der Tuuk on the left says: karang bawi, or nament in the shape of a pig’s head. Right: karang senuk, a rock ornament in the shape of the head of a tapir An ogre’s head en face is depicted. The head represents a tapir. It does not have a lower jaw. Creepers hang down from the mouthpart and cheek and repre sent the leaves of a stag-horn fern (simbar). Three rocks with triangular or naments, called sekar taji gunung, the mountain cock’s spur, are mounted on top of the head. A text in ink in Latin script by Van der Tuuk at the bottom on the right says: karang senuk (karang senuk), vgl. de senuk in zijn geheel, an ornament in the shape of a tapir, compare to the senuk completely depicted (in No. 3390-4). Ac cording to KBNWB II: 23 this type of ogre’s head may be mounted on temple gateways. The posts and turrets flanking the wooden doors of a paduraksa in North Bali are provided with floral motifs, creepers and animals (see photograph No. 2). A karang senuk and karang bawi might be represented, but I have not yet come across these ornaments in any of the temples in Buléléng. Cod. Or. 3390-16 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43.2 cm. The sheet is folded vertically into two halves. There is a drawing on the right and on the left of the fold. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The drawing on the left is mentioned by Juynboll 1903: 87.
Left: the snake Ardawalika A dotted snake depicted en profil faces left. Flames surmount the head. It has wings and two frontlegs with big spurs, resembling those of a fighting cock. The tail is spread above the head. A jewel is mounted at the end of the tail. A text in ink in Latin script by Van der Tuuk at the top on the right says: ar dawalika aan pala 2 (zijde) v. de paduraksa, Ardawalika at the side-turrets (pala- pala) of the temple-gateway. This explanation is also given in KBNWB I: 107. At the top on the right is also written: sotja (soca), jewel, and at the bottom: kip- pepooten, cock’s legs. Ardawalika (OJ/Skt Arddhawalika in Balinese usually called Drawalika) is the name of a snake. He is angry with Arjuna and curls himself around Kama’s ar row when Karna fights Arjuna (BY XXXI, 12-13). However he is later killed by Arjuna’s arrow (BY XXXI, 21, cf. No. 3390-173). Right: paksindari or paksidarimuka, a figure, half-man, half-animal A figure, half-man half-animal is depicted en face. It has the head of a celestial nymph with a diadem and big plugs (subeng) through the lobes. It has spread wings. The tail feathers are raised and reach above the head. The body is covered with feathers arranged like scabs. It has two claws like birds with four toes. A text in ink in Latin script by Van der Tuuk at the bottom says: paksindari di putjak (pucak) paduraksa di Bungkulan, a bird with the face of a nymph on the top of a temple-gateway in Bungkulan (E. Buléléng). At the bottom in the centre is written in Dutch: of paksidarimuka, or paksidarimuka, bird-with-the-face-of-a- nymph. This type of figure belongs to the group of kinnari or kinnara, celestial creatures half-woman or half-man and half-bird. I did not come across this ornament on the present decorations of the temples in Bungkulan. In the photographs of the Van der Tuuk collection (Cod. Or. 3329 A, B) which dates from about 1873, and in Moojen 1926 there are no representations of temples from Bungkulan, so that it has not been possible to verify the note on the drawing. Cod. Or. 3390-17 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 45 cm. The sheet is folded vertically into two halves. There is a drawing on the left and on the right of the fold. The former is upside-down. Artist: no. 1. Origin: Buléléng. Mentioned by Juynboll 1903: 87.
Left: karang rupa, a rock ornament in the shape of an ogre’s head without a lower jaw An ogre’s head en face without a lower jaw is depicted. The ogre has big front teeth and fangs. Creepers are coming out from the teeth, and tendrils from the fangs. There are three rocks on top of the head with the sekar taji gunung orna ment. The ogre has round eyes. A text in ink in Latin script by Van der Tuuk at the bottom says: karang rupa, a rock ornament with an ogre’s face without a lower jaw (cf. KBNWB I: 760). The ornament differs slightly from No. 3390-2. As already mentioned the ornament is characteristic of North Bali. It is depicted in stone sculptures in the centre of cor nices and panels. Right: karang manuk, a rock ornament in the shape of a bird’s head with a complete beak An ogre’s head en trois quarts with two round eyes faces left. The mouth is half-open. The tongue is stuck out. Stag-horn fern ornaments (simbar) hang from the neck. Two rocks with the sekar taji gunung ornament are mounted on top of the head. A text in ink in Latin script by Van der Tuuk at the top on the right says: karang manuk, a rock ornament with the head of a bird. The term karang manuk, representing a bird’s beak with an upper and a lower jaw, is known all over Bali. The ornament is not so frequently depicted as the bird’s beak with only an upper jaw (karang curing in North Bali, karang goak in South Bali). The karang manuk is to be found on cornices of walls and in struc tures in temples and in palaces, in silver-work, at the back of the headdress of dancers and wayang puppets, and at the end of the caste-cord (nagaratna or nagawangsul) of wayang figures in leather, and in drawings. When it is mounted at the back of a headdress it is also called garuda mungkur, garuda ‘looking backwards’. Cod. Or. 3390-18 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43.2 cm. The sheet is folded vertically into two halves. There is a drawing on the right and on the left of the fold. The former is upside-down. Artist: no. 1. Origin: Buléléng. Left: karang Boma, an ornament in the shape of the head of Boma An ogre’s head en trois quarts faces left. It has bulging eyes. It wears a diadem (patitis) and a high crown of the round type (candi kurung) with a bird’s head
(garuda mungkur) at the back of the crown. A creeper with flowers, and tendrils with leaves, emerge from the neck. It has a fang emerging from its cheek, close to the eyebrow. Such fangs are called salit. They are characteristic of demons and demonic beings. In fact these fangs are believed to be huge eyeteeth that have grown through the cheeks the wrong way up (cf. KBNWB III: 251). A text in ink in Latin script by Van der Tuuk at the top on the left says: karang Boma op de putjak (pucak) paduraksa, an ornament with the head of Boma on top of a temple gateway. This is also mentioned in KBNWB IV: 1042. Boma is the giant son of the god Wisnu and the goddess of Earth, Pretiwi. He is slain by Kresna and plunged into the ocean when he tries to get hold of the princess Yaj- nawati. It is Kresna’s son Samba who is in love with the princess and he is going on a quest for her. Boma is regarded as being very strong and able to overcome obstacles physical and mystical, associated with the middle world, on earth, since he is descended from the goddess of the Earth. For this reason his head may be depicted at the back of cremation towers for the triwangsa. If there are obstacles on the way from the house of the deceased to the cremation grounds, Boma can overcome them. When he is represented on solid buildings he is supposed to ward off evils. The most significant feature of the drawing is that Boma wears a diadem and a crown, and that he is depicted en trois quarts. In KBNWB II: 661, patitis, Van der Tuuk refers explicitly to the karang Boma (Nos. 18, 130) and karang rupa (No. 127) wearing such a diadem. In a gedong of the pura désa in Bungkulan I came across a crowned head of Boma (photograph No. 15), but it is en face. In South Bali Boma is always depicted without a crown, but with three curls of rock ornaments on top of his head, and a coif of flowers. He is often depicted above the entrance of gateways to temples and to palaces (photographs Nos. 16, 17, pura désa, Abian Semal and entrance to puri Kelodan in Ubud). In such cases he is also given hands. He may also be mounted on a split gateway to a temple as a corner-piece (karang Boma asibak), as for instance in the pura désa in Abian Semal (photograph No. 18). Right: singa, a winged lion A winged lion faces left. The body is en profil and the head en trois quarts. It wears a jewel on its chest. It has antlers on its head. A text in ink in Latin script by Van der Tuuk says: singa, lion. According to the Balinese craftsmen consulted, there are two types of lions, the winged lion with horns and the lion with creepers coming from its mouth and with horns (saé or karang saé), which is of Chinese origin. The winged lion is called singa, or singa ambara, the flying lion. Because of its wings it can easily overcome obstacles. It is a symbol of kingship and in particular that of the city of Singaraja, which was founded in 1682 AD by the king Ki Gusti Panji Sakti (Ginarsa 1971
(1): 21). The lion with wings is often depicted in drawings, in sculpted stone panels on walls and gateways, as a column bearer; in wood or in stone, of a Southern Balinese balé singasari (on the sendin adegan), or in wood on top under the roof (on the sendin tunggeh in the tadapaksi). Lions may also be depicted in stone as column bearers of a Southern Balinese balé kulkul, and as a decoration on iron pinang-cutters. In Southern Bali the lion’s horns are usually short and stumpy, in Northern Bali they are pointed, but sometimes they may be omitted (cf. Moojen 1926: XV, woodcarving North Bali; LVII, Blayu; LXXIII, Banyun- ing; LX, Tabanan, a wooden door; LXXX, Bangli; photograph No. 19, pura dalem dasar, Sibang Gedé; photograph no. 20, pura Emas Murub, Sempidi). In No. 3390-217 another winged lion without horns is depicted. Cod. Or. 3390-19 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43 cm. The sheet is folded vertically into two halves. There is a drawing on the left and on the right of the fold. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold in the centre. There are some holes made by ants on the right. The drawing is mentioned by Juynboll 1903: 87. The buta wilis is reproduced by Nieuwenkamp 1906-1910: 142. Left: karang buta wills or pécéng, a rock ornament in the shape of a demon’s head with one small eye and one big eye An ogre’s head en trois quarts faces left. His left eye is big and round, but his right eye is almond-shaped. He has sharp protruding teeth and curled fangs. His tongue hangs out. He has curly hairlocks. He wears a flower behind his ear. A stag-horn fern ornament (simbar) hangs from his neck. There are two rocks with the sekar taji gunung ornament on top of the head. A text in ink in Latin script by Van der Tuuk says: buta wilis of pètjèng (pécéng) met één klein oog, the demon called “greenish” or “with one eye closed”, with one small eye. Demonic beings often have physical deformities. These are regarded as punishments for sinners when they are reborn on earth. Right: karang dedeling, a rock ornament in the shape of a demon’s head with two big bulging eyes An ogre’s head en trois quarts faces left. It is the head of a male demon with two big bulging eyes, big eye-teeth, curly hairlocks, and whiskers. He wears a
diadem, and has a flower behind his ear. A stag-horn fern ornament (simbar) hangs from his neck. Two spotted rocks with the sekar taji gunung ornament are mounted on top of this demon’s head. A text in ink in Latin script by Van der Tuuk on the left says: karang dëdëling (karang dedeling) welk woord wel op de mindere Korawa’s, als Dusasana en Burisrawa toegepast wordt, the rock ornament in the shape of a dedeling, a term which can be applied to the lesser members (such as Dusasana and Burisrawa) of the Korawa-group. The term dedeling refers to a round type of red coloured eye. In North Bali this is associated with ferocious, wild figures in general (galak) and not with a certain group or party. The ferociousness of these figures is also expressed by large moustaches, whiskers, and hairy bodies. In South Bali a figure with round eyes is strong, like Bima, but need not be wild and ferocious. Hair and whiskers may not be added. Cod. Or. 3390-20 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. The latter is upside-down. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold in the centre. The edges are damaged. Mentioned by Juynboll 1903: 87. Top: karang gelap masesirig i a rock ornament in the shape of lightning represented by a head which is moving backwards An ogre’s head en trois quarts faces left. It has two bulging eyes, a lower jaw, protruding teeth, and fangs. The tongue is curled. Flames are coming out of it. Hair in the form of flames surmounts the head. They as it were move to the left as if blown by a wind coming from the right. A group of rocks and trees surrounds the head. A text in ink in Latin script by Van der Tuuk on top but upside-down says: karang gëlap mësisirig (gelap masisirig or masesirig), a rock ornament in the shape of lighting represented by a head which is moving backwards. In KBNWB IV: 758 under karang gelap reference is made to the drawing thus: ‘see figure, with a long protruding tongue and fangs, on both sides of temple-gateways’. The term masesirig probably indicates that the flames are directed in such a way that they also are meant to suggest a backward movement of the head. The rocks and the trees show European influences.
Bottom: karanggelap ngaepang, a rock ornament in the shape of lightning represented by a head which is moving forwards An ogre’s head en profil faces left. It has one bulging eye and a tongue which hangs out. It is covered with flames. It has one large front tooth and fangs in the upper and lower jaw. The head itself is also covered with flames. A text in ink in Latin script by Van der Tuuk at the top on the right says: karang gelap ngaepang (gelap ngaepang), a rock ornament in the shape of light ning which is moving forwards. More karang gelap from North Bali are depicted in Nos. 3390-46 and 130. The karang gelap is called karang Kala Rahu in Klungkung, in Gianyar and in Badung. The ornament may be associated with the character of the pura dalem, but it may also be depicted on other temples, for instance on both sides of the en trance of the gateway to the pura Nataran in Gélgél and on a panel of the balé kulkul of the pura balé banjar Dauh Tangluk in Kesiman, flanking a representa tion of the moon (photographs Nos. 5 and 21). We are informed about the demon Rahu in the OJ Adiparwa: 34-35. The gods and demons churned the ocean in order to obtain the ambrosia, called amrta in Old Javanese. After many dif ficulties the god Wisnu was about to distribute the ambrosia to the gods. A demon with the figure of a god had joined them. He was recognized by the Sun (Surya) and by the Moon (Candra). They warned Wisnu when the demon was about to swallow the ambrosia. Wisnu cut off his head after he had swallowed a drop of the liquid. The demon’s body dropped to the ground dead, but the head stayed alive forever, because it had already been in contact with a little ambrosia. He takes revenge on the Sun and on the Moon by swallowing them regularly. This hap pens when there is an eclipse. Cod. Or. 3390-21 A drawing on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. The drawing on the bottom half is upside-down. Ink, grey and black. Artist: no. 1. Origin: Buléléng Top: minarupa muani, a male “mermaid” The background is dark grey. The drawing is framed with lines in black ink. A male “mermaid” is depicted. His tail is to the left and his face to the right. He holds a piece of coral in his right hand. He has something of a cheerful expression on his face. He has a large moustache which is characteristic of the drawings from Buléléng.
A text in ink in Latin script by Van der Tuuk at the bottom says: minarupa (mwam), (minarupa, muani), a male mermaid. At the bottom on the right is writ ten in Dutch: zeemeermin, “mermaid”. Bottom: minarupa luh, a mermaid The background is blackish. It is surrounded by a frame in black ink. A mer maid is depicted. Her tail is en profil, but her head en face. It is to the left. She holds her tail with her left hand. She looks a little sad. A text in ink in Latin script by Van der Tuuk at the bottom says: minarupa (luh), mermaid, female. According to oral stories the use of the tears of a mermaid can induce love in another. I have not yet come across stories about male mermaids, and I have, rarely come across representations of male or female “mermaids” on temples, or buildings. An upside-down winged mermaid, however, is depicted on the base of a shrine in the pura dalem built at the beginning of the 20th century at Sidan (Gianyar), and as a wayang figure the mermaid is known in North Bali (col. Ethnographical Museum Leiden No. 3854/37). Cod. Or. 3390-22 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. On the top half and on the bot tom half is a drawing. The drawing on the bottom half is upside-down. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is damaged at the bottom on the left. Bottom: buta sungsang, an upside-down demon The background is grey and light grey. A demon is depicted upside-down and en face. He has two bulging eyes, sharp teeth, large eye-teeth, and a protruding tongue. He wears a short black and white checkered loincloth tucked up between his legs. A text in ink in Latin script at the top by Van der Tuuk says: buta sungsang, upside-down demon. The text is written upside-down. Being upside-down is a characteristic posture of Balinese demons. They are depicted on the walls around temple complexes and on solid buildings in a temple compound. They are frequently depicted in the pura dalem especially in North Bali, for instance in Sinabun, in Jagaraga (pura désa, photograph No. 22), and in Banjar. An upside-down demon may also indicate the number five (see No. 3390-39 and photograph No. 38, puri Pamecutan in Krambitan).
Top', naga hang, a serpent-fish The background is grey and light grey. A fish with an ogre’s head is depicted. The body is en profil, but the head is en trois quarts. It faces left. It has two bulg ing eyes. Flames are on top of the head. A text in ink in Latin script by Van der Tuuk at the bottom says: (naga)kang draak met ’t lijf v.e. visch, serpent-fish, dragon with the body of a fish. Such an animal is used as a coffin at cremation ceremonies held for the descendants of Arya Sentong in Bugbugan (Tabanan, photograph No. 23). Cod. Or. 3390-23 Seven drawings on Dutch paper, watermark concordia. The countermark was probably VdL. 21.4 x 34.5 cm. The sheet is folded vertically into two halves. Seven drawings have been made, six on the recto side and one on the verso side. Pencil. Artist: no. 2. Origin: Buléléng. The drawings are probably rough draughts which are supposed to be traced in ink later. The drawing on the verso side is not mentioned in Juynboll 1911: 475. He gives only five drawings. He has also omitted the drawing on the recto side left, top right (karang manuk), which was crossed out by the artist. Recto, left, top left: karang curing A bird’s head en profil with one eye is depicted. It faces right. A rock is mounted on top of the head, which has only an upper jaw. Creepers protrude from it. A text in pencil in Balinese script says: curing, a bird’s head. In KBNWB I: 60 we find under curing II (a kind of rock): ‘karang curing, a giant’s head (reuzekop) like that of Boma. It is used as a side-jewel, on top of the sheath of a cleaver, and on temple gateways. It looks like the beak of a bird with one eye en profil. It can also be used in sculptures as an ornament at the back of a person’s head’. In Kamus Bali 1978: 269 the karang curing is said to be an orna ment in the shape of a bird’s head. According to sculptors in Panarukan (Tabanan), Abian Semal (Badung), Sila Karang, Tegaltamu (Gianyar) and Klungkung, the karang curing is a term from Northern Bali for what they also call a karang goak asibak. This is a bird’s beak without a lower jaw, combined with a stag-horn fern (simbar) which is depicted as a corner piece (photograph No. 24, pura Nataran, Gélgél). In Sila Karang a variant of the karang goak, a bird’s beak with a floral eye, is called karang jaé (photograph No. 25). The karang curing
from North Bali and the karang goak from South Bali are frequently depicted on all kinds of buildings on walls (photograph No. 26, pura dalem Sinabun, and No. 27, pura dalem Jagaraga), in woodsculptures, in paintings, in drawings, in jewelry of wayang figures (cf. Nos. 3390-152, 154, 155), leather “jewelry” of stage costumes, either as a corner-piece or at the back and at the end of something. There exist, of course, small variations in appearance. The transla tion of ‘reuzekop’, as giant’s head by Van der Tuuk does not entirely accord with the way in which the ornament is depicted. Recto left, top right: karang manuk An ogre’s head en profil faces left. The head represents a bird. It has a pointed beak with an upper and a lower jaw and one eye. A rock is mounted on top of the head. The drawing is crossed out. No text is given. It resembles No. 3390-17 which is called karang manuk, an ornament with a bird’s head. Recto left, bottom centre', karang cawiri An ogre’s head en face is depicted. It has two bulging eyes and an upper and a lower jaw. It has sharp teeth and fangs. A tongue protrudes. There are hands on both sides of the upper jaw. Creepers and flames surround the head. A text in pencil in Balinese script says: cawiri. According to KBNWB I: 629 this is a gaping bird’s beak, resembling the karang curing. This does not accord with what is depicted in the drawing. In Zoetmulder 1982: 317 cawiri is a monster- head or a Kala-head, which accords more with the facts. The term karang cawiri is typical of North Bali. In South Bali such an ornament is called karang Boma. It is depicted on the same type of buildings and at the same places as the karang saé. Recto right, top left: karang bintulu An ogre’s head en face is depicted. It has one eye and only an upper jaw. A rock ornament is mounted on top of the head. A text in pencil in Balinese script says: bintulu, a one-eyed ogre’s head. The term karang bintulu is known all over Bali. The ornament is very fre quently depicted in wooden and in stone sculptures and on paintings and draw ings. In sculpture, it is placed in the centre on a high cornice or on top of a panel (photograph No. 28, pura Emas Murub, Sempidi, No. 29, Sila Karang, No. 30, pura Nataran, Gélgél). Recto right, top right: karang asti A rock ornament with an ogre’s head en profil faces left. The head has been given a small elephant’s trunk and elephant’s tusks. A text in pencil in Balinese script says: asti, elephant.
The karang asti or gajah is meant, which is known in Northern Bali as well as in Southern Bali. It is very frequently depicted in stone sculpture on temples and on palaces as a corner-piece (asibak). It is always placed on the base or on the lower side of a building. The shape of the trunk and its length may vary as may the shape of the ears and the rock on the head (photograph No. 31, pura subak, Krobokan; No. 32, pura désa, Sinabun; No. 33, pura dalem dasar, Sibang Gedé). Recto right, bottom centre: karang saé A rock ornament with an ogre’s head en face is depicted. It has two bulging eyes, an upper jaw only and a protruding tongue. There is a creeper on both sides of the mouth close to the fangs. The head bears a diadem. On top of this is a rock. A text in pencil in Balinese script says: sahé (saé), Chinese lion. A karang saé is meant. The differences between a Chinese lion and a winged lion have already been noted in Nos. 3390-9 and 18. Verso right, bottom-, karang bawi An ornament with the head of a pig is depicted. The head is en profil and faces left. It has two bulging eyes. No rocks are depicted. No text is added. This orna ment can also be called karang bawi like No. 3390-15. Cod. Or. 3390-24 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 33.5 x 43 cm. The sheet is folded vertically into two halves. There is a drawing on the righthand side and on the lefthand side. Ink, grey and black. Artist', no. 1. Origin: Buléléng. Left: karang asti or curing from Klungkung A rock ornament with an ogre’s head en profil. It has the shape of an elephant with one bulging eye and a little trunk and with one long tusk. It has only an up per jaw. A stag-horn fern (simbar) is growing from the upper jaw. Two rocks with the sekar taji gunung ornament are mounted on top of the head. A text in ink in Latin script by Van der Tuuk on the left says: karang asti, a rock ornament with an elephant’s head, and on the right: karang tjuring (curing) turah Klungkung, a rock ornament with a bird’s head as common in Klungkung. In Moojen 1926: LIV, LV karang asti on the walls of the old palace of the kings of
Klungkung are depicted, and in CLXXXVIII those of the pura Intaran in Klungkung. There is little correspondence between them and the ornament in the drawing. One might also wonder why the term karang curing is added. The bird’s beak of the curing ornament seems to have been associated with the trunk of the elephant by the artist. Right: karang bintulu A rock ornament with an ogre’s head en face is depicted. It has one bulging eye and an upper jaw, with two “floral” fangs and one pointed “floral” tooth in the centre. Three rocks with the sekar taji gunung ornament are mounted on top of the head. A text in ink in Latin script by Van der Tuuk says: karang bintulu één oog met kupakan patra punggel, a rock ornament with a one eyed ogre’s head and open work with petals and leaves. The ways in which the karang bintulu is used have already been described in No. 3390-23. Karang bintulu carved in vulcanic stone are depicted in photographs Nos. 28-30. Cod. Or. 3390-25 A drawing on Dutch paper, watermark pro patria, countermark VdL 42.5x34 cm. The sheet is folded horizontally into two halves. The drawing is on the upper half. Ink, black. Artist: no. 3. Origin: Buléléng. Top: a palm-tree in a fence A palm-tree is depicted in a stone setting. Round fruit hang down. A pudak plant grows from the setting on both sides of the foot of the tree. A small quadruped is creeping upwards along the right side of the stem. The palm might represent a jaka tree covered with bluluk-fruits. The quadruped might be a squirrel (semal). The fact that the tree is surrounded by a kind of setting indicates that it is placed in a courtyard. The pudak plays an im portant role in literature and in painting. The oblong flower of the plant, which is very fragrant, is a symbol of love. The flower itself is surrounded by leaves (see photograph No. 34). They are used as writing material, especially by lovers who use it to convey a poem to a loved one or to arrange an assignation (cf. Nos. 3390-136, 137). Because of its fragrancy and exclusiveness the flower may be used in offerings to the gods.
The drawing is unfinished. No. 3390-225 is by the same artist. Three similar trees in a row are depicted. Texts in pencil in Latin script have been written by Van der Tuuk on the lower side of the fold. We find: buwabuwi: pandjak Rama (bua-bui: panjak Rama), a kind of ogre, in the retinue of Rama, ptungkas (patungkas): onderste boven ’t hoofd naar beneden, upside-down, the head downwards, mëtjingtjingan (ma- cingcingan): de kleren opschorten, to tuck up one’s clothes. It seems that these texts are not related to the drawing. It is possible that in the text indications are given to the figures which had to be depicted on the top. However, demons are usually not depicted in a setting of trees. Another possibili ty is that the texts have to be regarded as notes for the dictionary, since the abovementioned terms are explained in the same way in the dictionary (KBNWB IV: 965 and I: 676). Cod. Or. 3390-26 A drawing on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.2 cm. The sheet is folded horizontally into two halves. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The sheet is torn along the fold. Pucak paduraksa, a top-piece of a gateway to a temple The background is light grey with a white surround. A rectangular ornament is depicted. On the lower side there are three rock ornaments. In the centre is a one- eyed ogre’s head and on the lefthand and on the righthand sides a giant’s head en profil is depicted. On top of them are two curved lines with a curl on the upper and lower ends. A stylized flower is mounted in the upper centre. A text in ink in Latin script by Van der Tuuk at the top on the left says: putjak (pucak) paduraksa balé agung, the top of a gateway of a balé agung temple. Close to the rocks at the bottom is written: tjuring (curing), bintulu, tjuring (curing), rock ornament with a bird’s head, a one-eyed ogre’s head and a bird’s head. By “bale agung temple ” may be meant the pura bale agung in Singaraja. Van der Tuuk lived close to this temple and several photographs of it are in his collec tion (Cod. Or. 3329 A, B). The top-piece depicted in the drawing was indeed found in the centre of the towered roofs and of the turrets on the sides of the inner gateway of the pura balé agung in Singaraja around 1873 (Cod. Or. 3329 A-19). The pura balé agung is a temple in which the founder of a village is venerated. The top-piece of gateways and of turrets are always three-dimensional in
Buléléng, while those of walls behind the entrance (aling-aling) may be of the same type but flat. There are two types of top-pieces in Buléléng. The first type consists of leaves growing from a rock and ending in a flower on top as in Cod. Or. 3329 A-17 and photograph No. 7, the second type consists of curls with a flower on top. Such top-pieces are still found in various temples in Central Buléléng: in the pura subak Krobokan, in the pura Manasa Sinabun and in the pura Emas Murub in Sempidi (photographs Nos. 35, 36, 37). The pura Emas Murub is made by sculptors from Central Buléléng. Cod. Or. 3390-27 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. The drawing at the bottom of the sheet is upside-down. Ink, grey and black. Artist: no. 1. Origin: Buléléng. Top: salah rupa luh, part animal, part woman The drawing has a frame in black ink. The background is grey. A female quadruped faces left. It has a woman’s head en face. It has large ear ornaments and a flower behind the ears. The body is white. A text in ink in Latin script by Van der Tuuk on the righthand side says: salah rupa di paduraksa (luh), a being part animal, part woman meant for a temple gateway. Bottom: salah rupa muani, part animal, part man The drawing has a frame in black ink. The background is grey. A male quadruped is depicted facing left. It has a grey body en profil and a man’s head en face. A text in ink in Latin script by Van der Tuuk at the bottom says: salah rupa (mwani), (muani), a being part animal, part man. On the right is written: barong als dier, barong as an animal. Both figures are supposed to be carved on temple gateways with other figures of the same kind (cf. No. 3390-6, 28), but I have un fortunately not been able to trace them. The term salah rupa may refer to a punishment or to a rebirth for evil deeds. The figures may then be represented in the pura dalem.
I do not know why reference is made to the barong in this drawing. One would expect such a note in No. 3390-14. It is possible that the combination of an animal and a man’s head reminded Van der Tuuk of the barong. Cod. Or. 3390-28 Two drawings on English paper, watermark Britannia, countermark Munro 1881. 43 x 33.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. Ink, grey and black. Artist: no. 1. Origin: Buléléng. The edges of the sheet are damaged. Top-, ninirupa or winirupa, a being half-animal, half-female priest The drawing is framed with black ink. The background is grey. A figure with the body of a female quadruped is depicted. The body, which is covered with spots in the shape of flowers, is en profil and has been pointed to the left, the head en face. It is a woman’s face with the hair (pusung tagel tegeh) in the style of a female brahman priest (padanda istri). She has flowers behind her ears. The animal is holding an incense burner (padupan) with flaming incense in its right raised foreleg. A text in ink in Latin script by Van der Tuuk at the bottom says: wita (crossed out) ninirupa (di tjandi bëntar), (ninirupa di candi bentar), the soul of a female priest holding an incense burner, being tormented in hell, to be depicted on a split gateway. This is also mentioned in KBNWB III: 533 under witarupa, the male priest, and the female priest being turned into winirupa, not ninirupa. Bottom: witarupa, a being half-animal, half-priest The drawing is framed with black ink; the background is grey. A figure with the body of a male quadruped is depicted en profil. It faces left. It has a man’s head, with long earrings (anting-anting) and flowers behind the ears. It wears a priest’s mitre (kétu or bawa). The forelegs have human hands. The figure holds up a priest’s bell (genta) in its right hand. A text in ink in Latin script by Van der Tuuk at the bottom on the right says: witarupa (di tjandi bentar), (witarupa di candi bentar), the soul of a tormented priest part animal, part man, to be used on a split gateway. In the centre is writ ten: prëwita (prawita) de schim v.e. padanda kasasar, priest, the ghost of a tormented priest. In KBNWB III: 533 the priest is said to have a bajra (thunder-
bolt) in his right hand and in KBNWB IV: 1015 reference is made to a thunder bolt ornament (karang bajra) which is shown “in the plate”. In the drawing, however, he holds a bell with a bajra in top. Both figures can be depicted In sculpture on split gateways in the pura dalem. I have regrettably not been able to trace any. Cod. Or. 3390-29 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light magenta, dark green, light green, yellow, dark blue, light blue, salmon pink, white, grey and black. Artist and origin: The style of the drawing and the Balinese handwriting bear much resemblance to No. 3390-185. This drawing which is reproduced in Nieuwenkamp 1906-1910: 111, and 1929: 73, is ascribed by him to I Ketut Gedé from Singaraja who was still alive in 1906 when Nieuwenkamp paid him a visit. The right side of the drawing is reproduced in Nieuwenkamp 1906-1910: 69, and 1919: 172, pi. 6. It is also mentioned by Juynboll 1903: 85. Karna is chased by Gatotkaca’s demonic army during the night The air is indicated by awon-awon ornaments (type IV). Nine figures are depicted. Four of them, looking to the right, are grouped on the lefthand side of the fold and five are on the righthand side. A tall figure stands on the far left. He faces right. His left arm is raised, his fingers point to his head (ulap-ulap), which signifies that he concentratedly is looking at something. He holds a bow in his right hand. His legs are spread, his knees slightly bent (agem). He has a refined face. He wears a high round crown (candi kurung) and a diadem on his head. He has long hair. He is clad in long striped trousers, a small loincloth tucked up be tween his legs with long ends hanging down, a girdle, a sash around his waist and a shoulder-piece. His jewelry is that of a royal personage. His skin is white. Three small men precede him, each holding a torch. The lower of the three is crouching. He holds a torch with both hands. The other two men are standing. They hold a torch with one hand and have placed the other hand above the head (ulap-ulap). They are clad in a short loincloth and a jacket with long sleeves. The crouching man wears a cap (capil), the other two men a head-band (amed). On the right side of the fold at the top on the left a naked female demon is depicted en face. Her body is covered with stripes. Her legs are wide apart so that her pudenda are clearly visible. Her elbows point upwards (nyiku). This attitude is characteristic of wild, coarse (galak) people. She has long locks of curly hair. Her tongue pro-
trudes. Another demon stands below her. He is depicted en trois quarts and faces left. He holds a knife in his right hand. His right leg is raised. His mouth, with protruding teeth and fangs, is open and his long curly tongue protrudes also. At the bottom in the centre a spotted female demon crouches. She has a huge belly as though she were pregnant. She wears a striped short skirt. An upside-down demon is depicted on the far right at the top. Below him another male demon sits. He has large round eyes and fangs. His right hand is raised and his left hand is in front of his body. The drawing is provided with texts in ink in Balinese script. Close to the stand ing figure on the far left is written: suyyatmaja, kéwëh, (Suryatmaja kéweh), the Sun’s son is in trouble. Under his right arm is written: kahula ngaba sundih, sdëk wëngi, (kaula ngaba sundih sedek wengi), the servants carry torches while it is dark. A text in the centre on top says: panjaké hi gatotkaca, sarwa babuta sami, (panjaké I Gatotkaca, sarwa bebuta sami), Gatotkaca’s army consisting of all kinds of demons. At the top on the right is written: papëngkah (pepengkah), a kind of demon with a huge belly, a small head and spindly legs (cf. No. 3390-1). In KBNWB IV: 520 it is said “also a follower of Gatokaca in the drawings”. At the top on the right is further written: hanjëhanjë (anja-anja), buta sorot, lén gramus. According to Prijono 1938: 218 the anja-anja is a ghost which walks upside-down. According to KBNWB IV: 262 an anja pugpug exists, “a so-called ghost without lower legs having thighs only, but in some drawings it is represented with two legs, one being short”. If we assume that the drawings in Leiden still comprise the same number of items as Van der Tuuk had at his disposal (apart from the missing items containing mainly love scenes), the only possible drawing showing a ghost called anja is No. 29. The ghost with the crip pled leg referred to in the dictionary might then be the figure with the knife and the ‘raised’ leg in front on the righthand side. This, however, contradicts Prijono. Sorot, searchlight and gramus, glutton, are names of demons. In KBNWB II: 77 (sorot) and IV: 690 (gramus) references are made to the drawing. The figure with the crown on the lefthand side of the drawing represents king Karna, a son of the god of the Sun. He is a member of the Korawa party. The three small men below him are his servants. The torches indicate that it is night. Their gestures show that they are frightened. Karna is confronted with the demonic heir of Gatotkaca, the son of Bima and of a demon mother, Arimbi. Because of his descent from a demon Gatotkaca has all kinds of demons in his ar my: a demoness with spindly legs, an upside-down demon, and many others. Details of the event depicted on the drawing are to be found in the OJ Bharatayuddha XVIII, 12: Kama’s army is chased by Gatotkaca’s demons. In BY XVII, 5 and 14, reference is made to the fact torches are being used because the battle takes place at night.
Cod. Or. 3390-30 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours, and ink. Colours: red, light magenta, magenta, dark blue, light blue, dark green, light green, yellow, salmon-pink, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. Reproduced by Nieuwenkamp 1906-1910: 46, and 1919: 166, pi. 3. Mentioned by Juynboll 1903: 85. Gatotkaca throws Lambusah ’s head at Duryodana. He kicks a decapitated demon Lembana and holds his head Three figures are depicted. One sits in the middle and two stand, one to his right and one to his left. The figure on the right stands in a dancing attitude. He has bulging eyes, a big nose and mouth, and big, sharp eye-teeth. He faces left. His right hand is raised. He touches his diadem with his fingertips (nabdab gelung). His right knee is bent and raised, and placed upon the chest of the figure sitting in the centre, as though he were being kicked. The standing figure wears long trousers with a floral pattern, a short loincloth tucked up between his legs and with long ends hanging down, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is that of a prince. His hair is dressed in a large dou ble coif (gelung buana lukar). He wears a diadem. His skin is light blue. He holds a head in his left hand. The head has bulging eyes. Their pupils look upwards, a sign of death. It is a demon’s head for it has sharp teeth and eye-teeth and bulging eyes. In the centre a decapitated figure sits with his hands on his knees. He is depicted “en face”. A stream of blood in the form of a half circle spurts from his neck into the air. The sitting figure wears a small loincloth tucked up between his legs. His jewelry, consisting of two sets of armrings, anklets, a necklace and shoulder-ornaments, is characteristic of that of a knight. His skin is salmon-pink. Three rock ornaments are depicted behind him. The top and the bottom rocks consist of three rocks with sekar taji gunung ornaments and some plants growing from them, the rock in the middle has a karang curing as a base. A tall man stands on the left. The lower part of his body is directed away from the figures in the centre and on the right, as if he were running away, but his chest and head are turned towards them. His left hand is raised. His thumb touches his middle fingers (nyempurit). He points with the index finger of his left hand at the figures on the right (nuding), his elbow is raised (nyiku). His attitude is called rajasinga. It is characteristic of the coarser type of figures. He has bulging eyes, but a fine
mouth without sharp teeth or fangs. He wears long striped trousers, a small loincloth tucked up between his legs and with long ends hanging down, a girdle, a sash round his waist and a shoulder-piece. He has long hair. He wears a diadem and a high crown on his head. His skin is salmon-pink. There is a simple rock or nament at his feet. A head, with some blood pouring out from the lower end of the neck, bumps against the figure on the left. It has bulging eyes, with the pupils turned upwards as a sign of death, and two pairs of long pointed fangs. The hair is long with a coif on the forehead and a kerchief (tekes) on the back of the head. It is decorated with a diadem. A text in Balinese script in ink close to the figure on the right says: i rimbyatma- ja, hamunggal, hi lëmbanna, lawan lambusah, (I Rimbyatmaja amunggal I Lem- bana lawan Lambusah), the son of Rimbi decapitates Lembana and Lambusah. At the top on the left close to the figure on the utmost left is written: sang düryyodanna, tangkëjut lahut manjrit, ktibénin punggalan, hantuk hi gatotkaca, (sang Duryodana tangkëjut laut manjerit katibénin punggalan antuk I Gatotkaca), Duryodana is frightened and cries when he is hit with a head chopped off by Gatotkaca. The figure on the right represents Gatotkaca, the son of Rimbi or Arimbi. He holds the head of a demon while he kicks at a decapitated demon on the ground. Another head of a demon bumps against Duryodana on the left. He makes a threatening gesture in order to ward off the danger. Two problems remain: who is sitting on the ground? Whose head is held by Gatotkaca, and whose is bumping against Duryodana? According to the texts on the drawing, Gatotkaca kills Lembana and Lambusah. This might suggest that Lembana has been killed first and Lambusah afterwards. The head bumping against Duryodana might then be Lembana’s and the head held by Gatotkaca, Lambusah’s. So the figure sitting in the centre might represent Lambusah. When we make a comparison with No. 3390-34 on which Gatotkaca is killing Lam busah, the demon’s head resembles that bumping against Duryodana in No. 3390-30. The lower part of Lambusah’s body in No. 3390-34 is unlike that of the figure sitting in the centre in No. 3390-30. We may therefore conclude that it represents Lembana and that the head hold by Gatotkaca is Lembana’s. In the OJ Bharatayuddha XVIII: 6-8 we find information about this. After the initial fight of Karna and Gatotkaca, Karna withdraws. A demon called Alambana in OJ then advances with his heir. He is killed by Gatotkaca. The latter cuts off his head and throws it towards Duryodana crying, “Look! Here is a head belonging to your kind of people”. Then the demon Alambusa, as he is called in OJ, ad vances. He is the younger brother of Alambana. He is also decapitated and his head is also thrown towards Duryodana. The names of the figures are slightly changed in Balinese: Lambusah instead of Alambusa and Lembana instead of Alambana. The order in which the brothers fall has been reversed in the drawing. This episode is called pasiat Gatotkaca, the fight of Gatotkaca, by the Balinese.
Cod. Or. 3390-31 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.4 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, magenta, light magenta, pink, salmon-pink, dark blue, light blue, dark yellow, light yellow, white, grey, black. Artist: I Ketut Gedé. Origin: Singaraja. The left part of the drawing is reproduced by Nieuwenkamp 1906-1910: 47, and 1919: 168, pi. 4. Mentioned by Juynboll 1903: 85. Gatotkaca fights Karna in the air and falls down on Karna’s chariot The air is indicated by awon-awon ornaments (type IV). Two figures are depicted on each side of a palmtree growing from a rock ornament in the centre. The rock has a karang curing as its base. A man stands on the right. The lower part of his body is directed to the right, the upper part and the head are turned to the left. He holds a bow in his left hand. His right arm is bent and raised. His fingertips are directed towards his crown (ulap-ulap) to indicate that he is looking concentratedly. He wears long striped trousers, a small loincloth tucked up be tween his legs and with long ends hanging down, a girdle, a sash round his waist, and a shoulder-piece. He wears the jewelry of a royal personage. His face is refined. He has a diadem and a round crown on his head. His hair is long. His skin is white. At the top on the left a man floats off the ground. He is looking down to the right. His knees are bent. He holds a double lance in his right hand. His left arm is raised. He touches his diadem with his fingers (nabdab gelung). An arrow is lodged in the left side of his chest. A stream of blood pours from the wound. The man’s eyes are bulging, his eye-teeth are sharp and protruding. He wears long striped trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist and a shoulder-piece. His jewelry is that of a royal per sonage. His skin is light blue. A two-wheeled chariot with a yoke is under his feet. It is drawn by two horses, the one in front being a stallion. They are running to the left. The chariot has a seat with an ornamented back-piece. The protruding axle has the shape of a flower. Two rock ornaments are at the bottom on the left, another rock is depicted in the centre close to the tree. A text in Balinese script in ink at the top on the left says: gatotkaca, tiba saking gaganna, kna ru, dadané trus, mati mabéla ratta, (Gatotkaca tiba saking gagana, kena ru, dadané terus mati mabéla rata), Gatotkaca falls from the air, is caught by an arrow, which pierces his chest and he dies immediately, crushing the chariot.
On the righthand side is written: sang suyyatmaja; matinggal saking syandana, (Sang Suryatmaja; matinggal saking syandana), Surya’s son; run away from the chariot. (Suryatmaja is another name for Kama.) The figure on the left represents Gatotkaca. He threatens Kama, the figure on the right, with his lance. The latter is running away and is looking back. He has shot an arrow which has struck Gatotkaca in his chest, so that blood pours out. Gatotkaca is right above a chariot. When he falls down, he will crush it. This episode is described in the OJ Bharatayuddha XIX: 1-6. During the fight between Gatotkaca and Kama, the first rises into the air. He hides himself in a mass of clouds. Kama is afraid that he will be killed treacherously. He orders Gatotkaca to come down. Gatotkaca changes into a giant demon, but remains in visible. Kama starts shooting arrows at him, but they all miss him. Then he takes a javelin. He transfixes Gatotkaca’s chest with it. Gatotkaca faints, but comes to himself again. He descends and wants to fight hand-to-hand with Kama. Kama does not want to. He leaves his chariot and runs away. Meanwhile Gatotkaca falls into the chariot. He crushes it and dies as does the driver. The representation in the drawing differs slightly from that which is described in the text: Gatotkaca is shot dead with an arrow instead of a javelin and there is no driver. This episode is called pasiat Gatotkaca, the fight of Gatotkaca, by the Balinese. Cod. Or. 3390-32 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, magenta, light magenta, salmon-pink, dark green, light green, dark blue, light blue, yellow, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Mentioned byjuynboll 1903: 85. Gatotkaca fights from the air with Karna standing beside his chariot Two figures, one on each side of the fold, look at each other. The man on the right stands beside a chariot with two horses. His legs are spread, his knees slight ly bent (tampak sirang). He faces left. He holds a bow in his left hand, and in his right hand an arrow with flames mounted through a hole in the bow. He is about to shoot the arrow. He has a refined face. His skin is white. He wears long striped trousers, a small loincloth tucked up between his legs with long ends hanging down, a girdle, a sash round his waist and a shoulder-piece. He has long hair and a diadem with a round crown on his head. The chariot is the same as that depicted
in drawing No. 3390-31. There are four rock ornaments in front of the man and the horses, which draw the chariot. Three of the ornaments have a karang curing as a base. Another man stands in the air on the left. He faces right. He holds a double lance in his right hand. His left arm is bent and raised, his fingertips touch his diadem (nabdab gelung). His legs are spread and bent, his left knee slightly raised (nabah). This attitude suggests that he is trampling with his feet. His eyes bulge and his eye-teeth are sharp and protuding. His hair is styled in a large dou ble coif and he has a diadem on his head. He wears long striped trousers, a small loincloth tucked up between his legs and with long ends hanging down, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is characteristic of that of a prince. His skin is light blue. Two arrows move towards his head and one arrow is close to his knee. The whole drawing is provided with air ornaments (awon- awon, type IV). A text in Balinese script in ink at the top on the right says: sang radéya, hamën- tang laras, ring ratta, (Sang Radéya amentang laras ring rata), Radéya pulls a bow on the chariot. Radéya is another name for Karna in which he is named after his nurse Rada. On the left is written: hi gatotkaca, ring gaganna, sumilib ring mega, (I Gatotkaca ring gagana sumilib ring méga), Gatotkaca hides himself behind a cloud in the air. The figure on the right, representing Karna, shoots arrows at Gatotkaca on the left. He hides himself in clouds in the air. This episode is described in the OJ Bharatayuddha XVII: 16-17. During the initial fight between Karna and Gatotkaca, the first destroys Gatotkaca’s chariot. Gatotkaca then flies into the air and hides himself in clouds. Karna is afraid. He starts shooting arrows at Gatotkaca but they miss him. This episode is called pasiat Gatotkaca, the fight of Gatotkaca, by the Balinese. Cod. Or. 3390-33 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.9 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours', red, light magenta, dark blue, ligh blue, dark green, light green, yellow, white, grey and black. Artist: I Ketut Gedé. Origin'. Singaraja. The drawing originates in Buléléng. This is evident from the way the servant standing on the left is depicted. His skin is light green, characteristic of the North Balinese Wana or Mredah, as the second servant of the righthand party party is called. In South Bali the skin of Mredah is always light brown.
Yudistira and Kresna meet Arjuna. They order him to fight Karna. They are accompanied by their servants Twalén and Mredah Five figures are depicted. Three men on the right face two men on the left. Two of the men on the right are standing and make gestures. The man in front speaks to the man on the far left, while the man standing behind him is listening, and waits. The lower part of the man in front is invisible, because a small figure sits at his feet. The man has a refined face. His hair is styled in a chignon curled inwards at the back of his head (gelung kekelingan). He wears a girdle and a sash round his waist and a shoulder-piece. His jewelry is that of a prince. His skin is white. The man behind him also has a refined face. He has a diadem and a high crown on his head. His hair is long. He wears long striped trousers, a small loincloth tucked up between his legs with long ends hanging down, a girdle, a sash round his waist and a shoulder-piece. His jewelry is that of a royal personage. His skin is dark green. The small crouching figure has a grey skin. He has female eyes. He makes a sembah which shows his submissiveness. He wears a short black and white checkered loincloth. The man on the far left is standing with his legs apart, his knees bent (agem). His right hand is placed on his hip, which indicated vigour. His left arm is hanging by his side. His thumb touches his middle fingers, which indicates that he is speaking. He has a refined face. His hair is styled in a double chignon. He has a diadem on his head. His skin is white. He wears long trousers with a floral pattern, a small loincloth tucked up between his legs and with long ends hanging down, a girdle, a sash round his waist and a shoulder- piece. His jewelry is tfiat of a prince. A small figure stands in front of him. He has female eyes. He points downwards with his right index finger at the small figure sitting in front of him to the right. This gesture indicates speach for lower type figures. His left hand is clenched into a fist. His skin is light green. He wears a short black and white checkered loincloth. Three trees are depicted on the background. A palmtree with fan-shaped leaves and a creeper with flowers round the stem is on the left. Two coconut-palms are depicted to the right. Between the two groups of men is a stone fence with creepers and flowers. A floor ornament is made at the bottom of the drawing to indicate the pavement. A text in Balinese script in ink close to the figures on the right says: sang yudisthira, Sang Yudistira, and késawwa, Késawa. On top of the small crouching figure is written tawalén, Twalén. At the top on the left is written danan jaya, Dananjaya and above the smaller figure i wredah, I Wredah. Close to the tree on the left is written ntal (ental), lontar-palm and close to the trees on the right nyuh (nyuh), coconut-palm. Yudistira and Kresna (Késawa is another name for Wisnu and his manifesta tion as Kresna) meet Arjuna (Dananjaya is an epithet for Arjuna). He is accom panied by Wredah or Wana, the second servant of the righthand party. The two men are accompanied by Twalén, the first servant of the righthand party. The
fact that Twalén greets Arjuna with a sembah indicates that Twalén’s lords are paying him a visit. Wredah’s gesture indicates obstruction. Arjuna’s vigorous at titude shows that he does not want to follow an order. The visit may refer to a par ticular episode in the battle between the Pandawa and Korawa. In the OJ Bharatayuddha XVII, 10-11 there is a meeting of Yudistira and Arjuna in the presence of Kresna. Yudistira orders Arjuna to fight Kama and shoot him with his arrow. Arjuna does not want to fight Karna since he feels insecure. He pro poses that Gatotkaca go and fight. Arjuna awaits Kresna’s instructions. The probable reason why the trees are depicted is to indicate that the meeting is taking place in the open air in a courtyard. As far as is known there is no reference to these trees in the passage quoted. In descriptions of landscapes however, the lontar-palm and the coconut-palm are often mentioned. In the courtyard of palaces these trees are often grown. Cod. Or. 3390-34 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, magenta, light magenta, dark green, light green, dark yellow, dark blue, light blue, salmon-pink, white, light grey, and black. Artist: I Ketut Gedé. Origin-. Singaraja. The sketches in pencil are still visible. Mentioned by Juynboll 1903: 85. The right side of the drawing is reproduced by Nieuwenkamp 1906-1910: 45. Gatotkaca fights Lembana. Gatotkaca’s heir fights Lembana and Lambusah ’s demons On the right there are two figures facing each other. A man, standing on the far right, stabs a figure on the left with a knife. He has bulging eyes and sharp eye teeth. His skin is light blue. He wears long trousers with a floral pattern, a small loincloth tucked up between his legs with long ends hanging down, a girdle and a sash round his waist and a shoulder-piece. His jewelry is characteristic of that of a prince. His hair is styled in a large double coif. He has a diadem on his head. The figure on the left has large bulging eyes, sharp pointed teeth and long sharp fangs. He has a coif of hair on his forehead and long curly hair. His skin is salmon-pink. He is grabbing at the head of the figure on the right with his left hand. He stabs at him with a kris in his right hand, but the kris is bent double. He wears long striped trousers, a small loincloth, a girdle, a sash and his jewelry is that of a prince.
A text in Balinese script in ink at the top on the right says: lambana, masyat, lawan gatotkaca, (Lembana masiat lawan Gatotkaca), Lembana fights with Gatotkaca. The figure on the right represents Gatotkaca and the man on the left the giant Lembana. This scene refers to an episode in the OJ Bharatayuddha XVIII, 6-7. Lembana advances with his army of giants. He fights Gatotkaca and is killed by him. This episode is called pasiat Gatotkaca, the fight of Gatotkaca, by the Balinese. Four figures are depicted on the left half of the fold. At the top and in the centre there is a large demon with flames around his head. His skin is salmon-pink. He bites the figure in front of him with his enormous teeth. He is banging together the heads of two smaller demons. The figure bitten by him is a small demon with white skin. The latter stabs the demon with salmon-pink skin on the right with his sword. On the left is another demon with blue skin. He bites the white figure in the centre in its shoulder. The demon on the right also bites the figure in the cen tre. Blood pours from the wounds. All these figures are clad only in a short loincloth with a long sash. Two demonic heads lie on the ground between their feet. The pupils of the eyes of the head on the left are turned, as a sign of death. A text in ink in Balinese script at the top on the left says: babutë, mayuda, pada babutta, rwangngé hi gatotkaca, lawan, rwangngé lambana, lambusah, (bebuta mayuda pada bebuta roangé I Gatotkaca lawan roangé Lembana Lambusah), demons fighting with demons. Gatotkaca’s heir against the heir of Lembana and Lambusah. The two demons in the centre fight with two smaller figures on the right and on the left. These probably depict Lambusah’s and Lembana’s heir. This scene is not explicitly mentioned in the OJ Bharatayuddha. In BY XVIII: 12 is said that Kama’s army is chased by Gatotkaca’s heir. This might be represented on the left half of the drawing. Cod. Or. 3390-35 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, dark green, dark blue, light blue, bright yellow, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Mentioned in Juynboll 1903: 85. Kresna and Arjuna speak with Gatotkaca. They ask him to fight Karna Floor ornaments at the bottom of the drawing indicate the pavement. A man stands on the right facing left. His legs are spread, his knees slightly bent (tampak
sirang). He makes gestures which indicate answering. He has round eyes and pointed eye-teeth. His hair is styled in a large double coif. His skin is light blue. He wears long trousers with a floral pattern, a small loincloth tucked up between his legs with long ends hanging down, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is that of a prince. Two men stand to the left. The man m front wears long trousers with stripes. His other clothes are similar to those of the man on the right. He has long hair and a diadem and a high crown on his head. His skin is dark green. The head, arms, and part of the legs of the sec ond man only are visible. He has a refined face, a white skin and a coif on his forehead. He wears long trousers. Both men make gestures which indicate com mand. A square stone through is depicted in the centre between the men. It is covered with a red-magenta floor ornament. Long stalks grow from it. A text in Balinese script in ink at the top on the right says: gatotkaca, kapangandikayang, nandingngin sang radéya, (Gatotkaca kapangandikayang nandingin Sang Radéya), Gatotkaca is summoned to fight Radéya ( = Karna). At the top on the left is written: krësnna, Kresna, and partha, Parta, which is an epithet for Arjuna. Kresna and Arjuna to the left speak with Gatotkaca to the right. This scene refers to something which is described in the OJ Bharatayuddha XVIII: 1-4. It has been decided by Kresna that Gatotkaca now has to fight Kama. Kresna and Arjuna therefore have a meeting with Gatotkaca. The latter is ordered to fight with Karna by Kresna. Gatotkaca considers it his duty to go and fight. Arjuna and Kresna are moved, because Gatotkaca is still a youth. This episode is called kautus Gatotkaca, Gatotkaca’s mission, by the Balinese. Cod. Or. 3390-36 A drawing on paper, no marks. 34.5 x 43 cm. The sheet is folded horizontally and vertically into four parts. Polychrome, watercolours and ink. Colours: light red, light pink, dark blue, light blue, yellow, green, dark green, light brown, white, grey, black. Artist: no. 5. Origin: According to KBNWB IV: 371 the artist is from Badung. The sheet is slightly damaged on the lefthand side, at the top and at the bottom. There is a large brown stain on the right of the sheet. King Wiswamitra speaks with the sage Wasista on the cow Nandini. Délem watches The air is represented in awon-awon ornaments (type I). There is a large rock in the centre at the bottom. A man stands on the left facing right. He makes a gesture of speaking with his right hand, while his left hand rests on the back of a
cow. His eyes are small and refined. His skin is light brown. He wears a long coat with a kuta Mesir pattern and a checkered lining, pointed shoulder ornaments, and long striped trousers. The ends of his sash hang down. He has a turban shaped headdress and a diadem on his head. A cow is lying on the rock in front of him. Its head is turned backwards towards the man on the left. Another man stands on the right facing left. He makes a gesture of speaking with his right hand, while his left hand is held akimbo. The colour of his skin is greyish. His eyes are small and refined. He has a diadem and a high crown on his head. He wears a shoulder piece, long striped trousers and a small loincloth tucked up between his legs. His sash hangs over his left shoulder. The lower part of his body is only part ly visible because someone is depicted as crouching in front. This is a small fat figure with bulging eyes. He makes a gesture indicative of speach with his right hand, while his left hand is placed on his knee. He wears a short loincloth and a sash round his waist. He has a small cap on his head with a tuft of hair on top. His skin is light brown. A text in ink in Balinese script at the top on the left says: bhagawan wasthista madwé lëmbu, (begawan Wasista madué lembu), the sage Wasista has a cow. Close to the cow is written: lëmbu, sangngandini, (lembu sang Nandini), the cow Nandini. Close to the figure standing on the right is written: prabhü kuhjarë maharaja, miswamitrë (prabu Kunjara maharaja Miswamitra), king of Kun- jaraland, king Wiswamitra (Miswamitra is a nazalized form). Close to the person sitting on the right is written: hi grindëm, I Grindem. Grindem means obscure, shadowy, enigmatic and refers to qualities of a character. This is an epithet for Délem. A discussion between a man called Wasista dressed like an ascetic, and a man called Wiswamitra dressed like a king is depicted in the drawing. The long coat and the turban are characteristic of an ascetic. The person sitting in front represents a servant. He is called I Grindem. He is imitating the gesture of his lord which indicates that he is speaking. This scene refers to an episode described in the Old Javanese Adiparwa: 159-160, in the Balinese Adiparwa Parikan (Cod. Or. 15.581: 2, 1-31) and in the Old Javanese Mandüka Prakarana VII, 13-29 (Cod. Or. 12.687). The sage Wasista has a cow called Nandini. Whenever a guest visits the her mitage she provides delicious food, milk products, jewelry, clothes, perfumes, etc. When the king Wiswamitra pays a visit to the hermitage he is astonished to receive such costly gifts. He asks the sage for the reason and the origin of them. The sage tells him he has got a cow from the god Iswara and that it is the cow who produces everything for guests. The king wants to exchange the cow for one hun dred million ordinary cows, but the sage refuses. The king gets angry. He takes possession of the cow. Nandini however does not agree. She complains to the sage. According to him it is the duty of a brahman to resign in the demands of a king. For this reason he cannot help the cow. She has to decide herself whom she
wants as a master and how she will set herself free. She opens her mouth wide and out come all sorts of demons while from her urine spring demons bearing weapons. They attack Wiswamitra’s heir. Finally the demons let the cow go. In the drawing, it is the initial conversation between Wiswamitra and Wasista which is depicted, for the cow is still in the possession of the sage because it is lying down quietly close to him. With the term Kunjare in the text on the drawing is meant Nikunjanagara, Wasista’s country, as it is called in the OJ Adiparwa: 159. Cod. Or. 3390-37 Two drawings on Dutch paper, watermark pro patria, countermark VdL 42 x 33.2 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. The drawing at the top is upside-down. Polychrome, watercolours and ink. Colours: red, light magenta, salmon-pink, dark green, light green, light yellow, greenish-blue, white, grey, black. Artist: I Ketut Gedé. Origin: Singaraja. Mentioned by Juynboll 1903: 85. Bottom: Raden Sar ka is decapitated by Sara Ulan The ground is indicated by soft light green. A man drives a saddled horse. They face left. The man has salmon-pink skin, the horse is greenish-blue. The man’s head has been cut off, and is depicted upside down close to his back. Blood pours from the neck. The head has bulging eyes. The man wears long trousers with a floral-pattern, a girdle, a sash round his waist and a shoulder-piece. His jewelry is that of a prince. A woman stands on the right. She holds a sword (pedang) in her right hand. She points with her left index finger (nuding) at the head of the horseman. Her skin is white. She has a refined face, long hair, and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist covering her breasts. Its long ends hang down. She also wears a girdle. Her jewelry is that of a princess. A text in ink in Balinese script at the top on the left says: radén sarka, ngling- gihin kude, kepunggal hantuk hi sare hulan, (Radén Sarka nglinggihin kuda kapunggal antuk I Sara Ulan), Raden Sarka, driving a horse, is decapitated by I Sara Ulan. At the top on the right is written: sarë hulan, maktë pdang, (Sara Ulan makta pedang), Sara Ulan holds a sword. The woman, representing a princess, menaces a prince on a horse. The woman has just decapitated the man on the horse with her sword. This scene refers to an episode from the kidungjuarsa 10: 1-5 (Cod. Or. 4219, 10.096 and 10.345 are us ed as examples). The story takes place in a Javanese Muslim society. Sara
Wulan, or Sinara Ulan, or Sara Ulan, as she is called, is the wife of a prince named Juwarsa, or Juarsa, or Johor Sah, who lives in Madaldah. He has an elder brother who is the king of Saalsah or Saidalsah. The king wants Sara Ulan for his wife. When Juarsa leaves Sara Ulan for a while, she is kidnapped. Juarsa goes to his brother’s palace. A plan is made to kill Juarsa. However, the king is killed by him. Juarsa and Sara Ulan leave the palace. They enter a forest. An ascetic, called Radén Serkap, Serekap or Sarka, is performing ascetism in the forest. He is confronted with Sara Ulan and her husband. He wants to present her to his king, not knowing he is dead. He decides to kill Juarsa. Having killed him, Radén Sarka wants to bring Sara Ulan to the king. He seats himself on his horse. Sara Ulan walks behind, holding the horse’s tail. On the way Sara Ulan plays a trick. She asks Radén Sarka for a sword to cut off the tail because it is hindering her. In stead of doing so she kills Radén Sarka by cutting off his head. The killing of Radén Sarka by Sara Ulan is depicted in the drawing. Top: Sara Ulan is bewailing Juarsa. Two snakes in a tree show her how to bring her husband back to life A tree with a stag-horn fern (simbar) on its trunk is depicted on the right. The leaves of the tree are suggested by means of small green dots. A greenish-yellow snake is coiled in the branches at the centre of the tree. On the left a reddish-pink snake hangs upside down from the branches, just above the figure lying on the ground. Blood pours from its mouth. A man lies on his back on the ground at the centre of the drawing. He is enveloped in a loincloth. His eyes are closed. His hair is styled in a chignon of the Panji-type. His skin is white. A woman kneels down on the left. Her left hand, enveloped in her sash, is close to her cheek, her right hand is held against the man’s breast. She is clad in the same way as the woman in the drawing at the bottom. A text in ink in Balinese script on the left above the woman says: sarawulan, nangis (Sara Ulan nangis), Sara Ulan weeps. At the bottom in the centre is writ ten: i jwarsa, mati, batan kayu kastubané, kmatyang hantuk radén sarkë, (I Juar sa mati batan kayu kastubané, kamatiang antuk Radén Sarka), Juarsa dead under a kastuba tree, after having been killed by Radén Sarka. A text in the cen tre on the top says: nanipi, mapalu, di kayuné, mati habësik, hanging malih urip (nanipi mapalu di kayuné, mati abesik anging malih urip), the snakes struggle in the tree, one dies, but is brought to life again. Sara Ulan bewails the dead Juarsa. The fact that he is enveloped in a loincloth shows that he is dead. Sara Ulan’s hand close to her cheek is a gesture characteristic of sadness and of mourning. The kastuba tree is a kind of miracle tree, which bears fruit and which gives life to the dead according to KBNWB II: 197. The scene refers to an episode in the kidung Juarsa 11: 6-11 (Cod. Or. 10.345) which follows that described in the first drawing. After killing Radén Sarka, Sara
Ulan returns to the corpse of her husband. She weeps and prays to God. He sends two snakes. They fight each other and one of them is killed. The other snake takes some bark from the tree and gives it to the dead one. The dead snake returns to life while Sara Ulan watches with great astonishment. She then recognizes that there was an intention in what she had just witnessed. She should take some bark and give it to Juarsa so that he returns to life. The term mapalu (to bump against) is usually restricted to chickens, cows, bulls and goats. Masiat is used for the fighting of other animals and of men. Cod. Or. 3390-38 A drawing on paper, no marks. 34.4 x 43 cm. The sheet is horizontally and vertically folded into four parts. Polychrome, watercolours and ink. Colours: light red, light pink, dark blue, light blue, yellow, green, light brown, white, grey, black. Artist: no. 5. Origin'. Badung. The demon Momo Si Murka kneels before the king of demons Niwatakawaca. Délem sits in front of his lord The air is represented in awon-awon ornaments (type I). The figure of a demon stands on the right. He faces left. His skin is light brown. He makes a gesture associated with speaking with his right hand. His left fist is held to his caste-cord. He has bulging eyes, fangs on his cheeks and also on his forehead. He wears long striped trousers, a small loincloth tucked up between his legs with long ends hang ing down, a girdle and a shoulder-piece. His jewelry is that of a prince. He has a diadem and a round crown on his head. A small, fat male figure is crouching in front of him. He has bulging eyes, his skin is light brown. He touches his kris with his left hand. He makes the gesture of speaking with his right hand. He wears a short loincloth with a sash round the waist. He has a cap with a tuft of hair on top on his head. The figure of a demon sits on his right knee on the left. He faces the man on the right. He makes the gesture of a sembah. His skin is light brown. He has bulging eyes, and sharp teeth with fangs in his mouth as well as on his cheeks and eyebrows. He wears long striped trousers, a small loincloth tucked up be tween his legs, a sash round the waist, a girdle and a shoulder-piece. His jewelry is that of a prince. He has long hair, a diadem and a chignon curled inwards at the back of his head. A text in ink in Balinese script at the top on the right says: détyadiraja niwatak- kwaca (détya adiraja Niwatakawaca), the highest king of the demons Niwatakawaca. In the centre on the right is written: hi gurindëm, I Grindem
which is an epithet of the first servant of the left-hand party Délem. On the left is written: détya momo si mürkka (détya Momo Si Murka), the violent demon Si Murka. The figure on the left, Si Murka, honours the demon-king Niwatakawaca with a sembah. He listens while the king speaks. The king’s servant I Grindem sits in front and imitates his lord. This scene refers to a passage in the OJ Arjunawiwaha, canto VII, 3. The king of the demons summons a demon called Si Murka to go and disturb Arjuna who is performing ascetism on the top of a mountain. The demon is called Muka as well as Murka by the Balinese. This is probably a result of the wrong application of the maduita spelling rule in the aksara script. The surang (r) need not be written when it is followed by double ya, ma, na, ga, or ba. It is sometimes also omitted when it is followed by double ka. An inatten tive reader then reads Mukka (Muka) instead of Murkka (Murka). Murka (mürkha, Skt, OJ) meaning wild, malicious, is often used in the names of demons (cf. KBNWB IV: 532). Momo (OJ) means wild and is, therefore, a suitable epithet for a demon. Cod. Or. 3390-39 A drawing on Dutch paper, watermark pro patria, countermark VdL. 41.5 x 34 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. The drawing on the top half is upside-down. Polychrome, watercolours and ink. Colours: red, light magenta, dark green, light green, yellow, salmon-pink, light grey, black, light brown. Artist: I Ketut Gedé. Origin: Singaraja. Parts of the drawing are reproduced by Nieuwenkamp 1906-1910: 12, 13 and 15, and in Hallema 1924: 59. Bottom: wewatekan, dating table, the numbers 1,2,3 and 4 The background is light brown at the bottom and light green at the top. There is a plant decoration at the centre of the drawing and there is another at the bot tom on the left. At the top on the left there is a round object surrounded by two circles with points. A text in Balinese script in ink says: suryya, 1, (surya), sun, the number is one. The surang is added later in pencil. According to the maduita spelling rule, the surang need not be written when it is followed by double ya, ma, na, ga or ba. On the right of the sun is a crescent. A text says: candrë, 1, (candra), moon, the number is 1. On the right of it a bird flies up. It faces left. It is held by a sitting
man by its left paw and by its tail. Below the bird is vegetation. The man is clad in a loincloth. He wears a kerchief (dastar) on his head. His skin is light brown. He represents an ordinary Balinese. A text on top of the bird says: paksi, 1, (paksi), bird, the number is one. On top of the man is written: wong, 1, man, the number is one. On the right of him a leg with a foot is depicted. It has a small head in the thigh. There are rings of jewelry round the ankle and knee. This leg represents a thigh-ghost. A text on top says: suku, 2, (suku), foot, the number is two. On the far right an arm with a hand pointing upwards is depicted. There are rings of jewelry round the elbow and the wrist. A text says: tangan, 2, hand, the number is two. On the second row at the bottom on the far left an eye is depicted. It is of the refined male type. A text on top of it says: matte, 2, (mata), eye, the number is two. On top of the eye is an eyebrow. A text says: halis, 2, (alis), eyebrow, the number is two. An ear is depicted on the right of the eye. A text says: karnna, (karna), 2, ear, the number is two. There is a fire on the right of the ear. A text on top of it says: gni (geni), 3, fire, the number is three. On the far right at the bot tom there is water with two fishtails and a head protruding. A text on top says: sgara (segara); 4, ocean, the number is four. Top: wewatekan, dating table, the numbers 5, 6, 7 and 9 The figure of a demon stands on the left. He faces right. He stands in a dancing attitude. His arms are raised horizontally to shoulder height. The fingers of his left hand are spread. This attitude is characteristic of coarse beings and of demons. His left knee is bent, his leg is raised (nyingjing). He wears a short loincloth with a sash and a woven sash (slimpet) crossed over his chest. There are tufts of curly hair on his head. He has bulging eyes and fangs. A text at the top on the left says: butta, (buta), 5, demon, the number is five. An arrow points downwards on the right. A text says: ru, 5, arrow, the number is five. A fan-palm is depicted in the centre. A text on top in pencil in Latin script (not written by Van der Tuuk) says: boom = 9, tree is nine. In the centre below a saddled horse faces left. A text in Balinese script on top says: kudda, (kuda), 7; horse, the number is seven. A man stands to the right of it, facing left. He makes gestures in dicative of speach. He has a refined face and his hair is in a double chignon. His skin is white. He wears long striped trousers, a small loincloth tucked up between his legs, a girdle and a shoulder-piece. His jewelry is that of a prince. A text says: sangngarjunna, (Sang Arjuna), 5, Arjuna, the number is five. Arjuna is the second of the five Pandawa brothers. On the far right at the top is a bee. A text on top of it says: bramara, (bramara), 6, bee, the number is six. On the far right at the bottom there is a group of rock ornaments with small creepers on top. A text says: gunung, 7, mountain, the number is seven. At the top on the left is written in pencil in Latin script by Van der Tuuk: wewatekan (wewatekan), dating table. The two drawings belong together. They represent a dating table. The numbers in which a date can be expressed are
changed by anthropomorph, theriomorph and other symbols. Such symbols are found in sculpture on temple and on palace gateways all over Bali. They are also found on drawings on wood depicted on the back-piece of a ritual balé. They sym bolize the year in which the wall, gateway, or drawing was finished or refur bished. On the inner side of the outer gateway of puri Pamecutan in Krambitan for instance (photograph No. 38) are carved from the left to the right: a man, an elephant, a buta sungsang (an upside-down demon), and an arm with a little head on the top. These carvings represent the numbers 1, 8, 5 and 2 respectively. This means that the gateway has been accomplished in the saka year 1852, which cor responds with 1930 AD. Such a hidden date is called candra sangkala but more frequently pasesangkalan. It should be noticed that the numbers 8 and 0 are not represented in the drawing. In KBNWB III: 536 a list of watek is given. The number eight may be represented by an elephant (gajah) and the number zero by air or something which is broken. It turns out that several, different images may correspond with one class (watek) or number and not only those depicted in the drawing. Cod. Or. 3390-40 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 42.2 x 33.2 cm. The sheet is folded horizontally into two halves. There is a drawing on the bot tom half and on the top half. The drawing on the top half of the sheet is upside- down. Polychrome, watercolours and ink. Colours: red, magenta, light magenta, dark green, light green, yellow, light brown, salmon-pink, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. The drawing is mentioned by Juynboll 1903: 81, 82 and reproduced in ibid.: plate VI. The sheet was torn in the centre but has been repaired. Bottom: Juarsa cuts the tail of a snake and wounds a second snake Light green at the bottom indicates the ground. A tree with flowers and leaves is depicted in the centre. A small rock ornament sits just underneath the trunk of the tree. A man stands on the right facing left. He holds a sword (pedang) in his right hand. His left hand is in front of his body. He has a refined face. His hair is styled in a chignon of the Panji-type. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a girdle and a shoulder-piece. His jewelry is that of a prince. There are two snakes in front of the man, both face left. Their lower parts are intertwined. Their heads face each other on the left of the tree. The tail of the smaller snake has been
cut by the sword of the man on the right. Blood pours out of the wound. The mouths of the snakes are wide open. The snake on the far left, which is bigger, is coloured yellow and red and wears a diadem and a chignon curled inwards at the back of its head. It has curly hair. The snake on the right is smaller. It is green and red and does not have a headdress. A text in Balinese script in ink on the right says: i jwarsa, hanëpëg i ulë tampar, lawut mati, (I Juarsa anyepeg i ula tampar laut mati), I Juarsa cuts the ordinary snake who then dies. Close to the tree in the centre is writen: nagëgini, mkarmëlawan hulë tampar, (Nagagini mekar malawan ula tampar), the snake called Nagagini has sexual intercourse with a snake of lower rank. The man on the right, I Juarsa, is cutting off the snake’s tail. The snake with the diadem represents the princess Nagagini and the undècorated snake is of a lower rank. Nagagini is derived from Skt naginl, female snake. This scene refers to an episode in the kidung Juarsa 15: 4-5 (Cod. Or. 10.345: 21). King Juarsa is in search of his wife. On the way he is confronted with a female snake of high rank having intercouse with an ordinary male snake of lower rank. Since this combination is forbidden the king smites the male snake which dies. The female snake is only wounded. Top: Nagagini speaks to her father Antaboga Light green at the bottom indicates the ground. Two snakes face each other. The one on the right is coloured green and yellow. It is on a slightly higher level. It wears a high crown, a diadem and it has long curly hair. It has rings of jewelry round its body and a jewel at the tip of its tail. The snake on the left is red and yellow. It has a chignon curled inwards and a diadem on the head. It has curly hair. It looks like the female snake below, but this one has rings of jewelry round the body. A text in Balinese script in ink in the centre says: sang hantabogha, di saptëpatalë, gnahnya (Sang Antaboga di saptapatala genah nya), Antaboga who resides in the realm of the unborn. On the left is written: nnaggëghinni, Nagagini. The female snake Nagagini has a meeting with Antaboga. She is depicted lower, since she is of lower rank than Antaboga who is the king of the snakes and resides in the netherworld. This scene is explained in the kidungjuarsa 15: 5-8 (Cod. Or. 10.345: 21). After being wounded the female snake goes to her father Antaboga in order to tell him what has happened to her. She does not tell him that she had intercourse with another snake, she only says that she has been wounded by someone and that he has taken her child. Antaboga gets very angry since he feels pity for her. No wounds on Nagagini’s tail, however, are visible in the drawing. A similar story is told in the versions of the Tantri Kamandaka 192, 194, in the kidung Tantri (for instance in Cod. or. 16.303, VII: 174-185) and in the Pisaca
Prakarana (Cod. Or. 14.801: I, 6-16). In the abovementioned Tantri versions it is a king called Aji Darma who kills the ordinary snake when it has sexual inter course with the female snake Nagagini and Nagagini tells her father that it was the wicked king Aji Darma who had sexual intercourse with her. Cod. Or. 3390-41 Two drawings on Dutch paper, watermark Amsterdam, countermark Van Gelder. 42.7 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. Polychrome, watercolours and ink. Colours: red, light magenta, salmon-pink, yellow, light green, white, grey and black. Artist: I Ketut Gedé. Origin : Singaraja. Mentioned by Juynboll 1903: 87. Top: maéndé or magebug, a martial art The ground is indicated by grey curving lines at the bottom of the drawing. A man is depicted at the top on the left beating a round copper metallophone hang ing on poles. The man is only partly visible. He wears a kerchief on his head. A text in Balinese script in ink on top says: hanak magamël ngebug kempul (anak magambel ngebug kempul), a musician playing the kempul. Another man stands in front of him. He plays a pair of large cymbals. He wears a short loincloth and a kerchief on his head. A text in Balinese script says: macéngcéng, and in Latin script in ink is added by Van der Tuuk: tjengtjeng, (céngcéng), to play the céngcéng. Beneath him a man sits at the bottom of the drawing playing a gong chime with two metallophones mounted on a wooden frame. The man wears a short loincloth tucked up between his legs and a sash with long ends round his waist. A text in Balinese script in ink says: ngbug réyong (ngebug réong), to play a réong and in Latin script in ink is added by Van der Tuuk: rèjong, (réong). Two men stand facing each other on the righthand side. The man on the left holds a big, round shield in his left hand, protecting his head with it. He has a rod with a round knob in his right hand. He hits the man on the right on his head with it, so that blood pours from his forehead. He wears long trousers with a floral pat tern, and a sash round his waist. He has a European hat on his head. The man standing on the left holds a similar rod and a similar round shield. He hits the man on the left on the shield. He wears the same clothes and the same headdress as the man on the left. His hat falls off as a result of the blow. A text in Balinese script in ink at the top in the centre says: hanak mahéndé, ngaba cëmti, mabuntar
timah, tkén tamyang, knë tëndas, tatopongné ktës, tendas pësu gtih, (anak maéndé, ngaba cameti mabuntar timah tekén tamiang, kena tendas, tetopongné ketes, tendas pesu getih), people playing éndé holding a whip with a knob of tin and a shield. The head is hit, the hat falls off, blood comes from the head. In Latin script in ink is added by Van der Tuuk vertically on the righthand side: hoort eigentl. te Sasak thuis, mogen alleen ’t hoofd raken met tjmëti pënjalin mbuntar timah (cameti panyalin mabuntar timah), belongs actually to Sasak (Lombok), are only allowed to hit the head with a rattan rodlike whip provided with a knob of tin. In KBNWB I: 32-33 éndé is the Sasak name for a kind of shield. The texts of the drawing are used in the dictionary to explain this martial art. Two men play maéndé or magebug. They are armed with a rod made of rattan on which a knob of tin is mounted. The men wear a European hat called tetopong. Tetopong was originally the name for a kind of cap worn by a haji and the name for the straw-hat worn by the Chinese (cf. KBNWB II: 732). Later is was also used for European caps and hats (cf. KBNWB III: 407). The men in the drawing are accompanied by a small orchestra. According to KBNWB I: 33 this art originates from Lombok. In De Zoete and Spies, repr. 1973: 52 éndé or gebug are described as occurring in Asak and in Amlapura in the regency of Karangasem. The art is reckoned among the “Libation Dances” associated with a fight. These Libation Dances and fights are performed in honour of an ancestor. A description of gebug in Asak and in Amlapura as it happened in the thirties is given in De Zoete and Spies, repr. 1973: 256-257. Bottom: bebengkulan, a martial art Grey curving lines at the bottom indicate the ground. A flower and plants grow from a stone fence in the centre. Two pairs of men armed with lances stand in front of each other. The pair on the foreground cross their lances in the centre above the fence. The man on the right at the back hits the man on the left at the back in the mouth with his lance. The man on the left at the back, hits the man in the right foreground on his chest. All men wear short loincloths and sashes round their waists. The pair in front also wear short sleeveless jackets (kuaca) and head- bands. The men in the background have kerchiefs on their heads. The man on the right wears a long sleeved jacket. A text in ink in Balinese script at the top says: hanak masyatsyatan, ngaba tum- bak babëngkulan, knë bungutnané, padë sahing duwa, and in ink in Latin script is added by Van der Tuuk: pada saing duwa (anak masiat-siatan, ngaba bebengkulan, kena bungut nyané, pada saing dua, men performing a martial art, holding a lance entwined with coconut fibre; the mouths of both comrades are hit. One party consists of two persons.
A fighting-game with lances, called bebengkulan is depicted. According to KBNWB IV: 1073 bebengkulan is a fight with lances without a metal knob. The top is soft, covered with coconut fibre. According to informants from Buléléng maéndé and bebengkulan were also known there. It is possible that both types of games were imported by people from Karang Asem who settled in Buléléng. Bebungkulan was practised by young men in Buléléng as training for, as it were, real fighting. Cod. Or. 3390-42 Two drawings on Dutch paper, watermark Amsterdam, countermark Van Gelder. 42 x 34 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. Polychrome, watercolours and ink. Colours: red, light magenta, light green, green, yellow, salmon-pink, light orange-brown, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Top: bans demang is executed by four warriors and by Potét, Prabangsa’s servant The background consists of grey curving lines. A tree stands in the centre of the drawing. The leaves are indicated by means of green dots. A man stands in a dancing attitude on the left. His body is turned to the left, but his head is directed to the right. He holds a round shield over his head. His left leg is bent. His left hand is on his knee. His attitude is a little exaggerated as if he were ridiculing the men to the right. He has a small beard and a moustache. He wears a short loincloth tucked up between his legs and a sash with long ends hanging down. Two men stand in dancing attitudes to his right. They face two other men on the far right and on the other side of the tree. The two men on the left have raised their right legs (nyingjing, to raise one’s foot), those on the right their left legs. They all hold cleavers in their right hands. They hold their left hands above their heads and they look up at them. They wear a small loincloth tucked up between their legs, a long black and white checkered loincloth which is held tight by a sash around the waist, and a sash crossways over their chests. Their pates are bald but they have long curly hair at the back of their heads. They have bulging eyes, and wear a beard and a moustache. Their skin is light brown. All five men have a kris on their backs in their girdle. A text in ink in Latin script by Van der Tuuk at the top on the left says: baris demang, baris demang. This is a kind of war dance in which warriors clad like the figures of the demang of the gambuh drama act. At the bottom on the left is writ-
ten in Balinese script in ink: potét ngaba tamyang (Potét ngaba tamiang), Potét holds a big round shield. In theatre and in the graphic arts Potét is the servant of Prabangsa. In the centre at the bottom is written in Balinese script in ink: baris dmang, ngabë lémat masaput poléng (baris demang, ngaba lémat masaput poléng), baris demang, they hold wooden swords and are clad in checkered loincloths. A similar text is given in KBNWB II: 526, however, the sword is called blakas instead of lémat. To the right edge of the drawing there is added in Latin script in ink by Van der Tuuk: lémat, wooden sword. It is probable that the meaning “wooden sword” refers exclusively to theatre swords, as lémat usually means knife. In KBNWB II: 526 ndemangin, to play baris demang, the “wooden swords with which the players strike at one another” are called bliyung. Obvious ly Van der Tuuk was not satisfied with the reference to lémat, knife, in the draw ing. Four armed warriors with clothes and hairstyles characteristic of the demang perform a version of the baris demang dance. The servant I Potét holds a shield and imitates the movements of the demang. All the men make dancing movements characteristic of the baris dances. Baris dances are ritual war dances performed in various parts of Bali. They are connected with ceremonies in honour of the gods, the ancestors (déwayadnya) or the dead (pitrayadnya). The dancers bear a weapon during the dance. Which kind of baris a particular dance is, is defined by the weapon carried by the dancers. Sometimes also a story, such as a story derived from the Panji romances as is the the case in this drawing, is per formed. De Zoete and Spies, repr. 1973: 13 mention that in the Thirties the baris demang was performed in Banjar Tegal close to Singaraja at one particular festival of a temple, though they do not mention which one. Grader 1939: 330-367, repr. 1960: 187-231 informs us that the baris demang is performed on the occasion of the festival of the pura Pemayun (Pamayun) in Banjar Tegal. There is a photograph from 1865 in the Royal Institute of Linguistics and An thropology (KITLV No. 4396) in which baris demang dancers from Singaraja are represented (see photograph No. 39). They resemble the four demang in the drawing. Bottom: the leader of the Prabangsa dance accompanied by his servants Semar and Turas Grey curving lines at the bottom of the sheet indicate the ground. A man stands to the left. His body faces left, but his head is turned to the right. His right leg, which is crippled, is raised (nyingjing). His chest is deformed. He has a tuft of hair on his forehead. He wears a black and white checkered loincloth with a long sash tucked up between his legs. His skin is light brown. He has a pipe (cangklong) for the smoking of mixed opium stick on his back in his girdle. Another man stands in the centre of the drawing. He faces left. He raises his left leg (nyingjing) and he picks up his loincloth with his hands (nyaup kampuh) by its hem. He has a refined face. His hair is styled in a chignon of the Panji-type
(gelung Panji). He wears black, grey and white checkered trousers, a long loincloth held tight by a sash around his waist, a small loincloth tucked up be tween his legs, and a shoulder-piece. His jewelry is characteristic of that of a royal personage. His skin is light brown. A small man stands in a dancing attitude on the right. He faces left. He raises his left leg (nyingjing) and his left arm points down and touches his loincloth. He touches his nose with his right index-finger. His sash hangs over his arm. He wears long trousers, a long black and white checkered loincloth and a sash round his waist. He has a kris on his back in his girdle like the man in the centre. He has female eyes and short, bristly hair. His skin is grey. A standard with a lance and a flag (tumbak) is planted between the man on the left and the man in the centre. Another standard with a parasol stands between the man in the centre and the man on the right. A text in Balinese script in ink close to the figure on the left says: hi turas, I Turas. This is the name of Panji’s second servant in the theatre and in the graphic arts. A text in the centre on the top says: puniki pangélék nané, ngigël mrëbangsah, mapotét daduwa (puniki pangélék nyané ngigel mrabangsa, mapotét dadua), this is their leader of the baris. He is dancing the Prabangsa dance accompanied by two of his servants. A text at the top on the right says: hismar, I Semar. This is the name of Panji’s main servant. A text in ink in Latin script by Van der Tuuk at the top on the right says: de prins, brabangsah die ngèlèkin mangigël, the prince Prabangsa, who supervises those who are dancing. A figure representing a royal personage dances the Prabangsa dance with his servants Turas and Semar. They make exaggerated, wild dancing movements. Grader repr. 1960: 216 informs us on the Prabangsa dance performed in pura Pamayun in Banjar Tegal. ‘The baris demang is executed by four demang, four demung dancers, a prabangsa and a potet, a comic disciple of the prabangsa in Pura Pamayun. The prabangsa portrays the ruler of Pajang. He prepares himself to fight the ruler of Malayu in the play executed during the temple festival’. In this performance the dance of the Prabangsa plays a major role. In Grader 1939: 330-367 a short version of the text spoken during such a performance is given. The Prabangsa dance is named after Misa Prabangsa, the stepbrother of prince Panji. According to the Malat I: l-12b (Cod. Or. 4303: 1) the king of Keling (also called Koripan and Janggala) had a son by a wife of lower rank, the Liku. The son was called Misa Prabangsa. He had a rough and unfortunate character. His opponent is the second son of the same king but by the king’s first wife, the Praméswari; this second son is known a.o. by the name Nusapati and Panji Malat Rasmin. In the Malat texts we find an indication for the reason why Pajang wanted to fight the king of Malayu. The king of Lasem wanted to marry a princess in Gegelang. He asked the king of Gegelang permission to marry her, but his pro posal was rejected, as the princess was promised to someone else (Cod. Or. 4305, IV: 71A-75A). The king of Lasem was very disappointed, and collected his allies
(Mataram, Pajang and Cemara). They prepared to fight Gegelang and its allies (Panji, Malayu) (Cod. Or. 4311 and 3585, VI: 5B-15A); finally they were slain. It seems now that in the dance performance of the pura Pamayun in Banjar Tegal Prabangsa has become a general name for a rough and wicked figure, i.e. the king of Pajang, rather than the name of the figure representing the stepbrother of prince Panji. Cod. Or. 3390-43 Two drawings on Dutch paper, watermark Amsterdam, countermark Van Gelder. 42 x 34.2 cm. The sheet has been folded horizontally into two halves. On the upper half and on the lower half there is a drawing. Polychrome, watercolours and ink. Colours: dark bordeaux-red, light magenta, dark and light green, yellow, light brown, salmon-pink, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Top: games of skill, macongnal and mabénté Curving lines at the bottom indicate the ground. A tree is depicted in the cen tre. Its leaves are indicated by small green dots. Two men sit to the left of the tree. They face each other. Each holds his right shin-bone with his left hand. The feet of their left legs touch. They point at each other with their right index-fingers. The man on the left wears only a short loincloth with a sash. He has a flower behind his ear. The man on the right wears a short jacket with short sleeves and a short loincloth. He also has a flower behind his ear. Both men have light brown skin. A text in ink in Balinese script at the top on the left says: hanak mëcongnal, nrahang lulud, (anak macongnal, nyrahang lulud), men playing congnal, offer ing their shin-bones close to the knee. Two men play a game called congnal. According to KBNWB I: 675 the men slap their knees while singing a song. (I have not yet come across the text of this song). Two other men are depicted to the right. The man on the left kicks the man on the right in the bend of his knee and holds his own calf at the same time. The man on the right runs away but looks back over his shoulder at the other man. They both wear a short loincloth with a sash round the waist. They have flowers behind their ears. Their skin is light brown.
A text in Balinese script in ink at the top on the right says: hanak mabénté, hrahang hod, (anak mabénté, nyrahang ood), men playing bénté, kicking each other in the bend of the knee. Two men play a kind of wrestling game. In KBNWB IV: 853 we find under bénté: a game in which two men offer each other the calf of one’s leg and then hit the shin-bone. The purpose of these games of skill was to find out which of the men was the stronger. One had to try to push the other one’s leg down (macongnal) and to kick the other one’s knee (mabénté) without using his hands. These games could be played by both adults and children. They no longer exist. Macongnal was also known as nyédér and masadah (leaning, pressing) and mabénté as magulet (wrestling), in Klungkung. Bottom: gambling men playing malobang and macontok kobok Green curving lines indicate the ground. A waringin tree is depicted in the cen tre. Three men sit on the left at the top. There is a small hole in the ground in front of them. Six Chinese coins with a hole in the centre (képéng) lie close to the hole but only one is partly visible because it has fallen into the hole; another is about to drop in the hole. The men sit close to each other and look eagerly at them. They point at the coins. They wear short loincloths with sashes round their waists and short jackets with sleeves. Their skin is light brown. A fourth man stands to the right of the tree. He faces the hole on the left. He holds a Chinese coin in his right hand and aims with it at the hole. He wears a short loincloth, a sash round his waist, and he has a knife on the back in his girdle. He wears a small moustache. His skin is light brown. A text in Balinese script in ink at the top on the right says: hanak malobang, nuju matitisang, (anak malobang, nuju matitisang), a man playing malobang, he is taking aim. On the left and close to the tree is written: juru bahangin (juru bangin), the bidders and in Latin script in ink is added by Van der Tuuk: bij het mëlobang, at the malobang. Four people play a game called malobang. Three men sit on the ground close to a hole (lobang), which is surrounded by Chinese coins. They point at the coins. They are called juru bangin, bidders, A fourth man aims with a coin. This is call ed matitisang, to aim. The game is played in the following way: before starting each player decides how many coins he will use. Each player gives the coins to the pitcher. At the back side of the hole a square is usually drawn on the ground (cadel), and in front of it a line. Coins which fall on the ground before the line are called dosa. The pitcher throws the coins in the direction of the hole. If they all drop into the hole they are his. If some of the coins fall on the ground the following happens: the bidders decide which coin has to be aimed at. They bid a certain amount of money on a
particular coin. The pitcher throws again. If he hits the coin in question all are his, the coins in the hole as well as the coins on the ground around it. If he misses the coin, but throws within the cadel, he takes only the coins from the hole. If he misses the coin, but throws within the dosa-zone, he loses everything and it is the turn of another man to become pitcher. Four other men sit at the bottom left. They are grouped around a hole in the ground. Two men hold a string of coins. All men wear short loincloths and sashes round their waists. The man on the far left also wears a short jacket with long sleeves and the man on the right wears a short sleeveless jacket. He has a rice cutting knife at his back in his girdle and a kerchief on his head. All the men have light brown skin. They point at three piles of coins lying on the ground around the hole. The man on the right of the hole puts a pile of coins down. A fifth man stands to the far right. His knees are bent. He holds a coin in his right hand and aims with it. He wears a short loincloth held by a sash round his waist. A text in Balinese script in ink in the centre says: hanak macontokobok (anak macontok kobok), people playing a game with coins. In Latin script in ink is add ed by Van der Tuuk: tjontok kobok (contok kobok). On the left close to the sitting men, is written in Balinese script in ink: juru pasangin, the bidders. Five men play another game with coins, called macontok kobok. The game is played with eight or twelve coins. The pitcher takes all the coins and aims at the hole. The other men bid in advance on a direction and put a pile of coins at that place around the hole. The number of coins that should fall in the hole (makobok) corresponds to a direction in this way: North with one, five and nine, East with four, eight and twelve, South with three, seven and eleven and West with two, six and ten. The pitcher throws first. When four, eight, or twelve coins fall in the hole, they go to the bidder in the East and the bidder in the West is defeated. When three, seven, or eleven coins fall in the hole, they go to the bidder in the South, and North is defeated. When two, six, or ten coins fall in the hole, they go to the bid der in the West and East is defeated. When one, five, or nine coins fall in the hole, they go to North and South is defeated. To be defeated is kalah. Should coins not fall into the hole, they are dosa. Apart from makobok (.KBNWB II: 367), “a game with coins”, Van der Tuuk also mentions macontok koblok (KBNWB II: 371): “a children’s game with coins which have to be thrown into a hole. If eight coins fall in the hole, East wins, if there are six coins, West wins, if there are five coins, North wins, and if seven coins fall in the hole, South wins”. The coin with which one throws is called sematu (KBNWB1ÏY: 332). Under Or. 18.841 (21) is kept a typewritten manuscript on games based on data collected by H. J. E. F. Schwartz. It is not mentioned in which part of Bali Schwartz collected these data. Schwartz was appointed in Bali from around 1900-1918, first as ‘Kontroler Keliling’, Controler of the political contacts with Balinese princes and kings, and from 1906 as Assistant Resident.
After his pension in 1918 he was asked to rewrite Van der Tuuk’s KBNWB to a Balinese Dictionary, which he did till 1936. He collected many additional data from informants from various places, Or. 18.841 (21) forming part of it. However, the place of origin of Schwartz’ informants is never mentioned in his documents. Game No. 20 (Or. 18.841 (21): 27) describes the rules for contokan, which can be played with at most 16 coins. The way the number of coins is related to the quarters of the compass is similar to our observation. In addition 16 is added to the East, 15 to the South, 14 to the West and 13 to the North. The small Chinese coin (képéng, kéténg or pipis bolong) was until the Pacific War, an inofficial currency on Bali. We know that the coins were imported from China via Singapore and Lombok by the Burd Company in 1834 and later, in 1847-49, via Kuta by the Danish merchant Mads Lange (Nielsen 1928: 23, Schulte Nordholt 1980: 6). The coins were put on a bamboo string in amounts of two hundred (satak) by the Balinese. By 1880 silver rixdollars and Mexican dollars were also circulating on Bali, but they were for the most part melted down and used for the making of jewelry (Jacobs 1883: 236). This is still the custom with Dutch rixdollars. The képéng is at present used only in ritual, in offerings presented to the gods and to the demons (sesari banten). A string of coins is, for instance, added to the offerings for the demons on the occasion of a wayang per formance so that the demons can go to the market and pay for their food with it, should they not be content with the offerings self. Large képéng (pipis Arjuna, Twalén, Kresna, or pipis Bulan) are used for magical purposes, for instance, as amulets for love magic (Covarrubias 1937: 142). Puppets and figures may also be made of the small képéng: the gods Sri and Sedana (the goddess of agriculture and the god of money), who are supposed to bring luck to the owners (Covar rubias 1937: 310), and the ukur, an effigy of a dead person used in cremation rituals (Covarrubias 1937: 366) are made in this way. During processions money may be thrown on the ground (sekar ura) and at a burial képéng may be thrown into the grave. This is supposed to bring luck to the deceased in heaven. Cod. Or. 3390-44 Two drawings on Dutch paper, watermark Amsterdam, countermark Van Gelder. 42 x 34.2 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. Polychrome, watercolours and ink. Colours: red, light pink, salmon-pink, light green, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja.
Bottom-, baris dadap, bans prési and baris panah The ground is indicated by grey curving lines. A tree is depicted at the top on the left. Green dots indicate leaves. Two pairs of men are standing in dancing at titudes. They face each other, but their bodies are directed to the right. The man on the left and belonging to the first pair on the foreground, holds kind of a bow in his left hand. His sash hangs over his right hand. He stands, his legs spread (tam- pak sirang). He wears a short loincloth, a small one with long ends tucked up be tween his legs, and a shoulder piece without shoulder-ornaments. He has a diadem and a triangular headdress on his head. These are characteristic of the baris dances. He has a kris with a black and white sheath on his back in his girdle. His face is refined, his eyes small. The man on the right kneels on his right knee. He looks over his shoulder at the man on the left. He holds a round shield in his left hand and a straight sword in his right. He wears long trousers, a short loincloth, a sash with long ends and a shoulder-piece with a sash crossways over his chest. His headdress is similar to that of the man on the left. He has bulging eyes and a large moustache. The man in the background on the left and belonging to the second pair is clad in the same way as the first man on the left and belong ing to the first pair. He also holds a bow. He also has a refined face. The man in the background on the right kneels and looks in the same way as the other man on the right in the foreground, however he holds a small oblong shield in his left hand which is decorated with a wayang figure with bulging eyes and locks of hair on the top. He holds a curved kris in his right hand. He is clad in the same way as the other man on the right. He also has bulging eyes. All man have light brown skin. A text in Balinese script in ink at the top in the centre says: puniki higel, baris dadaparési ngunuskris, (puniki igel baris dadap prési, ngunus kris), this is baris dadap and baris prési, they draw krisses. Below, there is written ngabëpanah, daduwa, (ngaba panah dadua), they hold two bows. In Latin script in ink is add ed by Van der Tuuk: dadua, two. Close to the man in the foreground on the right is written in Balinese script in ink: parési (prési), round shield. Close to the man in the background on the right is written dadap, dadap-shield. At the top on the right is written in Latin script in ink by Van der Tuuk: van belletjes voorzien de dadap alleen geschud wordende, provided with jingle bells, the dadap only being shaken. At the top on the left is added by Van der Tuuk: igël tjumangkirang (vroeger in gebruik), a dance accompanied by an orchestra playing in a certain way called cumangkirang (a custom in former days). Two pairs of men perform baris dances, the baris dadap, the baris prési and the bans panah. Panah originally means arrow, but here it may be regarded as an ab breviation of pamentangan panah, the object which has to be bent in order to shoot the arrow.
Top', musicians accompany the baris dances Floor ornaments at the bottom indicate a stone pavement. Grey curving lines in the background indicate the ground. A tree is depicted in the centre at the top of the drawing. Leaves are represented by dots. Two men sit on the far left, each of them playing a drum; they hold a stick in their right hand. The man in the foreground wears a short loincloth with a sash, and a kerchief on his head, the man in the background also wears a short jacket without sleeves (kuaca). A text in Balinese script in ink on the left says: puniki hanak magambël cmarkirang, (puniki anak magambel cumangkirang), these are men playing cumangkirang. The text in Balinese is changed in cmingkirang by Van der Tuuk. In Latin script in ink is added by Van der Tuuk: tjumangkirang. Obviously cmingkirang is a variant of cumangkirang. Another text says: hanak makendang, (anak maken- dang), men playing drums. Further to the right a man sits playing a large pair of cymbals. He wears a short loincloth and a jacket with long sleeves. A text in Balinese script in ink on the top says: macéngcéng, to play the céngceng. Two men sit in the centre, each of them playing a gong-chime which hangs around his neck. They use two playing-sticks. The man in the foreground wears a short loincloth, a long-sleeved jacket, and a kerchief on his head. The man in the background wears only a loincloth. A text in Balinese script in ink at the top says: hanak mabonang, (anak mabonang), someone playing a bonang. Two men stand at the top on the right. They hold a pole from which a large gong hangs. They stand back to back, but their heads are turned. They look angry with each other. They wear small loincloths tucked up between their legs and they have opium pipes (cangklong) at their backs in their girdles. A text in Balinese script in ink on top says: hanak negen kempul makratkratan, (anak negen kempul makerat- keratan), men carrying a kempul and quarelling with each other. In Latin script in ink is added by Van der Tuuk: elkaar nijdig aankijken, to face each other angrily. In KBNWB II: 78 this is explained as follows: “they are quarreling that one took another’s fee”. Perhaps they need the money for buying opium. A man sits at the bottom on the right behind a metallophone with nine bamboo resonators and eight keys. He holds a mallet with a round knob. He has a kerchief on his head. A text in Balinese script in ink on the left says: hanag majégog (anak maiégog), someone playing a jégog. In Latin script in ink is added by Van der Tuuk: anak madjègog, and, te Bil. tègog, in Buléléng tégog. In KBNWB IV: 29 this reference is also made. An orchestra, called cumangkirang, and playing cumangkirang accompanies the baris dancers depicted on the bottom of the drawing. The orchestra consists of two drums, one kempul, two bonang a bonang con sists in two kettles each mounted vertically on one side of a wooden cylinder and a jégog with eight keys. Such a bonang is of the antique type. It is also called réong or kléntangan (Kunst 1925: 103). Modern bonang or réong are mounted
I horizontally on a frame. The jégog is an unusual one, because generally such an instrument has only four keys, sometimes five (Kunst 1925: pi. 20; McPhee 1966: fig. 37) but rarely eight. It is possible that the instrument in the drawing has two octaves and thus eight keys. The fact that according to Van der Tuuk the instru ment is called tégog in Buléléng need not necessarily lead us to the conclusion that the artist, calling the instrument jégog in the drawing, was not from Buléléng, as many people from other regions had settled in North Bali. In Jacobs 1883: 147 the term gamelan cumangkirang is used to indicate an or chestra consisting of gongs and kromongs ( = bonang). It accompanies a group of Dutch visitors on the road on the way to the king of Mataram in Lombok. In the Balinese poem Bagus Umbara 445 (Van Eck 1876: 184) a cumangkirang plays when preparations are made for the marriage of a prince. Kunst 1925: 107 mentions a war dance with bow and lance, called cumangkirang, and accompanied by a gong cumangkirang, which was executed when he paid a visit to Blahbatuh. Heyting reports in a letter (Cod. Or. 18.035) dated 18th August 1923 addressed to Jaap Kunst that he visited Pan Soemiadji in Panarungan, Buléléng, who was the owner of a gong cumangkirang or gong cenik. This orchestra consists of the following instruments; a jégog with four keys, four gendér with four keys, two bebonangan, one kempul, two drums and two cengceng. The melodies played are munggah maring, sekar jepun, sekar gadung and bebesang. The or chestra is used on the occasion of bébas, a ceremony accompanying the abduction of a bride, madééng, a procession to a holy spring to fetch water for the prepara tion of holy water used for a cremation, makiis, a procession with sedan-chairs for the gods to the sea, and a temple festival (déwayadnya). The abovementioned composition of the orchestra does not, however, agree with that in the drawing. It is probable that the artist did not depict the complete orchestra, but made a selec tion of the instruments used. Baris dances are still known and are held on Bali. Baris dadap is the dance with the small oblong shield with a wayang figure in leather and with a bunch of black hair in the top. The dance is these days not accompanied by an orchestra. While dancing the men sing a particular song starting with jajar wayang, a row of wayang, probably referring to the wayang figures on the shields. (The songs have been recorded and transcribed as Cod. Or. 17.503-505 and 17.512). The baris dadap is at present restricted to Sukawana (in the regency of Bangli), Bebali, Klépékan and Krambitan (in the regency of Tabanan) and Kaba-Kaba (in the former kingdom of Mengwi, now Badung; Hinzler 1977). It is danced in the course of the procession on the occasion of a temple festival (déwayadnya) or at cremations (pitrayadnya). The baris prési is the dance with the small round shield. It is known in South Bali as well as in North Bali. According to De Zoete and Spies repr. 1973: 57 the baris prési was performed in Julah in North Bali. It is not accompanied by an or chestra or by singing.
The baris panah is the dance with a bow. It is mentioned in De Zoete and Spies repr. 1973: 57 as a separate type of baris dance. In Goris and Dronkers 1953: 2 62 baris panah performed in Ponjok Batu in North East Buléléng is depicted. All baris dances are now performed on the occasion of certain ceremonies (a temple festival, a cremation) and are not accompanied by an orchestra. The warriors form an escort to the god or to the ancestor. It is possible that the artist has depicted three varieties of baris dances, which are normally not held together, in the drawing to show them together and that he thereby did not want to suggest that they shared together. It is also possible that in the nineteenth century the baris dances were accompanied by an orchestra, in particular a gong cumangkirang, although I have not yet come across such information. Cod. Or. 3390-45 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 42.2 x 33.2 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. The drawing on the upper half is upside-down. Polychrome, watercolours and ink. Colours', light red, magenta, light magenta, light salmon-pink, light and dark green, light and dark yellow, white and black. Artist: I Ketut Gedé. Origin: Singaraja. Bottom: Juarsa kneels in front of the snake Antaboga Floor ornaments at the bottom of the drawing indicate a pavement. Creepers with flowers and leaves grow from a stone fence on the right and on the left. A snake is depicted on the left. It faces right. It has long curly hair and a diadem with a high crown on its head. It has four rings with jewels round its body and another jewel is mounted in the tip of its tail. On the right a man kneels on his left knee. He faces the snake. He makes a sembah. He has a refined face. His hair is styled in a chignon of the Panji-type. He wears long trousers with a floral pattern, a small loincloth tucked up between his legs with long ends hanging down, a gir dle, a sash round his waist, and a shoulder-piece. Another sash hangs over his left shoulder. His jewelry is that of a prince. His skin is white. A text in Balinese script in ink in the centre says: tëtamanan sang hantëboga, (tetamanan sang Antaboga), the garden of Antaboga. Below it is written: i jwarsë, sdëk di satëptëlê, ring taman (I Juarsa sedek di saptapatala ring taman), I Juarsa when he is in the netherworld in the garden (which is normally part of a palace).
A meeting between Juarsa and the snake Antaboga is depicted. Juarsa kneels down and honours the snake with a sembah. This scene refers to the following episode of the kidung Juarsa 15: 10-14 (Cod. Or. 10. 345: 22). Antaboga’s daughter, Nagagini, tells her father about a man (Juarsa) who has violated her and taken her child. Antaboga starts searching for the child. He meets Juarsa and asks him why he is carrying a child. Juarsa then tells his version of the story, namely that he had killed an ordinary snake which was having intercourse with Nagagmi, that she had run away leaving her child alone, which he was now trying to soothe out of pity for the child. The snake’s child, however, is not depicted in the drawing. Top: Juarsa weeps at the sight of a drawing illustrating events from his life The pavement is indicated by floor ornaments. A roofed pavilion with four posts is depicted on the left. A small man stands on the far left behind the pavilion. He holds a spear. He wears a short loincloth with a sash round his waist and a jacket with long sleeves. He has a kerchief on his head. Sketches in pencil are visible in the pavilion: these show a man lying on his back. A tall man steps out of the pavilion. He has bulging eyes. He wears a short loincloth and a sash round his waist with long ends hanging down. He has a kerchief on his head. He holds the arm of the man kneeling in front of him. This man presses his right hand against his cheek in grief. He has a refined face; his hair is styled in a chignon of the Panji-type. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, one of them hanging over his left arm, a girdle and a shoulder-piece. His jewelry is that of a prince. His skin is light salmon-pink. Behind him three men stand. The man on the left presses down upon the shoulders of the kneeling man. He wears a long jacket with long sleeves and he has a kerchief on his head. The man on the right draws his kris, but he is stopped by the man in the centre. The kris has a white sheath with black spots (pélét). Both men are clad in the same way: they wear short loincloths with sashes round their waists and kerchiefs on their heads. A text in Balinese script in the pavilion on the left says: puniki gambar, lelarn- pahan jwarsa, niki gnahnya (puniki gambar lelampahan Juarsa niki genah nya), this is a drawing of the story of Juarsa; this is where it is placed. A text at the top on the right says: panjak magëbagan, manggëbagin gambar; lautkë i jwarsa, nangis, ningalin gambaré, kangën tëkén hawak, dé ning klampahang, hawaké ditu, (panjak magëbagan, manggebagin gambar, laut teka I Juarsa, nangis ningalin gambaré kangen tekén awak déning kalampahang awaké ditu), watchers guard. They guard the drawing. Then Juarsa comes and weeps at the sight of the drawing. He is distressed, because episodes of his own life which move him great ly are depicted there. The kneeling figure is Juarsa. His distress is represented by the gestures he makes with his hands. The men, all of them according to their dress belonging to
the lower class, represent the guards. They want to catch Juarsa and take him by force. But the man who draws his kris is restrained by his comrade. This scene refers to the following episode from the kidung Juarsa 16: 1-3 (Cod. Or. 10.345: 20). Sara Ulan had had much trouble with men wanting her for their wife. Mean while she had lost trace of her beloved Juarsa. She decides to change herself into a man by cutting off her breasts. She sacrifices them on the condition that they would be restored to her when she finds Juarsa again. She then goes to Tujung Besah and marries the king’s daughter. By the side of a road she has a pavilion built in which a painting with episodes from Juarsa’s life is hung. She instructs guardians to watch the pavilion and to bring anybody to her who is alarmed or emotionally impressed by the sight of the drawing. When Juarsa passes he sees the drawing which reminds him of the happy and unhappy events of his past. He starts weeping. The guardians catch him and bring him to the disguised Sara Ulan. The sketch of the man lying on his back probably refers to the episode given in No. 3390-37. The kris-sheath is made of an expensive type of spotted black and white wood which was imported from Blambangan. Such a sheath is called pélét (Van Eck 1875: 113). According to Jacobs 1883: 46 this wood was very popular and much sought after for sheathes. It comes from the katimaa tree (Jav. timaha, Kleinhovia hospita) and was imported via Banyuwangi. Jacobs 1883: 151 mentions an anec dote about a piece of pélét which was stolen by a Balinese interpreter who joined Van der Tuuk and Dr. Van Rijckevorsel during their visit to Lombok in 1881. According to local law the thief had to be krissed. Cod. Or. 3390-46 Ten drawings on Dutch paper, watermark pro patria, countermark VdL. 42.4 x 33.2 cm. The sheet is folded horizontally into two halves. There are drawings on the up per half and on the lower half. The drawings on the top half of the sheet are upside-down. Polychrome, watercolours and ink. Colours: red, very light magenta, light yellow, very light green, light green, light salmon-pink, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Bottom, top left: karang kumangmang, an ornament in the shape of the head of a spirit The background at the top is very light green while the bottom is light brown. The head of a demon with bulging eyes and an upper jaw with protruding teeth and large fangs and a curly tongue (but no lower jaw) is depicted. It has eyebrows like fire.
A text in Balinese script in ink at the top says: kumangmang, head-ghost. Ac cording to KBNWB II: 360 a kumangmang or kamangmang is a kind of spirit which roams about graveyards. It consists of a fiery head. Bottom, bottom left: karang buta sungsang, an ornament in the shape of an upside-down demon At the bottom on the left there is an inverted demon with flames leaking from its head, arms and legs. He has round eyes, fangs and a long curly tongue. He wears a short loincloth tucked up between his legs. A text in Balinese script in ink at the top says: karang butë sungsang, (karang buta sungsang), an ornament in the form of an upside-down demon. This orna ment is also depicted in No. 3390-22, and in photograph No. 22. Bottom, top right: karang gelap, an ornament in the shape of a lightning-head At the top on the right there is an ornament with a demon’s head en profil with a long curly tongue and large protruding teeth in his upper jaw. It faces left. Flames emerge from the tongue and from the head. A text in Balinese script in ink at the top says: karang glap (karang gelap), or nament in the form of a lightning-head. This ornament is also depicted in Nos. 3390-20, 130, and in photograph No. 21. Bottom, bottom right: karang mretiu, an ornament in the form of a meteor A “snake” with a demon’s head faces left. Its head has bulging eyes, sharp teeth and fangs. A curly tongue, which is not forked, so it does not represent a real snake’s tongue, protrudes from the mouth. The “snake” has two rings of jewelry round its body. Flames protrude from the tongue, head, rings and tip of the tail. A text in Balinese script in ink says: karang rnretyu, (karang mretiu), an orna ment in the form of a meteor. The meteor is depicted like a snake since it is called lelipi awan, snake in the air by the Balinese. The heat generated in the body by the snake’s venom may also be associated with meteors. The above four ornaments are associated with fire and heat. They can, therefore, be expected as reliefs in pura dalem. Top: top left: karang gajah mina, a fish-elephant A fish-elephant is depicted en profil. It faces right. A text in Balinese script in ink says: gajah minna (gajah mina), fish-elephant. The fish-elephant ornament is a variation upon the makara ornament which originated in India. It is represented since the second century B.C. The makara is a combination of a crocodile’s body and an elephant’s head or a fish’s body and a
crocodile’s head. Later representations of the body are by the use of floral or namentation. This makara spread all over South and Southeast Asia, including ancient Java and Bali. The makara is represented since the end of the eighth cen tury A.D. in Java and since the tenth century in Bali. The makara ornament in Bali consists of an elephant s head and floral ornamentation, but more frequently of a fish with an elephant’s head. The gajah mina is associated with the origin of Bali. In Nieuwenkamp 1906-1910: 49-50 the story is mentioned. A huge gajah mina was once lying at the bottom of the ocean in the place where now Bali lies, but which was then just ocean. Its tail rested on Eastern Java. It lay there for a very long time without moving. As a result its skin was damaged to such an extent that its intestines came out. They floated on the surface of the sea. Layers of sand from Java covered them and that is how Bali came into being. This ornament is also depicted in No. 3390-129. Top, bottom left: karang rupa, a rock ornament with an ogre’s head An ornament with three rocks is depicted. At the base is an ogre’s head without a lower jaw en face. It has horns, two bulging eyes, a fiery tongue and legs with spurs (tegil). A text in Balinese script in ink says: karang rupë, (karang rupa), a rock orna ment with an ogre’s head (cf. KBNWB I: 760). The ornament is worked out in a way different from that in No. 3390-2, recto. It has horns and legs here, which do not appear in that in No. 3390-2. Top, centre, karang cawin, a rock orament in the shape of an ogre’s head en face An ornament with an ogre’s head en face is depicted. It has an upper and a lower jaw, a protruding tongue and two hands. Flames merge from its head. There are two legs to the sides. A text in Balinese script in ink says: karang cwiri, (karang cawiri), an ogre’s head with hands. The figure looks like No. 3390-23, recto, left, centre bottom, ex cept that the drawing at No. 3390-23 does not depict the legs on the sides. Top, bottom centre: karang bintulu, a rock ornament in the shape of a one-eyed ogre’s head en face A rock ornament consisting of a combination of three rocks and a one-eyed ogre s head en face is depicted. The ogre’s head has two fangs pointing down and in the upper jaw two large fangs pointing up. The head leans upon a kind of legs. A text in Balinese script in ink says: karang bintulu, a rock-ornament with a one-eyed ogre s head (cf. KBNWB IV: 859). In No. 3390-23, recto, right, top left there is also a karang bintulu depicted, but without the huge fangs pointing up. A
karang bintulu with legs is depicted at the foot of a tree in No. 3390-47. Another one is depicted in no. 3390-127. Photographs Nos. 28-30 also contain karang bin tulu. Top, top right: karang asti, a rock ornament in the shape of an elephant’s head en profil A rock ornament consisting of three rocks with an elephant’s head en profil at the base is depicted. It has two large tusks and two other fangs in each of the up per and of the lower jaw. It also has two horns on top of its head. A text in Balinese script in ink says: karang hasti, (karang asti), a rock orna ment with an elephant’s head. (cf. KBNWB I: 115). It differs from No. 3390-23, recto, right, top right, in having an upper jaw as well as a lower jaw, horns and an extra pair of fangs. More karang asti are depicted in No. 3390-127 and in photograhs Nos. 31-33. Top, bottom right: karang curing, a rock orament in the shape of a bird’s head en profil A three-fold rock ornament with a bird’s head en profil at the base is depicted. It has only an upper jaw in the shape of a pointed beak curled inwards with a long curly flaming tongue. A text in Balinese script in ink says: karang curing, rock ornament with a bird’s head (cf. KBNWB I: 600). It bears some resemblance to the ornament depicted at No. 3390-23, recto, left, top left except that the tongue is very different, but it cer tainly differs very much from No. 3390-24. Another karang curing is depicted at No. 3390-127. The use of these ornaments has already been described in preceding sections. Cod. Or. 3390-47 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.2 x 41.7 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, magenta, light and dark yellow, very light and light blue, light and dark green, light salmon-pink, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet is damaged at the bottom in the centre. Sumali and his daughter Kékasi kneel in front of the sage Wésrawa The ground is indicated by green dots. A man stands on the left facing right. He holds a bow in his left hand and an arrow in his right hand. The arrow is resting on the bow. His eyes are male and of the refined type. He has a round tur-
ban on his head with a diadem and a garuda ornament at the back. He wears a long jacket with floral pattern, like an ascetic, a sash crossed over his chest, long striped trousers, a small loincloth tucked up between his legs with long ends hang ing down, a girdle and a sash round his waist. His jewelry is that of a royal per sonage. His skin is light salmon-pink. A demon kneels on the right. He faces left. He has bulging eyes, a big mouth with large eye-teeth and a fang on his cheek. He makes a gesture with his right hand indicating polite speech. His left hand touches the arm of the figure in front of him. His curly hair is bound together into a knot on top of his head. He has a diadem on his head. His skin is light salmon-pink. He wears long trousers with floral pattern, a small loincloth tucked up between his legs with long ends hanging down, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is that of a prince. A woman kneels in front of him. He holds her between his arms. She has a refined face. Her gestures express polite speech. She wears a skirt and a long loincloth, a sash round her breasts with long ends hanging down, and a shoulder-piece. Her jewelry is that of a princess. She has long hair and a diadem on her head. Her skin is white. A tree with foliage is depicted in the centre. Its trunk is surrounded by a creeper (bun tan pa wit). Leaves are indicated by dots. An ogre’s head en face with legs and another with one eye and legs is depicted at the foot of the tree. The first head might be a kind of karang rupa, but without bulging eyes, the second head is a karang bintulu and resembles No. 3390-46 top, bottom centre. A text in Balinese script in ink at the top on the left says: bagawan wésrawë, ngaba ru (bagawan Wésrawa ngaba ru), the sage Wésrawa holds an arrow. At the top on the right is written: sang sumali, ngaturang pyanaknané, hi sang kékasih , (The “h” was crossed out by Van der Tuuk; Sang Sumali ngaturang pianak nyané I Sang Kékasi), Sumali is offering his daughter I Kékasi. The man standing on the left with the turban and coat, both characteristic of an ascetic, represents the sage Wésrawa (Bal., Wisrawa, OJ). That he is armed, although an ascetic, is not strange according to Old Javanese conceptions. The figure of a demon kneeling in front of him, together with the woman, petitions the sage for something. The kneeling figures represent Sumali and his daughter Kékasi. This scene refers to an episode described in the OJ Uttarakanda 10 (Cod. Or. 10.454: 11-12), and the OJ Arjunawijaya I, 8-13. The demon Sumali, the sun of Sukésa and Gramani, emerges one day into the world of mortals. At the sight of the sage Wésrawana, or Waisrawana as he is called in OJ, who lives very piously, he was filled with pleasure. He wants to make the sage’s father called Wisrawa in OJ his son in law, so that he can have superior grandchildren. When Sumali pays a visit to Wisrawa the latter already knows the reason for the visit. He grants Sumali’s daughter Kékasi three sons and a daughter, an awful one with ten heads and arms to be called Rawana, a child with ears as large as a cooking pot, to be called Kumbakarna, and a sage, Wibisana. The daughter will have sharp nails and therefore will be called Surpanaka.
Bun tan pa wit is equivalent to the creeper Cuscuta macrantha Don. (Nieuwenkamp 1906-1910: 157). A liane around the stem of a tree is often depicted in paintings, in particular in the paintings from Kamasan. In Balinese poems a liane is compared to the feelings a woman has for her beloved. Cod. Or. 3390-48 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.1 x 41.6 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: dark red, light magenta, orange-red, dark green, light green, yellow, light salmon-pink, very light blue, dark blue, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet is torn along the fold towards the bottom and is damaged in the cen tre at the top. Rawana cuts off the head of the envoy patih Gomuka The ground is indicated by curving lines at the bottom of the drawing. Stone ornaments indicate a pavement. A tree in a stone fence is depicted in the centre. A stag-horn fern (simbar) is placed on the trunk. Leaves are indicated by green dots. A man stands on the left, facing right. His left leg is raised (nyingjing). He holds a sword (pedang) in his right hand while he points with his left index finger (nuding) at the figure on the right. The man has bulging eyes, large eye-teeth and long hair. He wears long trousers with floral pattern, a small loincloth tucked up between his legs with long ends hanging down, a girdle, a sash round his waist, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a prince. He has long hair, a diadem and a high crown on his head. His skin is light salmon-pink. A man stands on the right. His legs are slightly spread. His knees are bent (tampak sirang). His hands are directed up wards. He has long sharp nails. His head lolls back to the right. Blood spouts from the neck. The head has bulging eyes and large eye-teeth. It wears a diadem. It has long hair and a chignon curled inwards at the back. The body is covered by long trousers with floral pattern, a small loincloth with long ends tucked up be tween the legs, a sash round the waist and another sash round the neck. The jewelry is that of a royal personage. The colour of his skin is salmon-pink. A text in Balinese script in ink at the top on tl s left says: sang dasësya, ngabë pdang, (Sang Dasasya ngaba pedang), Dasasya holds a sword. Dasasya is another name for Dasamuka or Rawana. It means the Ten Faced One. At the top on the right is written: patih gomuka, mapunggal, kawutus hantuk sang danéswara, (Patih Gomuka, mapunggal, kautus antuk sang Danéswara), Patih Gomuka, beheaded, is sent as an envoy by Danéswara.
The figure on the left, Rawana, the king of Langka, cuts off the head of the en voy Gomuka, a man with the appearance of a demon who belongs to the warriors of his half-brother Danéswara. This scene refers to an episode described in the OJ Uttarakanda 13 (Cod. Or. 10.454: 19-21), and in the OJ Arjunawijaya 4, 4-12. Wesrawana (as Rawana’s half-brother is called there) sends an envoy to Rawana with a letter in which he expresses his distress about Rawana’s ferocious behaviour. Rawana becomes very angry. He grasps his sword and severs the en voy’s head. Blood spurts high. In the Arjunawijaya it is mentioned that the head, while flying into the air, predicts that in some time in the future an envoy will reduce Rawana’s palace to ashes. This envoy turns out to be the monkey Anoman. Cod. Or. 3390-49 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.4 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light magenta, light salmon-pink, light and dark green, light yellow, light blue, light brown, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet is torn in the centre along the fold and has been damaged at the bot tom. Part of the drawing (the big fish eating a smaller one) is reproduced by Nieuwenkamp 1906-1910: 14, and 1924/25: 224. Rawana fights the monkey-king Bali in the sea The drawing is framed with circles of light brown, red and green. Within the frame there are blue curved lines which indicate the sea. At the top, at the bottom and to the left there are rock ornaments. A man stands at the bottom, left. He faces left. He pushes a figure above him with his hands. His head is at his chest, his knees are bent. He has bulging eyes and big eye-teeth. His hair is long. He has a high crown with a diadem on his head. He wears long striped trousers, a small loincloth tucked up between his legs and with long ends hanging down, a girdle, a sash round his waist, and another sash over his left shoulder. His jewelry is that of a prince. His skin is light salmon-pink. A figure with a long tail is above him. His knees are bent. He faces left. He has bulging eyes, a big wide-open mouth with sharp pointed teeth, and monkey-feet. He has long hair. He wears a diadem on his head. He is clad in long trousers with a pattern of flowers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is that of a prince. His skin is light salmon-pink. Various kinds of fishes both large and small are depicted to the right and to the left. A tortoise is depicted to the right. A large fish eats a smaller one at the top on the right.
A text in Balinese script in ink at the bottom on the right says: phu, (penyu), tortoise. At the top on the left is written: bé, fish. Outside the frame at the top to the left is written: sang bali, mayasa di sgarané, lawutka sang rawana, wuli di yon, mnahup, lawut kaplahibang, hantuk sang bali, (Sang Bali mayasa di segarané laut teka sang Rawana uli di duri manyaup, laut kapalaibang antuk sang Bali), Bah performs ascetism in the sea. Then Rawana comes up to him from behind and he is dragged along by Bali. A struggle between Rawana and the monkey Bali is depicted and takes place at the bottom of the sea. This scene refers to an episode described in the OJ Ut- tarakanda 20 (Cod. Or. 10.454: 33). Rawana goes to Kiskinda in the Southern seas because he wants to fight Bali. He finds Bali doing his prayers and having his ritual bath. Rawana approaches Bali stealthily from behind and catches him, but the monkey, being very strong, cuts off one of Rawana’s heads. They start chas ing each other. The monkey-king goes to the Western seas to continue his prayers, his ritual bathing and his honouring of the gods, but he is followed by Rawana. Then he goes to the Northern seas, where he completes his prayers still without being slain by Rawana. The king Bali, also called Subali, shows none of the characteristics of his ascetic way of life in this drawing, though he does in the same scene depicted in Nos. 3390-264 and 269 by other artists. Rawana is depicted with only one head however, and not with ten as mentioned in the Old Javanese text. In Balinese iconography Rawana is not usually depicted with more than one head. According to I Ketut Suwidja, B.A. the text uli di yori instead of uli duri in this drawing is characteristic of the Balinese spoken in the mountains around Panarukan (East Buléléng). Cod. Or. 3390-50 A drawing on Dutch paper, no marks. 43 x 34.4 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. Polychrome, watercolours and ink. Colours: light red, dark bordeaux-red, light magenta, light salmon-pink, light and dark green, light yellow, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The drawing is damaged at the top on the right and at the bottom. It has been repaired with pieces of paper glued to the back of the original. The drawing at the top is reproduced by Nieuwenkamp 1906-1910: 71 and 1919/20: 204.
Top: a travestite (gandrung) dancer dances with two onlookers (ibingari) A man stands in a dancing attitude (nyiku, his right elbow turned upward, matékenan, his left arm pendent) on the left. His knees are bent (tampak sirang). He faces right. His body bends slightly forward. He has large bulging eyes. He wears a long loincloth hold by a sash with long ends. One end of it hangs over his right arm. He has a kris on his back in his girdle and a kerchief on his head. A ‘female’ person dances in the centre of the drawing. She holds a fan in front of her face (ngliput) with her right hand. She wears a skirt, a long loincloth, a sash round the waist and another sash covering her breast. Its ends hang over her left arm. She touches the arm of the man to her left with her left arm. She has female eyes and she wears a headdress with flowers (tetombol). Another man dances on the right. He is clad in the same way as the man on the left. His dancing movements (nyiku, tampak sirang) are exaggerated, his head is askew, and faces right. All the dancers have light salmon-pink skin. A text in Balinese script in ink at the top on the left says: higël gandrung hi- bingan, (igel gandrung ibingan), a male travestite and an onlooker dance. In the centre at the top is written: puniki gandrung, this is a travestite dancer, and at the top on the right: hanak ngibing, someone dancing with a male travestite. Two men dance with another male who is a travestite. This type of dance was popular in the nineteenth century and at the beginning of this century. It is described in De Zoete and Spies repr. 1973: 242-245. A male dancer dressed to like a woman performs a kind of légong dance to music. The onlookers may enter the dance-floor and dance with the soloist. The style of dancing is decided upon by the onlooker, who may either choose to dance seriously, or to make crazy movements which usually cause much laughter among the audience. At the end of the dance the onlooker who has danced may retire with the boy to a quiet place where they make love to each other. The medical doctor Jacobs (1883: 13-14) had a rather negative opinion about the gandrung. He complained about the practices with the gandrung after seeing a performance in Bila (East Buléléng). “Ten to twelve year old boys perform these dances, clad like dancing girls. They give the impression of being girls, although onlookers know that the dancers are boys. Men from all classes of Balinese society offer their coins to dance with them. When they have finished dancing the onlookers have sex with them. As a result many of the boys contract rhagades and develop ulcera ad anum. Because of these and other complaints they may have untimely deaths.” Van der Tuuk also expresses his disapproval in a letter to the Dutch Bible Society. It is dated 9th November 1871. “A proof of the immorality [of the Balinese] is the popularity of the gandrung (little boy dancers clad like girls), with whom they dance, play about, etc. When gandrungs visit a place, the female dancers do not earn a penny! It is disgusting to see how the boys are kissed and pawed by the audience”.
Bottom: the orchestra accompanying the gandrung dance A man stands on the left. He faces right. He beats a round metallophone which hangs in a rack. He is clad like an ordinary Balinese in a short loincloth, a sash round his waist and a jacket with long sleeves. He has a kerchief on his head. A text in Balinese script in ink at the top says: makëmpul, (makempul), to play a kempul. At the top on the left is written in Balinese script in ink: juru gambêl (juru gambel), the musicians. A second man sits at the bottom on the left. He faces left. He plays a metallophone on a rack. A text on top says: juru kmong, (juru kemong), a kemong player. In the centre a man sits behind a xylophone with thirteen keys hanging over bamboo resonators. The man wears a kerchief on his head. He holds two mallets. A text in Balinese script in ink says: masasaron (masesaron), to play a saron. In Latin script in ink is added by Van der Tuuk: saron. To the right of this man stands a man holding two large cymbals. A text in ink in Balinese script on top says: macéngcéng, to play a céngcéng. A man sits on the far right. He holds a drum and beats it with both hands. A text in Balinese script in ink says: manggupëk (manggupek), to beat a drum with the hands. The skin of all the players is light salmon-pink. Three trees are depicted in the background, a fern-palm (ental) on the left side, an ordinary coconut-palm (nyuh) in the centre and a betel-palm (buah) with fruit on the right. An orchestra, the gamelan gandrung, accompanies the gandrung dancers. It consists of a kempul, kemong, céngcéng, a kendang and an instrument called the saron. The saron belongs to the gangsa group of instruments but it ought to have four wooden keys which rest on a low wooden base (McPhee 1966: 30, pi. 13) The instrument in the drawing has thirteen keys and thus belongs to the gendér group (McPhee 1966: pi. 60). Kunst 1925: 108-109 gives an enumeration of the instruments of the gamelan gandrung supplied to him by I Gusti Putu Jlantik of Singaraja. It differs completely from that which is depicted in the drawing. Cod. Or. 5368a gives some information on the musical accompaniment of the gan drung dance, however it does not refer to a saron nor to gangsa and gendér. Cod. Or. 3390-51 Two drawings on Dutch paper, no marks. 43 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half. Polychrome, watercolours and ink. Colours, ligt red, light magenta, light and dark green, greyish green, light and dark yellow, light and dark brown, light salmon-pink, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The drawing at the bottom half has already been reproduced in Nieuwenkamp 1906-1910: 224.
Top: a procession (makiis) to the sea of a palanquin for the gods A palanquin is carried by two groups of bearers both of which face right. Two snakes are mounted at the front of the palanquin. The bearers are clad in short loincloths tucked up between their legs, sashes round their waists and short- sleeved or long-sleeved jackets. Most of them have kerchiefs round their heads. They represent ordinary Balinese. Their skin is light salmon-pink or white. Five bearers walk in front. Two hold the poles of the palanquin and three hold lances and pennants (umbul-umbul). A small man hangs by his hands and feet from the bottom of the middle of the palanquin. Five men walk behind. Two of them bear the palanquin, while three men hold lances and parasols. A man stands just at the back of the palanquin and brandishes his kris. A text in Balinese script in ink at the bottom in the centre says: puniki hanak makihis, ngën pangogongan, (puniki anak makiis, negen pangogongan), these people celebrate makiis, that is, they carry a palanquin. A text in the centre says: hanak hëngsap susup kalë nglantingin, (anak engsap susup kala nglantingin), a man possessed by a demon hangs from the bottom of the palanquin. A palanquin is carried by two groups of men on the occasion of makiis. They bear lances, parasols, and pennants as a token of honour of the gods. When the gods and the divine ancestors come down to earth—déwayadnya; this happens once a year; the year is the Balinese wuku year, a “year” of 210 days—their palanquins and other utensils should first be cleansed. These are taken in proces sion to the sea in coastal regions and, inland, to holy bathing places, béji. This happens three days before the gods and ancestors come down. The palanquins are placed on the beach. A cleansing ceremony by a priest, in most cases a brahman priest, takes place. It often happens that during such a procession some people are possessed. They enter into a kind of trance. Sometimes they draw their kris and start stabbing themselves (ngurek) as depicted on the drawing, sometimes they throw themselves on the venerated object or its vehicle. A man possessed is called anak tedun in South Bali and anak engsap in North Bali. To go to the sea is called makiis or malelasti. To go to a bathing place is called ngabéji. There are other occasions when processions of palanquins for the gods go to the sea, but they differ from region to region and will not be further discussed here. Bottom: two corpses are carried towards a cremation tower (wadah) A cremation tower consisting of a base, a body and a top with one roof is depicted on the far right. A bamboo ramp stands on the left. Two corpses are car ried up the ramp, towards the tower. On the left ten men carry the corpse and hold five parasols and at the top on the right are seven men with three parasols. The bearers wear short loincloths, jackets with or without sleeves and a few of them have kerchiefs round their heads. They represent ordinary Balinese. The colour of their skin is light salmon-pink or white.
A text at the top on the left in Balinese script in ink says: hanak makaryya, ngabén, sdëk pangutangan; (anak makarya ngabén sedek pangutangan), people carrying out a cremation ceremony at the moment of cremation. Another text says: mnékang watangan, ka wadahé, makrëtëg, (menékang watangan ka wadahé makreteg), to carry a dead body up a ramp in the tower. A particular stage in a real cremation (pitrayadnya) is depicted. The days be tween the death of a person and his cremation may vary from between a week to several months, and may sometimes amount to as much as several years. All this time, the corpse is kept in the compound. In order to avoid its untimely composi tion the corpse may be injected with formaline. Lower cast people may bury the corpse first and dig the bones up when they have saved enough money for the cremation. In this case an effigy instead of a corpse is carried in the cremation tower to the cremation ground. The class to which the deceased belongs is one of the criteria for the number of floors of the tower, the highest number being eleven, which is the privilege of the ksatriya dalem; the lowest number is one, which is generally only for jaba. On this drawing we are dealing with the crema tion of someone belonging to the lowest class as the tower has only one roof. In South Bali, no ramp should be used in such a case. Corpses are wrapped in mats and in cloths. They are carried by several people. Usually a piece of white cloth metres long is connected with the corpse. It is held by members of the family during the procession to the tower and thence to the place of cremation. This is not depicted in the drawing. Parasols are used as a token ofhonour to the deceased. In Covarrubias 1937: 369 the various parts of the cremation tower of a nobleman are enumerated. The karang Boma, a Boma-head with wings, is an important ornament mounted on the body of the towers in South Bali. When hindrances such as a hill are encountered on the way to the place of cremation, the winged figure helps to overcome them. The cremation tower in the drawing has a small karang rupa in accordance with the fashion of earlier days in North Bali. Cod. Or. 3390-52 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light magenta, light and dark blue, light yellow, light orange- brown, light salmon-pink, light and dark green, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The drawing is reproduced by Nieuwenkamp 1906-1910: 110.
The king of Malayu cuts Panji’s hair, Kuda Senetan waits for a haircut. Sanggit kneels and holds a winnow The floor is indicated by stone ornamentation. A tree is placed in a stone fence in the centre of the drawing. A stag-horn fern (simbar) is depicted on its trunk. The leaves of the tree are indicated by green dots. A man sits in an armchair to the left. He faces left. He has a refined face. His hair is styled in a chignon of the Panji-type. He wears long striped trousers, a short loincloth, a girdle with a sash round his waist, a shoulder-piece and another sash hangs over his left shoulder. His jewelry is that of a royal personage. He has a diadem on his head. His skin is light salmon-pink. He has placed his left arm on the arm-rest and he holds his right fist to his chest. A man stands on the far left and faces the man in the chair. He holds a pair of scissors and cuts a lock of hair from the sitting man. He has a refined face. His hair is styled in a chignon curled inwards at the back of his head. He wears long striped trousers, a long loincloth, a sash round his waist with long ends hanging down, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a royal personage. He has a small diadem on his head. On the far right a man sits in a chair as well. He faces left. He supports his right elbow with his left hand, while holding a mirror in his right. This gesture is in dicative of offering something. He has a refined face. His hair is styled in a chignon of the Panji-type. He wears long striped trousers, a long loincloth, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. He has a small diadem on his head. A woman crouches on her left leg at his feet. She faces left. She holds a flat round object which has a brim and which is checkered in her hands. She has a refined face. Her hair is styled in an asymmetric chignon (tetagelan) at the back of her head. She wears a long loincloth, a sash round her waist and a sash with a Javanese batik (batik Rembang) pattern which covers her breasts. Both ends of the sash hang down. She has a small diadem on her head. Her jewelry consists of armlets, bracelets and earrings. The colour of her skin and of all the other figures in the drawing is light salmon-pink. A text in Balinese script at the top on the left says: hi mlayu, (I Malayu), the king of Malayu, and: hi panji magunting (I Panji magunting), Panji is having a haircut. Close to the tree in the centre is written: hi sanggit, ngaba témpéh (I Sanggit ngaba témpéh), Sanggit holds a small winnow. At the top on the right is written: hi snëtan, ngabë mkë, (I Senetan ngaba meka), Senetan holds a mirror. In Latin script in ink Van der Tuuk has added: Kuda Senetan, Kuda Senetan. The scene is situated in a paved courtyard with a tree. The person on the chair to the left is the prince Panji. His hair is being cut by the king of Malayu. Malayu’s brother, Kuda Senetan, sitting in a chair on the right, waits and watches. He holds a mirror so that Panji can see what his hair looks like after it
has been cut. Sanggit, a trusted servant of the princess Langkésari, holds a round winnow made of basketery. This scene refers to an episode of the Kidung Malat VIII: 318-438 (Cod. Or. 4311). Panji, the prince of Koripan, and the young king of Malayu, Gunung Sari—in fact the prince of Daha or Kadiri adopted by the old king of Malayu—stay at the court of the king of Gegelang. Kuda Senetan, a “real” son of the old king of Malayu, joins them. They are all there to help the king of Gegelang whose kingdom is surrounded by enemies. Prince Panji is in love with Langkésari or Rangkésari, the sister of Gunung Sari. Gunung Sari is in love with Ratnaningrat, the daughter of the king of Gegelang. Langkésari is at the court of Gunung Sari or Malayu in Gegelang, but Panji does not know because she is in disguise. In her turn Langkésari does not know that Panji is in her vicini ty, because he too is in disguise. Panji wants to have his hair cut. Only a few people may do so: the King of Malayu, and Panji’s wife Nawang Sasih are two of them. A maid-servant, Sang git, of Panji’s wife to be, Langkésari, is sent to the king. She is ordered to collect flowers for the prince to add to his beauty. The king, having cut Panji’s hair, asks for flowers for Panji. Malayu’s brother also wants to have a haircut, so that he will be as handsome as Panji. He wants Panji to cut his hair. Panji agrees. The object held by the servant Sanggit is an empty winnow used for the carry ing of flowers. These baskets today serve many purposes in Bali apart from this use as winnows, they are frequently used for carrying small, light objects such as flowers and offerings. Panji and Kuda Senetan sit in European armchairs. Chairs were introduced in to the courts by the Dutch. Jacobs 1883: 45 mentions that the Dutch Gekommit- teerde (the assistant of the Resident of Banyuwangi) preferred to sit in a chair when he visited the various courts on Bali, and not on cushions (lungka-lungka) on the floor or in a balé as the Balinese themselves did. In order to be sure that they would be sitting on comfortable chairs the Dutch presented seats to the kings. They were kept by the kings and produced when the Dutch visited. Sanggit wears a Javanese batik sléndang, called lookcan or lokcan (Jasper and Mas Pirngadie 1916, III: 17, 22, 89-90, 240; plates 9-10). Originally, lookcan were made to order for the Chinese in Pekalongan and surroundings and in Surabaya. The main colour of these shawls is most often a white fond (Pekalongan) or pale-green and brown (Surabaya). Pekalongan shawls were made entirely by hand with the canting, but the shawls from Surabaya were printed (cap) as well. All lookcan however were made of silk and were decorated with small dots. A characteristic motif of the shawls from Surabaya is the carna tion. In Rembang a particular type of silk lookcan was made decorated with birds (phoenix, peacock, cock), leaves and tendrils (Khan Majlis 1984: 62-63; pi. 281). Sanggit wears such a lookcan from Surabaya decorated with carnations and small dots. According to the Balinese there are two kinds of Javanese batik. The silk lookcan is called batik Rembang, and cotton batik kain are called batik Betawi.
Cod. Or. 3390-53 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33 x 41.6 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light magenta, light and dark blue, light yellow, yellow, light and dark green, light brown, ornage-brown, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. The appearance of the servant of the left Semar—in particular, the moustache and the hairstyle and the colour of the skin—is typical of North Bali. Panji becomes a member of the family of the king of Malayu by marrying his sister Rangkésari. Semar, Ratnaningrat and Bayan are watching A floor ornament at the bottom indicates a stone pavement. A tree with flowers placed in a stone fence (bebataran) stands at the centre of the drawing. A climber (bun tan pa wit) is depicted around the trunk of the tree. A man stands near the tree on the left. He faces right. His left leg is slightly bent. His left thumb and in dex finger encircle the index finger of his right hand which points upwards (mamusti). The man has a refined face. His hair is styled in a chignon of the Panji-type. He wears long trousers with a checkered pattern, a long loincloth, a sash round his waist with long ends hanging down, a shoulder-piece and another sash covering his right shoulder. His skin is light salmon-pink. His jewelry is characteristic of that of a prince. Another man stands behind him on the far left. He faces right. His gestures indicate speech. His face is refined. He is clad in the same way as the man at the front. His hair is styled in a chignon curled inwards at the back of his head. His skin is also light salmon-pink. A small figure stands at his feet. This also faces right. He holds a sirih-bowl (lelancang). He has female eyes and two large front teeth which are visible through his half-open mouth. His moustache is long and curly. His skin is light blue. His hair is dressed in a kind of knot at the back of his head with a pony-tail on top (jambul). He wears a black and white checkered loincloth and a sash round his waist. To the right a woman kneels close to the tree. She makes a sembah and faces the men on her left. She has a refined face. She wears a long loincloth which has a floral pattern, a sash round the waist, a Javanese batik sash (batik Rembang) which covers her breasts (anteng-anteng) and a shoulder-piece. She has long hair and a diadem on her head. Her skin is light salmon-pink. Her jewelry is characteristic of that of a princess. Another woman kneels behind her. She also faces left. She makes gestures which indicate speech. She has a refined face, long hair, and a diadem on her head. Her body is only partly visible. She wears a sash covering her breasts and a shoulder-piece. A woman kneels in front at her feet.
She holds a sirih-bowl (lelancang). She also faces left. She has a refined face, but her hair is styled in an asymmetric chignon (tetagelan), which indicates that she is not a princess, but that she belongs to a lower class. Her skin is light brown. She wears a long loincloth and a sash covering her breasts. A text in Balinese script in ink at the top on the left says: hi smar; (I Semar), Semar, the servant Semar. More to the right: hi mlayu, (I Malayu), the king of Malayu. More to the right in the centre is written: hi panji, kaprënah hamisan (I Panji kaprenah amisan), Panji becomes a cousin of Malayu. On the righthand side is written: hi rangkésari (I Rangkésari), Rangkésari; hi ratnaningngrat (I Ratnaningrat) and hi bayan, (I Bayan), Bayan. A meeting takes place between Panji and Rangkésari. The princess kneels and she honours him with a sembah. Panji makes a gesture which indicates “follow ing an order”, which probably refers to his becoming a cousin of the king of Malayu. (Panji’s father and Malayu’s father are brothers). The king of Malayu stands behind Panji, and speaks. He is accompanied by his servant Semar. The princess is accompanied by Ratnaningrat and an ordinary servant called Bayan. Ratnaningrat is the daughter of the king of Gegelang. She is married to the king of Malayu. Rangkésari remains at Malayu’s court. She stays in the women’s quarters with a.o. Ratniningrat. Panji is in love with Rangkésari, but for a long time Malayu does not agree to give his sister to Panji. In the drawing he consents to the marriage of Panji with his sister, as a result of which Panji and Malayu become cousins. This scene is not described in the Malat texts. Panji abducts Malayu’s sister at the end of the Malat texts. The marriage-scene, however, is treated in the gambuh theatre. The princesses in the Malat stories are surrounded by a group of female atten dants of high and of lower rank. These attendants are called Bayan, Sanggit, Pasiran, Pangonengan and the condong (Cod. Or. 13.530: 138, 195b). Sanggit and Pasiran are daughters of the demang, demung or tumenggung, functionaries of the wésya class at the court. Pangonengan is the title of a former nurse of a princess, Bayan refers to a person of high descent, while the condong refers to a servant who belongs to the jaba class. Cod. Or. 3390-54 Two drawings on Dutch paper, watermark Amsterdam, countermark Van Gelder. 42 x 34.1 cm. The sheet has been folded horizontally into two halves. There is a drawing on the upper half and on the lower half of the sheet. Polychrome, watercolours and ink. Colours: red, light magenta, salmon-pink, light and dark green, yellow, white, grey and black.
Artist: I Ketut Gedé. Origin: Singaraja. The sheet is glued onto a piece of transparent textile. It is mounted in a passe partout. Top: men playing a game with Chinese coins on a bat, called macontok pulang The background consists of grey curving lines. A tree is depicted on the left. Leaves are indicated by green dots. A group of ten men sit around a large rec tangular table. A tall man sits at the very back in the centre. In his right hand he holds a kind of bat on which twelve Chinese coins (képéng) are arranged in rows. A very large Chinese coin has been placed on a table to his right. The man points with his left hand at some coins lying on the table to the right. A small man to the man’s left, another tall man to his left and two men in front of him and on the left hold double strings of Chinese coins. On the right a string of Chinese coins lies on the table and on the left there are two more strings of coins. A large Chinese coin has been placed on the table close to the bat. A man on the right holds a European coin which has a ribbed rim and inscriptions on the sides. He points it at a man who holds a string of Chinese coins. All the men look fixedly at the man in the centre. They all wear short loincloths, short long-sleeved jackets and some of them also wear kerchiefs. The arrangement of the kerchief is characteristic of Buléléng. The men have a kris or an opium pipe (cangklong) on their backs in their girdles. A text in Balinese script in ink at the top in the centre says: puniki mlandang, juru pulang jai, (puniki malandang juru pulang jai), this man here is the leader, the man who puts down the coins. In Latin script in ink Van der Tuuk has add ed: djai, (jai). According to KBNWB IV: 343 jai is a type of Chinese coin which is black and one side of which has been painted red. Sixteen or eighteen of them are used in contok pulangan. In the drawing, however, twelve coins are being used. At the top on the right there is written in Balinese script, in ink: hanak maplalyan macontok pulang, pasangan ramé, (anak mapalalian macontok pulang, pasangan ramé), people playing with Chinese coins (contok pulangan); many men bid. Ten men seated round a table play contok pulangan. They are all ordinary Balinese according to the clothes they wear. The gamblers have bid. They put strings of képéng and other coins (rixdollars) on the table. The leader holds the bat. This is called tambéng or janggi in Blahbatuh and képang in KBNWB II: 495. The game consists in throwing the coins up (pulang). The number of coins which falls on the table and not on the bat corresponds to a quarter of the compass (see Nr. 3390-43). The money put on the table in this quarter is for the bidders. It is not completely clear from KBNWB IV: 343 which side of the jai should be painted red. The Chinese coins used in Bali date from the 18th and the 19th cen tury. They were made during the Manchu Dynasty. One side of the coins con tains Chinese characters and the other side bears an inscription in Manchu script.
KBNWB II: 609, trep, mentions that the black side has numeral-like script and II: 693, tléh, that the red side bears Chinese characters. It is probable that by numeral-like script the Manchu script is meant. Van der Tuuk also mentions in his dictionary some technical terms used during the game. If all the coins fall either on the black side or on the other side, so that there is no winner, this is call ed sonar {KBNWB III; 22). If the coins fall withthe black side up, this is called trep {KBNWB II: 609). If eight, twelve or four coins fall with the black side up, so that East wins, this is called tari {KBNWB II: 585). If three, seven or eleven coins fall with the black side up, so that South wins, this is called tiga datu {KBNWB II: 794). If ten, six or two coins fall with the black side up, so that West wins, this is called duga {KBNWB II: 527), and if one, five or nine coins fall with the black side up, so that North wins, this is called tlaga {KBNWB II: 714). The leader (mlandang) takes 10% of the profit (cf. KBNWB IV: 584). Under Or. 18.841 (21) is kept a typewritten manuscript on games, based on data collected by Schwartz. It is, as already noted under Or. 3390-43, not known in which part of Bali Schwartz collected this information. Game No. 13 (Or. 18.841 (21): 24-24) describes the rules for contok pulangan. The bat is called pamulangan in this text, and the game is played with 16 coins, which should be placed on the bat in rows of four, the red sides up. The rules of the game are described very elaborately, but they agree with our short description of the game. In addition many technical terms in Balinese have been added. Bottom: men playing a dice game called maclebontang The background is indicated by grey curving lines. A tree is depicted to the right on the far left. Leaves are represented by green dots. A group of seven men sit round a circular table. A tall man on the left handles a kind of dice with a han dle. The other men in the drawing hold strings of Chinese coins and point at the dice. They look at the man holding the die very attentively. The other men in the drawing also hold strings of Chinese coins. A string of coins has been placed on the table with a pile of four large round European coins (rixdollars) with a ribbed rim and with an inscription. Most of the men wear short loincloths, sashes round their waists and jackets with long sleeves. Three of them have kerchiefs round their heads. A text in Balinese script in ink in the centre at the top says: hanak maclebon tang, (anak maclebontang), men playing clebontang or clebontan. According to KBNWB I: 645 this is a game in which a dice with a handle is used. The sides of the dice are numbered four, three, two and one. The rules of the game are: the dice (gangsing) is to be turned by the “leader” of the game. The bidders have to put strings of money in one of the four quarters of the compass on the table. The number of the side of the die which comes up corresponds to one of the four quarters of the compass (see No. 3390-43). The money put to that direction by the bidders is for them. Van der Tuuk also gives some technical terms for this game in
his dictionary. The sides of the dice are called tiyas (KBNWB II: 739). A dice that was loaded with a piece of tin in order to play false also existed. Such a dice was called palolong {KBNWB III: 736). Both games are not popular now and it was difficult to find informants who were able to give information on the rules of these games. I Ketut Rinda from Blahbatuh has to be mentioned in this respect. Cod. Or. 3390-55-104 Numbers 55-104 are bound in light blue and white paper with a yellow textile back. A text is written upside-down at the bottom of the front cover. This text in Balinese script in ink says: pangélingngéling, pakaryyan, hidda putü hémma, prastisté ring griya pratodda gumi badung, nanging hampura, sawwét ning kalin- tang, tambat sakéwala, pongah ngiring kayun hi twan, (pangéling-éling pakaryan Ida Putu Héma, pratista ring griya Pratoda, gumi Badung, nanging ampura, sawét ning kalintang tambat, sakéwala pongah ngiring kayun i Tuan), remembrance, work by Ida Putu Héma, living in the griya Pratoda, regency of Badung, but I ask you to forgive me for the work lacks quality, I am just stupid and clumsy in following your wish, (“i Tuan” may also mean “his”). Various types of paper are used, a.o. Munro, superfine, which is dated. The dates are 1885, 1886 and 1887. Cod. Or. 3390-55 A drawing on paper, no marks. 34.5 x 21.3 cm. Polychrome, watercolours and ink. Colours: red, pink, salmon-pink, dark and pale green, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The red at the bottom of the trousers of the figure is no longer apparent. Rama A man stands and faces left. He holds an arrow in his right hand and a bow in his left (nggawa). His legs are spread, the right leg to the front, (agem). The col our of his skin is white. His eyes are refined. He has a spot in the centre on his forehead. He wears short striped trousers, a small loincloth tucked up between his legs, a sash with long ends, a girdle, a shoulder-piece and another sash over his left shoulder. He has a diadem and a high crown on his head. His jewelry is that of a prince. There is some air ornamentation at the bottom and on the left (awon- awon, type I). A text in Balinese script in ink at the top on the right says: bhatara rama, putran sang dasaratta, puri ring hayodya, maswammi, ring sang sita, (Batara
Rama, putran sang Dasarata, puri ring Ayodya, maswami ring sang Sita), Rama, son of Dasarata, (having) a palace in Ayodya, married to Sita. At the bot tom on the right is written: byang sang rama déwi késalya, (biang sang Rama Déwi Késalya), Rama’s mother is Déwi Késalya. Rama is the main figure in the Old Javanese Ramayana and the second part of the Uttarakanda. The Ramayana dates from before 930 AD (Zoetmulder 1974: 231) and was written in Central Java. The Uttarakanda can be dated as originating from the end of the tenth century. These two Old Javanese texts are based on Sanskrit versions of the Ramayana written by Valmiki and Bhatti. Many transcriptions and versions of the Old Javanese texts exist on Bali. Rama’s main purpose is to defeat the giant Rawana who abducted his wife during their stay in the forests. Rama is the eldest son of king Dasarata and queen Késalya. In the OJ Ramayana I, 31 his birth is mentioned. His emblem is the bow. He shoots, for example, the golden deer with it (No. 3390-112). The spot in the centre of the forehead is called basma, cudamanik of cundang. It is made from the ashes of burned sandalwood or from jewelry. It distinguishes “refined” figures of triwangsa and of gods in the draw ings of the style traditional to South Bali. Cod. Or. 3390-56 A drawing on paper, no marks. 34.5 x 21.3 cm. Polychrome, watercolours and ink. Colours: red, pink, salmon-pink, dark and light green, yellow, light brown, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 541. Laksmana A man stands facing left. He holds an arrow in his right hand (nggawa). His left arm is slightly bent (nyiku), his hand is clenched into a fist. His legs are spread, his right leg to the front (agem). His knees are slightly bent. His eyes are refined. He wears short striped trousers, a small loincloth in the kuta Mesir style patterned tucked up between his legs, a sash round his waist, a girdle, a shoulder- piece and another sash over his left shoulder. His jewelry is that of a prince. He has a diadem on his head. His hair is styled in a small double chignon with a garuda ornament at the back. A text in Balinese script in ink at the top on the right says: laksmanna, putran dasaratta, byang hidda déwi sumitra, (Laksmana putran Dasarata biang Ida Déwi Sumitra), Laksmana son of Dasarata; the mother is Déwi Sumitra.
Laksmana is Rama’s younger brother by the third wife of king Dasarata. His birth is described in the OJ Ramayana I, 33. He accompanies his brother when they are forced to leave court and wander in exile through the forests. Cod. Or. 3390-57 A drawing on paper, no marks. 34.5 x 21.3 cm. Polychrome, watercolours and ink. Colours: red, pink, light yellow, yellow, dark green, light brown, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Between number 57 and 58 a sheet is clearly missing; it was probably cut out. It is clear that a drawing is missing because there are traces of red paint from the missing sheet on the verso of sheet no. 57. There are traces moreover of cutting. This drawing must have been removed before the collection was registered. Sita A woman stands facing left. She holds her right hand to her breast, while her left hand hangs at her side (matéken). Her head is slightly bent. This attitude is characteristic of high ranking women if they form part of the suite of kings and are making obeisance. Her eyes are refined. She has a spot (basma) in the centre of her forehead. She has long curly hair. The colour of her skin is light yellow. She wears a skirt and a long loincloth with a floral pattern. Her breasts are covered with a sash with long ends. She also wears a shoulder-piece. A small diadem with a garuda ornament sits on the back of her head. Her jewelry is that of a royal per sonage. A text in Balinese script in ink on the right says: déwi sitta, priyan sang rag- gawa, holihhé sakkéng séwëmbara, ring mitilë, putran prabhü jnakka, (Déwi Sita, priyah sang Ragawa, olihé sakéng séwambara ring mitila, putran prabu Janaka) Sita, who became the wife of Ragawa, after Ragawa had overcome all his opponents in the contests held in Mitila for the hand of Sita, the daughter of king Janaka. (This is séwambara, lit. “self-choice” marriage; Ragawa is an epithet for Rama. It means ‘a descendant of Ragu’, which is a patronimicum of Dasarata). The search for Sita and her subsequent marriage are described in the OJ Ramayana II, 49-65. Cod. Or. 3390-58 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink.
Colours: red, pink, light and dark green, yellow, light brown, beige, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 538. The monkey Anoman A monkey sits leaning on his left knee. He makes obeisance (panangkilan). He faces left. His tail points upwards, and has a jewel at its tip. He holds his fists to his caste-cord against his chest (nabdab). His attitude indicates making obeisance while listening. He has long thumb nails. His mouth is half-open. His teeth and eye-teeth are pointed. The colour of his skin is white. He wears short striped trousers, a black, grey and white checkered loincloth which is small, and tucked up between his legs. His jewelry consists of a caste-cord and a necklace. He has pointed armlets, called bajra in South Bah, around his upper arm. They point downwards (tuun). His wristlets are of the same type but they point upwards (menék). His hair is styled in a double chignon. He has a small diadem on his head. A text in Balinese script in ink at the top on the right says: wanararaja, sang bayutmaja, nga, hanomman (wanara raja sang Bayu tamaja, nga. Anoman), royal monkey Bayu’s son named Anoman. Anoman is the monkey envoy who is sent to Langka to help Rama in his search for his wife (OJ Ramayana VII: 49). Being a son of Bayu, the god of the Vital Air, Anoman is able to fly. This is symbolized by the black, white and grey checkered loincloth which he and Bayu wear. He also has in common with his father the triangular ornaments (bajra) which he wears and the long, pointed thumb nails. The fact that the triangular ornaments point towards each other is somewhat exceptional. They ususally point upwards. The reason why the bajra of the armlets point downwards is still slightly puzzling. They might be explained in the following way. The bajra resemble the sign om. When the two signs are poin ting with the sharp sides towards each other, this is called om kara madu muka. It is associated with creation and life (Moojen 1926: 28, fig. 3). It might be possible that reference is here being made to om kara madu muka by the artist. Cod. Or. 3390-59 A drawing on paper, no marks. 34x22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, yellow, light and dark green, sky-blue, light brown, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 538.
The monkey Nila A monkey sits leaning on his left knee, which indicates that he is making obeisance (panangkilan). He faces left. He supports his right elbow with his left hand, which signifies that he is offering to do something (ngaturang). His skin is sky-blue. He wears short striped trousers, a small loincloth with a Javanese batik pattern (batik Betawi) tucked up between his legs, a sash round his waist, a shoulder-piece, and a sash over his left shoulder. His jewelry is characteristic of that of a royal personage. His hair is styled in a double chignon with a garuda or nament at the back. A text in Balinese script in ink at the bottom on the right says: nila, plawagara- ja, tmajan sang hyang hantabogga, (Nila, plawaga raja tamaja Sang Hyang An- taboga), Nila, royal monkey, son of Antaboga. Nila (Skt nïla) means blue, which accords with the colour of the monkey’s skin. Antaboga (OJ Anantabhoga) is the king of the snakes in the Netherworld (cf. No. 3390-40). In the OJ Ramayana VII: 49 Nila is ordered to join Anoman as an envoy to Langka by Sugriwa. Cod. Or. 3390-60 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, yellow, light brown, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 538. The monkey Anggada A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his hands close to his chest, his elbows raised. His left index-finger points up wards, his right touches (nabdab) his caste-cord. His attitude expresses obeisance and attention. His skin is white. He wears short striped trousers, a small loincloth with kuta Mesir pattern tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and a sash over his left shoulder. His jewelry is characteristic of that of a royal being. His hair is styled in a double chignon. A text in Balinese script in ink at the bottom on the left says: hanggada, putran mraja bali, hibu sakking déwi tara, (Anggada, putran mraja Bali, ibu saking déwi Tara), Anggada son of king Bali, with Tara as a mother. In the OJ Ramayana VII: 49 he is ordered to join Anoman as an envoy to Langka to search for Sita. In the OJ Ramayana VIII: 35-50 he is sent by Rama to urge Rawana to give Sita back. Although Rama has killed Anggada’s father, the monkey bears no grudge and even becomes a faithful servant of Rama.
Cod. Or. 3390-61 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light brown, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Jambawan A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his right hand close to his chest, his elbow raised and he touches his caste-cord (nabdab). He touches his sash with his left hand (nyamir). His attitude expresses obeisance and attention. His skin is light salmon-pink. He wears short trousers, a small loincloth with kuta Masir pattern, a sash round his waist, a girdle, a shoulder-piece and a sash over his left shoulder. His jewelry is that of a prince. His headdress consists of a turban with a diadem and a large garuda ornament on the back of his head. A text in Balinese script in ink at the top on the right says: wrëdda Jambawa, ratü ring Kiskinda, (wreda Jambawan ratu ring Kiskinda), the old Jambawan, king of Kiskinda. In the OJ Ramayana VII: 47 he is ordered to join Anoman as an envoy to Langka by Sugriwa. In VIII: 17 he is mentioned as being among the most important monkeys. Cod. Or. 3390-62 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, green, yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Gawaksa A monkey sits leaning on his left knee (panangkilan). He faces left. His right hand is held close to his head, a gesture of explaining and politely speaking (ngungkab suara). His left hand hangs by his side (matéken). He has the head of a bird with a long pointed beak which is directed upwards. His skin is white. He wears short striped trousers, a small loincloth with kuta Mesir pattern tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. His hair is styled in a chignon curled inward at the back of his neck. Some part of his hair falls free. He wears a small diadem on his head.
A text in Balinese script in ink on the right says: gawaksa, Gawaksa. Gawaksa (Skt) means bull’s eye. It is also the name of a small round window. In Bali the name is connected with the word gawak, or goak, which means crow. Because of this connection the monkey is depicted with a bird’s head. In the OJ Ramayana XIX: 40 Gawaksa is numbered among the oldest and the strongest monkeys in Sugriwa’s heir and in XVIII: 17 among the most important monkeys. In XXII: 58 he fights with a group of other monkeys against Kumbakarna. Cod. Or. 3390-63 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, salmon-pink, green, yellow, light brown, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Lambodara A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his right hand close to his chest, his elbow raised (nyiku). He touches his caste- cord (nabdab). His left hand is on his sash (nyamir). His attitude indicates obeisance and attention. He has a diadem on his head and a headdress consisting of five long red, pink and white petals. His skin is white. He wears short striped trousers, a small loincloth with a Javanese batik pattern (batik Betawi) tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. A text in Balinese script in ink at the bottom on the left says: wanararajatwë, nga, Lamboddara, (wanara raja tua, nga. Lambodara), the old royal monkey called Lambodara. Lambodara (Skt) means having a hanging belly, a name which does not accord with the appearance of the monkey in the drawing. It is possible that the name is associated with OJ lamba, leaf, flower with a few petals. The association is perhaps made by the headdress consisting of petals. In the OJ Ramayana XIX: 41 Pralambodara is numbered among the strongest and the oldest of the monkeys of the heir commanded by Sugriwa. It is probable that by Lambodara, Pralam bodara is referred to as the Sanskrit prefix pra- is often dropped in Balinese. Cod. Or. 3390-64 A drawing on paper, no marks. 34 x 22.1 cm.
Polychrome, watercolours and ink. Colours', red, pink, light salmon-pink, light and dark green, blue, light brown, yellow, white, grey, black. Artist'. Ida putu Héma. Origin: griya Pratoda, Badung. The monkey Winata A monkey sits leaning on his left knee (panangkilan). He faces left. He has the head of a bird with a pointed beak. His teeth are sharp and pointed. His skin is green. He holds his left hand to his sash (nyamir) while his right arm hangs in front of his body (ngungkab suara). His attitude indicates that he is speaking humbly while making obeisance. His hair is styled in a chignon curled inwards at the back of his head. He has a diadem on his head. He wears short striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the right says: winattë, Winata. Winata (Skt) means bent, stooping. This name does not accord with the appearance of the monkey. In Bali, Winata is associated with Winatéya, the son of Winata. This is the bird Garuda. This association explains why the monkey has a bird’s head. His attitude is called panangkilan, which indicates the way to sit in an audience with a royal personage. His gestures indicate that he is listening. The monkey Winata is mentioned in the OJ Ramayana VII: 54. Winata goes to the East on his quest for Sita. In XVIII: 18 he is numbered among the most im portant monkeys and in XVIII: 52 he eats with the other monkeys at Rama’s residency. In XIX: 40 he is numbered among the oldest and the strongest of the monkeys to be sent to Langka for the final fight against Rawana. Cod. Or. 3390-65 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, yellow, light salmon-pink, light brown, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 538. The monkey Nala A monkey sits leaning on his left knee, which indicates that he is making obeisance (panangkilan). He faces left. His right arm is raised. He holds his left
hand on his caste-cord. This attitude is called rajasinga. It indicates that he is go ing to carry out an order. He wears short striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. His skin is light salmon-pink. His headdress consists of flames. He has a diadem on his head. A text in Balinese script in ink on the right says: miswakarmmatmaja, nga, sang nala, (Wiswakarma tamaja, nga., sang Nala), Wiswakarma’s son called Nala. (Miswakarma is a nasalized form of Wiswakarma). By Nala, anala (Skt) meaning fire is meant. The name of the monkey accords with his appearance. In the OJ Ramayana XVIII: 17 he is mentioned as being among the most important monkeys. In XVI: 1 as a son of the divine architect Wiswakarma he is appointed to build the dam to Langka. His name is explained in XX: 17: he is constituted of fire. In XX: 17-18 he defeats the demons Sputadaksi and Pratapanaksi. Cod. Or. 3390-66 A drawing on paper, no marks. 34x 22.1 cm. Polychrome, watercolours and ink. Colours: dark red, pink, light salmon-pink, green, light brown, white, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Késari A monkey sits leaning on his left knee (panangkilan). He faces left. His right hand is held on his chest, touching his caste-cord (nabdab), and his left arm hangs by his side (matéken). His attitude indicates that he is making obeisance and listening at the same time. The colour of his skin is light brown with red dots. He has the head of a lion but with fiery a mane. He has a diadem on his head. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the right says: wanararaja, nga, kesari, (wanara raja nga. Késari), royal monkey called Késari. Kesarin (Skt) means having a mane, and, lion. The monkey’s appearance thus accords with his name. In the OJ Ramayana XVIII: 17 he is mentioned as being among the most im portant monkeys.
Cod. Or. 3390-67 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours', red, pink, light salmon-pink, light and dark green, sky-blue, white, grey, black. Artist: Ida Putu Héma. Origin-, griya Pratoda, Badung. The monkey Suséna A monkey sits cross-legged. He holds his right hand in front of his belly (nab- dab), the elbow raised (nyiku). His left hand is lain on his knee. His attitude in dicates that he is making obeisance while speaking humbly, agreeing to carry out an order. He has bulging eyes and a long snout. His cheek is patterned with black checks. His skin is white. He has a diadem on his head. His curly hair is divided into five locks which point upwards. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. A text in Balinese script in ink on the right says: susénna, Suséna. The Balinese form Suséna can be connected to two terms. Suséna (Skt susena) means having a good missile and susena (OJ, Skt) means a fine army. The appearance of the monkey does not accord with the abovementioned meanings of his name. In the OJ Ramayana VII: 54 Suséna is going to the West on his quest for Sita. In XVIII: 17 he is mentioned as being among the most important of the monkeys. Cod. Or. 3390-68 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours', dark red, pink, light salmon-pink, green, yellow, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Indrajanu A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his sash with his left hand (nyamir), and his right hand is lain on his girdle (nab- dab). His attitude indicates that he is making obeisance and speaking humbly. He has a diadem and a round crown on his head. His skin is light salmon-pink. He wears short trousers, a small loincloth with long ends tucked up between his legs,
a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. Air-ornaments (awon-awon, type I) surround the figure. A text in Balinese script in ink on the right says: wanararaja, sang ngindra- janun, (wanara raja sang Indrajanu), royal monkey Indrajanu. Indrajanu (Skt) means descended from Indra. The fact that the monkey wears a round crown, as Indra, does refer to his relationship with the god. Indrajanu is mentioned in the OJ Ramayana XVIII: 17 as among the strongest and the most important of the monkeys. In XIX: 40 he belongs to the oldest and the strongest monkeys of Sugriwa’s army. In XXII: 58 he and a group of strong monkeys fight Kumbakarna. Cod. Or. 3390-69 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Kalawaktra A monkey sits leaning on his left knee. He faces left. He holds his right hand to his chest and touches his caste-cord (nabdab). His left hand is held to the sash round his waist (nyamir). His attitude indicates that he is making obeisance and listening. He has the head of a demon with bulging eyes and sharp teeth. A small tongue protrudes. He wears a diadem. He has curly hair which is divided into six locks which point upwards. His skin is grey. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder- piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. He is surrounded by air-ornaments (awon-awon, type I). A text in Balinese script in ink on the right says: wanararaja, nga, kalawaktra, (wanara raja, nga. Kalawaktra), royal monkey called Kalawaktra. Kalawaktra means having the face of Kala and is the name for the son of the god Siwa (cf. No. 3390-200). The monkey’s head accords with his name. In the OJ Ramayana XVIII: 18 he is mentioned as being among the most important monkeys. In XIX: 41 he is one of the commanders of the army of monkeys sent to Langka.
Cod. Or. 3390-70 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, green, light yellow, yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Rina A monkey stands in a dancing attitude. He faces left. His right knee is raised slightly (nabah). His right elbow points upwards while his hand is directed downwards. His left hand is raised. This attitude, which is called rajasinga, ex presses eagerness to do something. He looks upwards. His attitude resembles that of someone who is flying (makeber). The monkey has a head in the shape of that of a deer with large antlers. He has a diadem and a chignon curled inwards on his head. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. There is some air ornamentation (awon-awon, type I) to his right. A text in Balinese script in ink on the right says: wanararaja, sang rinna (wanara raja sang Rina), royal monkey Rina. By Rina is probably meant Arina. Arina (Skt harina) means deer. The monkey’s head accords with his name. He is not mentioned as being among the monkeys in the OJ Ramayana. Cod. Or. 3390-71 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Ménda A monkey stands in a dancing attitude. He faces left. His legs are spread, his knees slightly bent (agem). He holds his right hand close to his sash and his left hand to his loincloth, as if he were tucking it up. This movement is called nyaup or nyamir. The monkey’s head as well as his body are covered with black and white spots. He has straight horns on the top of his head. He wears a diadem with
a kerchief (kekendon) in the kuta Mesir pattern in black and white. He wears a long loincloth which covers his right leg, a small loincloth tucked up between his legs, also in kuta Mesir pattern, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a prince. A text in Balinese script in ink at the bottom on the right says: wanararaja, wrdda ménde, (wanararaja wreda Ménda), royal monkey, the old Ménda. Ménda is connected with minda, goat or ram in Java and in Bali. The monkey’s head accords with his name. The Balinese say that he is old, but that he is still an agile dancer. This is shown in Ramayana performances in live theatre. In the OJ Ramayana XVIII: 18 Ménda is mentioned as being among the most important of the monkeys. In XIX: 40 he is among the oldest and strongest monkeys who are sent to Langka as commanders of the army. In XX: 29 he defeats the demon Bajramusti. In XXII: 58 he and a small group of excellent monkeys fight Rawana’s brother Kumbakarna, a giant. Cod. Or. 3390-72 A drawing on paper, no marks. 34 x 22.1 cm. Polychrome, watercolours and ink. Colours', red, pink, light salmon-pink, light and dark green, light yellow, yellow, brown, sky-blue, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 539. The monkey Sampati A monkey stands in a dancing attitude. He faces left. His right knee is slightly raised (nabah). His hands, which are clenched into fists, are held close to his waist. They indicate obeisance, and an eagerness to get to action. The upper part of his body is bent slightly forwards. His skin is covered with light yellow-brown triangular spots. His head shows some of the characteristics of that of a tiger. His hair is styled in a chignon curled inwards at the back of his head. He wears a diadem. His clothes consist in a long loincloth with a floral pattern, which covers his right leg, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, and another sash over his left shoulder. His jewelry is characteristic of that of a prince. A text in Balinese script in ink at the bottom on the right says: wanararaja, wirasampatti, (wanara raja wira Sampati), royal monkey, the brave Sampati. Sampati (Skt sampati) means flying together. Sampati is often used as the name of a bird. There is no apparent relation however between the appearance of this monkey and his name. He is mentioned as being among the oldest and strongest
monkeys sent to Langka in the OJ Ramayana XIX: 40. In XX: 10-13 he fights the demon Prajangha. In XXII: 58 he and a small group of excellent monkeys fight Kumbakarna. Cod. Or. 3390-73 A drawing on English paper, watermark Munro, countermark superfine 1885. 33.8 x 22.1 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, light greyish- brown, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 540. The monkey Drawida A monkey sits leaning on his left knee. He makes obeisance (panangkilan). He faces left. His right hand is held close to his face and makes a gesture which in dicates explaining and speaking politely (ngungkab suara). He holds his left hand to the sash round his waist (nyamir). He has a diadem with four round petals on his head. His skin is light greyish-brown. He wears short striped trousers, a gir dle, a sash round his waist with long ends hanging down, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the right says: wanararaja, sang drëwiddé, (wanara raja, sang Drawida), monkey-king Drawida. Drawida (Skt dravida) is a personal name and it denotes someone from South India. The appearance of the monkey is not related to his name. In the OJ Ramayana XVIII: 18 a monkey named Dwiwida is mentioned. It is possible that Dwiwida refers to this monkey. Dwiwida is mentioned as being among the most important monkeys in Sugriwa’s army. Cod. Or. 3390-74 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.8 x 22.1 cm. Polychrome, watercolours and ink. Colours red, pink, light salmon-pink, light and dark green, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung.
The monkey Kumuda A monkey stands facing left. He has his right hand in front of his belly touching his sash (nabdab) and his left on his girdle (nyamir). His attitude indicates speak ing humbly and agreeing to carry out an order. His headdress consists in a diadem with fan-shaped oblong petals on the top. His hair is long. His skin is light salmon-pink coloured. He wears a loincloth covering his right leg, a small loincloth with kuta Mesir pattern tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a prince. A text in Balinese script in ink on the right says: wanararaja, kümudda, (wanara raja Kumuda), royal monkey Kumuda. The kumuda (Skt) is the white lotus (Nymphaea esculenta) which flowers at night. The fan-shaped oblong petals on the top of the headdress might be lotus petals; if they are, the dress of the monkey would accord with his name. Kumuda is mentioned in the OJ Ramayana XVIII: 17 as belonging to the most important monkeys. Cod. Or. 3390-75 A drawing on English paper, watermark Munro, countermark superfine 188(7?). The last number in the date is very hard to read. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Dwidepana A monkey stands facing left. His left knee is raised (nabah). His head is turned to the left. He holds a rock in his right hand and presses it to his chest. His left hand points upwards and makes a gesture indicative of explaining and of speak ing politely (ngungkab suara). He has a diadem on his head and wears a kerchief with a Javanese batik pattern (kuta Mesir) of flowers (Jasper and Mas Pirngadie II, 1916: fig. 120). He has long hair. His skin is light salmon-pink. He wears a loincloth with a floral design which covers his right leg, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. A text in Balinese script in ink on the right says: sang dwidëpanna, Dwidepana. He is not mentioned in OJ Ramayana. I regret that I am unable to explain his
name. The fact that the monkey carries a rock refers to an episode in the OJ Ramayana XI: 50-51 where reference is made to the monkeys who carry all kinds of things on the way to Langka and of a dam which is made there. Cod. Or. 3390-76 A drawing on English paper, watermark Munro, countermark superfine 1887. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, white, light grey, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Matahasti A monkey sits, his right leg over his left (panangkilan). He faces left. He has the trunk and the ears of an elephant. He wears a high crown and a diadem on his head. His right hand is close to his trunk, and makes a gesture indicative of speak ing (ngungkab suara). He holds his sash with his left hand (nyamir). His attitude indicates that he is speaking humbly while making obeisance. His skin is light grey. He is clad in short striped trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: mantahasti, nga., (Matahasti nga.), named Matahasti. His head accords with his name: rutting elephant (mattahasti, Skt). He is men tioned as being among the most important monkeys in the OJ Ramayana XVIII: 18. Cod. Or. 3390-77 A drawing on English paper, watermark Munro, countermark superfine 1885. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, sky-blue, white, light grey, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Satabali A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his right hand close to his face, and makes a gesture indicative of polite speech
(ngungkab suara). He holds his left hand to his girdle (nyamir). The attitude described indicates that he is explaining and speaking politely while making obeisance. He has a diadem with feathers from the tail of a cockerel on top of his head. His skin is light grey. He wears short striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. A text in Balinese script in ink on the right says: satthabali, wanararaja (Satabali, wanara raja), royal monkey Satabali. At the bottom on the right in Balinese script in pencil is written: limolas lampir, (lempir), 15 leaves. Satabali (Skt satavali) means having hundreds of wrinkles. Sata (OJ, Bal.) however means cockerel. It is clear that the monkey’s appearance is meant to be associated with this meaning of sata. In the OJ Ramayana XVIII: 18 he is mentioned as being among the most im portant monkeys. In VII: 54 he goes to the North to search for Sita as command ed by Sugriwa. The notice 15 blades might refer to a counting system of the artist’s. By lempir are usually meant the leaves of a lontar-palm manuscript, but here it might refer to sheets of paper. In the transcriptions of lontar manuscripts on paper made by Balinese scribes for Van der Tuuk I have often come across notes about the number of transcribed sheets and about the prices to be paid (for instance Cod. Or. 4141, 4143, 4210). Cod. Or. 3390-78 A drawing on English paper, watermark Munro, countermark superfine 1885. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, sky-blue, yellow, light yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Gandamadana A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his right hand close to his face and makes a gesture indicating polite speech (ngungkab suara). He holds his sash with his left hand (nyamir). His attitude in dicates that he is explaining something and also speaks politely while making obeisance. He has a diadem with three rocks on his head. His skin is light yellow. He wears short striped trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His small loincloth is patterned with kuta Mesir. His jewelry is that of a prince.
A text in Balinese script in ink on the right says: gandamdanna, Gan- damadana. Gandhamadana (Skt) means intoxicating with fragrance. It is the name of a mountain to the East of the Meru, renowned for its fragrant forests (Monier Williams repr. 1964: 345). This may explain the rocks on the monkey’s head. Gandamadana is numbered among the most important monkeys in the OJ Ramayana XVIII: 17. Cod. Or. 3390-79 A drawing on English paper, watermark Munro, countermark superfine 1885. 33.1 x 45.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The sheet is torn in the middle. Sugriwa fights Bali, or Subali Two monkeys are depicted. They sit leaning on their knees. The monkey on the right grasps the headdress of the lefthand monkey with his right hand and its tail with his left hand. His right leg is wrapped around the body of the other monkey. The monkey on the left holds his left hand round the body of the other monkey and his right hand is directed upwards. The monkeys both have long hair; their skin is light salmon-pink. They wear diadems with a garuda ornament at the back. They are clad in the same way, i.e., in short trousers, small loincloths tucked up between the legs, girdles, sashes round the waist (those of the monkey on the righthand side have Javanese batik patterns called batik Betawi and kuta Mesir, those of the monkey on the left are patterned with flowers), shoulder- pieces and sashes over the left shoulder. The jewelry they wear is that of princes. The air is indicated by awon-awon ornaments (type I). They cover the upper part and the lower part of the drawing. A text in Balinese script in ink at the top on the right says: sang kapiraja bali, ratü ring kiskinda wiwara matukar ngrabut déwi tara (sang kapiraja Bali, ratu ring Kiskinda wiwara matukar ngrebut Déwi Tara), the monkey-king Bali, king of the Kiskinda grotto, fighting for Tara. At the bottom on the left is written: kapindra sugriwa, ratü ring malaya parwwata, matukar, ngrabut déwi tara (kapindra Sugriwa, ratu ring Malaya parwata matukar ngrabut Déwi Tara), Sugriwa the best of the monkeys, king of the Malaya mountains, fighting for Tara.
Bali or Subali fights Sugriwa. Bali holds Sugriwa’s tail and hair. Sugriwa puts his arm around Bali. In the OJ Ramayana VI: 145-149 Anoman explains the difficulties which exist between Sugriwa and his elder brother Bali, Subali, or Walin as he is called in OJ, to Rama. Subali is mighty and cruel. He has taken Sugriwa’s wife Tara. In VI: 157-160 Sugriwa declares that he intends to kill Bali because he has taken his wife. Rama promises his help. Rama and Sugriwa go to the grotto called Kiskin- da where Bali lives. A fight between the monkeys starts, but they are equal in strength. Rama cannot help Sugriwa. He cannot tell which is Sugriwa and which is Bali as both monkeys look the same. Sugriwa stops fighting for a while and ac cuses Rama of refusing help. Rama answers that he could not make out which of the monkeys he had to hit with his arrow. Rama therefore binds some leaves around Sugriwa. The monkeys start fighting again. Rama aims with his arrow at Bali. He is killed (OJ Ramayana VI: 161-197). The fight between the monkeys before the bunch of leaves has been bound around Sugriwa is depicted in the drawing. A similar episode is depicted in No. 3390-113, but there the monkeys hit each other on the head with stones. This episode is called siat (Su)bali Sugriwa, the fight of (Su)bali and Sugriwa, by the Balinese. Cod. Or. 3390-80 A drawing on English paper, watermark Munro, countermark superfine 1885. 33.1 x 22.8 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, yellow, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 540. The monkey Bimamuka A monkey is depicted. He kneels on his left knee (panangkilan). He faces left. The nail of his right thumb is very long. His right hand lies on his chest and touches his caste-cord (nabdab). He holds his sash with his left hand (nyamir). His attitude indicates that he is making obeisance while listening and agreeing. His eyes are round, his nose is pointed. He has small teeth and a moustache. His hair is styled in a large double chignon (gelung buana lukar). His skin is light grey. He wears short striped trousers, a short loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. His upper-
armlets and wristlets are decorated with three sharp triangles (bajra). They point towards each other like those in No. 3390-58. A text in Balinese script in ink on the righthand side reads: Bhimamuka, wanararaja (Bimamuka, wanara raja), Bimamuka, royal monkey. The monkey is abusively called Dharimuka in Juynboll 1911: 477. This monkey has a head, hairstyle, thumbnail, armlets and wristlets in com mon with the Pandawa Bima. His name, Bimamuka (Skt. Bhimamukha), means of fearful appearance, but it is regarded by the Balinese as meaning that a being looks like the Pandawa Bima. In the OJ Ramayana VII: 18 a monkey called Bhimawaktra (OJ; Bimawaktra, Bal.) is mentioned as being among the most important monkeys. Bimamuka and Bimawaktra are synonyms. Cod. Or. 3390-81 A drawing on English paper, watermark Munro, countermark superfine 1885. 33 x 22.3 cm. Polychrome, watercolours and ink. Colours: red, pink, salmon-pink, light and dark green, yellow, light yellow, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Dariwadana A female monkey sits leaning on her knees. She faces left. She has all the characteristics of a woman apart from the tail. She holds her right hand in front of her and her left arm hangs by her side (matéken). Her attitude expresses making obeisance in the way that women of high rank express it. Her head is askew. Her face is refined; her eyes are almond shaped. Her skin is light yellow. She has long hair and a diadem on her head. She wears a skirt, a loincloth, a sash with long ends hanging down round her breasts, a shoulder-piece. Her jewelry is characteristic of that of a princess. A text in Balinese script in ink on the right says: wanararaja sang dariwadanna, (wanara raja sang Dariwadana), royal monkey Dariwadana. By dari is meant Skt vidyadhari, nymph. The monkey indeed has the ap pearance of a nymph. In the OJ Ramayana VII: 17 Darimuka is mentioned as being among the most important monkeys. Darimuka (having the face of a nymph) and Dariwadana are synonyms.
Cod. Or. 3390-82 A drawing on English paper, watermark Munro, countermark superfine 1887. 33 x 22.8 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, salmon-pink, light and dark green, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Druwa A monkey stands and faces left. His right arm is raised. His hand is clenched into a fist. He holds his left hand close to his girdle. His attitude, which is called rajasinga, indicates that he is eager to carry out an order. His legs are spread, his knees are slightly bent (agem). His skin is light salmon-pink. He has a high crown with a diadem on his head. His head shows the characteristics of that of a snake; its forked tongue protrudes. He wears a loincloth with kuta Mesir pattern which covers his right leg, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a prince. A text in Balinese script in ink on the right says: wanararaja, nga, druwwa, (wanara raja nga. Druwa), royal monkey called Druwa. Druwa is mentioned in the OJ Ramayana VII: 18 as being among the most im portant monkeys. Druwa (Skt. dhruva) means firm. There seems to be no relation between this meaning of his name and his outward appearance. It is possible that the artist regarded Druwa as Drawa, which is an abbreviation of Drawalika or Ardawalika from OJ Arddhawalika, the name of a snake. This might explain the face of the monkey in the drawing. A monkey with a snake’s head plays a role in the Balinese wayang. He is usually called Sarpamuka as in No. 3390-109. Cod. Or. 3390-83. A drawing on English paper, watermark Munro, countermark superfine 188(7?). The final number is barely legible. 33 x 22.8 cm. Polychrome, watercolours and ink. Colours', red, pink, light salmon-pink, salmon-pink, light and dark green, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung.
The monkey Danurdara A monkey sits leaning on his left knee (panangkilan). He faces left. He holds a flower in his right hand. He supports his right elbow with his left hand, which in dicates that he is offering the flower (ngaturang) to someone. He has a diadem on his head with a bunch of feathers and flowers on the top. His skin is light salmon- pink. He wears short striped trousers which cover only his left knee, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder- piece and another sash over his left shoulder. His jewelry is that of a royal per sonage. A text in Balinese script in ink on the right says: wanararaja, sang dannurdara, (wanara raja sang Danurdara), royal monkey Danurdara. Danurdara (Skt dhanurdhara) means carrying a bow, archer. The feathers on top of the monkey’s head might represent arrow-heads. However, it still remains difficult to explain the flowers. In the OJ Ramayana VII: 18 he is mentioned as being among the most impor tant monkeys. Cod. Or. 3390-84 A drawing on English paper, watermark Munro, countermark superfine 1886 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. The monkey Lumbra A monkey stands and faces left. He holds his right arm stretched forwards with a gesture indicative of explaining and of speaking politely (ngungkab suara). His left arm is held in front of his chest close to his caste-cord. He has a diadem on his head with a bunch of green feathers or stalks with pink buds at the ends. His hair is long. He wears a long loincloth covering his right leg, a small one tucked up be tween his legs, a sash around his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. His skin is light salmon- pink. A text in ink in Balinese script on the right says: wanararaja, nga, lumbrë, (wanara raja nga. Lumbra), monkey-king called Lumbra. There is a possibility that by Lumbra, Dumra (OJ Dhümra) is meant. A monkey bearing such a name is mentioned in the OJ Ramayana VII: 18. Dhümra (Skt) means smoke-coloured; the monkey’s name bears no relation to his appearance.
Cod. Or. 3390-85 A drawing on English paper, watermark Munro, countermark superfine 1885. 33 x 22.6 cm. Polychrome, watercolours and ink. Colours-, red, pink, light salmon-pink, light greyish-brown, light and dar green, white, grey, black. Artist'. Ida Putu Héma. Origin-, griya Pratoda, Badung. The monkey Wresaba A monkey sits leaning on his left knee (panangkilan). He faces left. He holds his right arm out in front of his body with a gesture indicative of speaking politely and he holds his sash (nyamir) with his left hand. His attitude indicates that h speaking politely and makes obeisance. He has the head of a bull. He wears a diadem on his head with flames on the top. His hair is long. His skm >s light greyish-brown. He wears short striped trousers, a small loincloth tucked up Leen his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. _ . v u A text in Balinese script in ink at the top on the right says: wanararaja, wresab- bha (wanara raja Wresaba), royal monkey Wresaba. , , ,, Wresaba (Skt. vrsabha) means strong bull and refers in particular to the bull o which Siwa is mounted. The monkey’s appearance thus accords with his name. In the OJ Ramayana VII: 17 he is mentioned as being among the most impor tant monkeys. Cod. Or. 3390-86 A drawing on English paper, watermark Munro, countermark superfine; the date is cut off. It might have been 1886. 33 x 23 cm. Polychrome, watercolours and ink. Colours-, red, pink, light salmon-pink, sky-blue, light and dark green, ye , white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Siwa and Girindraputri on a lotus cushion A man and a woman sit on a lotus cushion. They are surrounded by a nimbus provided with vertical stripes and circles. The man, who sits cross-legged to the left faces left. He has four arms. His first right arm is directed upwards. It holds a
rosary and at the same time makes a gesture indicating that he is explaining (ngungkab suara). His second right arm lies in his lap, and holds his sash (nyamir). His first left arm holds a fly-whisk. His second right arm is wrapped around the waist of the woman on the right who sits leaning on her knees on his lap. He has a diadem and a high, round crown (candi kurung) on his head. He wears short trousers, a girdle, a small loincloth with kuta Mesir pattern tucked up between his legs, a sash round his waist and a shoulder-piece. His jewelry is characteristic of that of a royal personage. His skin is white. His eyes are refined. The woman sitting on his lap holds her right hand stretched out in front of her and makes a gesture which indicates that she is talking (ngungkab suara). She has placed her left hand in her lap (matéken). Her head is askew and turned to the right. She has a diadem and a high crown on her head. Her hair is long. She wears a skirt, a loincloth with kuta Mesir pattern, a sash with long ends covering her breasts and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. Her skin is light salmon-pink. A text in Balinese script in ink at the bottom says: sang hyang siwa, sadampat- ti, bhathari girindraputri, ningak sang sukésa, ring gunung maaméru, kapiwlas bhathari girindraputri, kawastunnin sang sukésa hénggal klih, tür kanugrëhin, ring bathari, (sang hyang Siwa sadampati batari Girindraputri, nyingak sang Sukésa ring gunung Mahaméru, kapiwelas batari Girindraputri, kawastunin sang Sukésa énggal kelih tur kanugrahin ring batari) the god Siwa and his wife, the goddess Girindraputri, see Sukésa on the mountain Mahaméru. The goddess Girindraputri feels pity for Sukésa. Sukésa is immediately granted permission to become a grown-up and permission is given to him (i.e. to take the daughter of Mada as his wife). Siwa, characterized by two of his attributes—the rosary and the fly-whisk—, and his wife Uma or Girindraputri (the daughter of the Lord of the Mountains), sit together. It appears from the text that they are looking at Sukésa, a figure which is drawn on the next sheet no. 87. Reference is made to a story described in the OJ Uttarakanda IV (Cod. Or. 10. 454: 6). The ogre Éti and his wife Baya have a son called Widyutkésa. He is married to a female demon. They have just had a child, which they left on the top of the Mandara-mountain immediately after its birth. Uma and Siwa pass on their mount Nandin. Uma feels sorry for the child when she sees it and hears it crying. She grants several wishes to the child e.g. that it will grow up quickly, marry immediately and will live in a palace in heaven. Its hair is beautifully black and curly. She therefore calls it Sukésa, having beautiful hair. It should be noticed that the mountain which is called Mandara in the text is named Mahaméru in the drawing. Such changes of name often occur in Bali. Both mountains are connected with the gods and with important sacred events, so that the two names are almost equivalent.
Cod. Or. 3390-87 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours', red, pink, light salmon-pink, light and dark green, light brown, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Sukésa lies on the Mahaméru A naked male lies on his back. His head is on the right. He has bulging eyes, sharp teeth and eye-teeth. He has a small diadem on his head. His hair is styled to consist of six black, curled locks of hair. He covers his face with his left hand. His attitude indicates that he is distressed or that he is crying. He holds his right hand against his right thigh. His skin is light salmon-pink. A nimbus with vertical stripes is depicted above him. The air is indicated by groups of three awon-awon ornaments (type I), the ground by three large rocks. A text in Balinese script in ink at the bottom on the right says: kakütang, kaduduk, ring hidda sang hyang siwa, sarëng batari girindraputri, kawastonin klih prajani, tür kaicén somah, pyanak sang madda, (kakutang, kaduduk ring Ida Sang Hyang Siwa sareng Batari Girindraputri, kawastunin kelih prajani tur kaicén somah pianak sang Mada), having been deserted, he is taken under the protection of the god Siwa and the goddess Girindraputri; he is granted a boon to become an adult immediately and he is given the daughter of Mada as his wife. At the top on the right is written: sang sukésa, panak prahétti, mara lkad, ring gunung, mahaméru, (Sang Sukésa panak Prahéti, mara lekad ring gunung Mahaméru), Sukésa, grandson of Prahéti, just after his birth on the mountain Mahaméru. The baby Sukésa lies on the mountain. The nimbus covering him indicates his holyness. According to the inscription on the drawing it is the mount Mahaméru on which he is lying and not the Mandara as mentioned in the OJ text. According to the OJ Uttarakanda IV (Cod. Or. 10. 454: 6) Sukésa is not Prahéti’s grandson, but Eti’s. The artist did not concur with this as is demonstrated by his drawings (Nos. 3390-95 and 96). A text on the verso side on the left of sheet No. 3390-87 reads: nglah pyanak, tatlu, paling klih, mahadan, sang sumali, sang mali, maliyawan, (ngelah pianak tetelu, paling kelih madan sang Sumali, sang Mali, Malyawan), he had three children; the oldest is called Sumali, and also Mali and Malyawan. By “he” Sukésa must be referred to (see OJ Uttarakanda V, Cod. Or. 10.454: 6). His marriage to the nymph Gramani, the daughter of Mada, is also mentioned in this chapter.
Cod. Or. 3390-88 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light green, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mali A man stands and faces left. His right hand is raised in a gesture indicative of explaining and of speaking politely (ngungkab suara). He holds his left hand to his girdle (nyamir). He has the face of a demon with bulging eyes, sharp teeth and a tooth growing through his cheek. He has a diadem and a high crown on his head. He wears long striped trousers, a small loincloth tucked up between his legs with an Indian pattern, a sash round his waist, a girdle, a shoulder-piece and another sash over his shoulder. His skin is light salmon-pink. A text in Balinese script in ink on the right says: sang mali, Mali. Mali is the second son of Sukésa (see No. 3390-87). His birth is described in the OJ Ut- tarakanda V (Cod. Or. 10.454: 6). Cod. Or. 3390-89 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light green, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Malyawan A man stands and faces left. He holds his left hand, clenched into a fist, to his girdle (nyamir). He has his right hand to his chest and points with his index-fmger to the right. His attitude indicates that he is pointing something out to someone who is higher ranking. He has the head of a demon with bulging eyes, sharp teeth and a tooth through his cheek. He has a diadem on his head and a chignon curled upward with a large garuda ornament at the back. He wears long striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his shoulder. His jewelry is that of a prince. His skin is white. A text in Balinese script in ink on the left says: malihawan, Malyawan. Malyawan is the son of Sukesa and Gramani, Mada’s daughter. His birth is described in the OJ Uttarakanda V (Cod. Or. 10.454: 6).
Cod. Or. 3390-90 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light and dark green, white, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Pulastya A man stands and faces left. He has a refined face. He wears a diadem and a turban with a garuda ornament at the back on his head. He hold his right hand in a gesture of polite speech and of explanation (ngungkab suara). His left hand is held to his coat (nyamir). He wears long striped trousers, a small loincloth tucked up between his legs, a sash with ends running down, a girdle, a long coat with In dian black and white floral patterns (caul) and with a plain lining. Another sash hangs over his left shoulder. His jewelry is characteristic of that of a royal per sonage. His skin is light salmon-pink. A large rock ornament is depicted at the bottom on the right. A text in Balinese script in ink on the right says: bhagawan pulastya, hajin wésrawah, (bagawan Pulastya, ajin Wésrawa) the sage Pulastya, father of Wésrawa. In the Old Javanese Uttarakanda II (Cod. Or. 10.454: 3) information about Pulastya can be found. He is a son of god Brahma. On his wanderings through forests where there are hermitages he meets the daughter of the sage Trnawindu (OJ). They marry and have a child who is called Wisrawah or Wesrawah (OJ), or Wésrawa (Bah). Cod. Or. 3390-91 A drawing on English paper, watermark Munro, countermark superfine 1886. 33 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, white, grey and black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Mentioned by Juynboll 1902: 538. Kékasi A woman stands and faces left. She holds her right hand to her breast, pointing downward. Her left arm hangs (matéken) by her side. Her attitude is
characteristic of a high ranking woman who forms part of the suite of a royal per sonage when she makes obeisance. Her head is a little askew. She wears a diadem and a turban on her head. Her long hair hangs down. She wears a skirt with kuta Mesir pattern, a long loincloth, a sash which covers her breasts, a shoulder-piece and another sash hangs over her left shoulder. Her skin is light salmon-pink. Her jewelry is characteristic of that of a princess. In front of her and also close to her feet there are air ornaments (awon-awon, type I). A text in Balinese script in ink on the right says: déwi kékasi, pyanak sang sumali, katür ring, bhagawan wésrawah, nglah pyanak tatlu, sang rawanna, sang kumbekarnna, sang wibhisanna, hluh hahukud sang srupnakka (déwi Kékasi, pianak sang Sumali, katur ring bagawan Wésrawa, ngelah pianak tetelu, sang Rawana, sang Kumbakarna, sang Wibisana, luh aukud sang Surpanaka), déwi, Kékasi, daughter of Sumali; given to the sage Wésrawa. She has three sons, Rawana, Kumbakarna, Wibisana and a daughter called Surpanaka. The birth of Kékasi as a daughter of Sumali and Kétumati is described in the OJ Uttarakanda V (Cod. Or. 10.454: 6). In chapter IX her marriage to Wésrawa is mentioned (Cod. Or 10.454: 11-13; cf. No. 3390-47). The reason why she is wearing a turban, characteristic of ascetics, is probably that she is married to a sage. Cod. Or. 3390-92 A drawing on English paper, watermark Munro, countermark superfine 188 (the last number is hardly visible; it might be 6). 33 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light green, yellow, white, light grey, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Sumali A man sits upon his left knee (panangkilan) on a lotus cushion. He faces left. He has the face of a demon with bulging eyes, sharp teeth and a tooth through his cheek. He holds his right hand up in a gesture indicative of speech. His left hand, clenched into a fist, lies at his sash (nyamir). His attitude indicates obeisance while speaking politely or while explaining. His face is light grey, the other parts of his body are white. He wears short striped trousers, a small loincloth with an Indian floral pattern (caul) tucked up between his legs, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. He has a diadem and a round crown on his head.
A text in Balinese script in ink at the top on the right says: sang sumali, Sumali. In the OJ Uttarakanda V (Cod. Or. 10.454: 6-7) Sumali’s birth as a son of Sukésa and Gramani and his marriage with Kétumati are mentioned. Cod. Or. 3390-93 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours', red, pink, light salmon-pink, yellow, light green, light grey, grey, white, black. Artist: Ida Putu Héma. Origin.-, griya Pratoda, Badung. Dasawaktra A man stands and faces left. With his right hand he makes a gesture which in dicates that he is explaining something and speaking politely (ngungkab suara). His left hand, clenched into a fist, is at his girdle (nyamir). His eyes bulge, his eye-teeth are pointed. He also has a sharp tooth on his cheek. He wears a diadem and a high crown on his head. He is clad in long striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His skin is light grey. A text in Balinese script in ink at the bottom on the left says: dasawaktra, putran bhagawan wésrawah, (Dasawaktra, putran bagawan Wésrawa), Dasawaktra, son of the sage Wésrawa. In the OJ Uttarakanda IX (Cod. Or. 10.454: 13) Kékasi and Wesrawa’s children are listed. The eldest is called Dasasirsa (having ten heads), Dasawaktra, Dasamuka, Dasanana or Dasasya (having ten faces). He is also called Dasagriwa (having ten necks), because he has ten heads and thus ten necks. He plays a major role in the OJ Ramayana as Rama’s foe and as the kidnapper of Sita. Cod. Or. 3390-94 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.1 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light and dark green, light brown, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung.
Kumbakarna A man sits on a chair facing left. His right leg is crossed over his left leg (ngresik). He has the face of a demon with bulging eyes, sharp teeth and a tooth on his cheek. He has a diadem and a round crown on his head. He holds his right hand to his sash (nyamir) and his left hand to his caste-cord (nabdab). His at titude indicates that he is sitting at ease and talking. He wears short striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the right says: sang kumbakarnna, Kumbakarna. In the OJ Uttarakanda IX (Cod. Or. 10.454: 13) his birth as a son of Kékasi and Wésrawa is mentioned. He is called Kumbakarna (Kumbhakarna, Skt) pot- ear, because his ears have a shape like the handles of a pot. Cod. Or. 3390-95 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light green, white, grey, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Éti A man stands facing left. He has the face of a demon with bulging eyes, sharp teeth and a tooth through his cheek. He wears a diadem and a round crown on his head. With his right hand he makes a gesture indicative of explaining and speak ing politely (ngungkab suara). His left hand is close to his girdle (nyamir). His skin is white. He wears long striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the right says: sang hétti, ngwangun tappebratta, (sang Eti ngwangun tapabrata), Éti carrying out ascetism. In the OJ Uttarakanda IV (Cod. Or. 10.454: 6) Eti and Prahéti are mentioned as being among the demons guarding the fire for the god Brahma. In the Old Javanese text and in the Sanskrit Uttarakanda as well, however, Prahéti does not marry but lives like an ascetic while Éti marries. In the drawings this is reversed (cf. Nos. 3390-87 and 96).
Cod. Or. 3390-96 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light green, dark green, white, light grey, grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Prahéti A man stands facing left. He has the face of a demon with bulging eyes, sharp teeth and a tooth on his cheek. He wears a diadem and a round crown on his head. He touches his sash with his left hand (nyamir), and makes a gesture in dicative of speech with his right hand (ngungkab suara). His attitude indicates that he is explaining something in a polite way. He has light grey coloured skin. He wears long striped trousers, a small loincloth with an Indian floral-pattern (caul) tucked up between his legs, a sash round his waist, a girdle, a shoulder- piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink says: sang prahétti, kdëh masanggamë, nglah pyanak sang sukésë, (sang Prahéti kedeh masanggama, ngelah pianak sang Sukésa), Prahéti, fond of making love with his wife has a child called Sukésa. In No. 3390-95 we are given some information about Prahéti and Eti and their role in the OJ Uttarakanda. In fact it is Eti’s grandson who is called Sukésa, not his child. “Kedeh masanggama” is probably added by the artist to indicate that the figure was not a celibatarian like his brother. Cod. Or. 3390-97 A drawing on English paper, watermark Munro, countermark superfine 1886. 33 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light yellow, yellow, light and dark green, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Wibisana A man stands facing left. He has a refined face. He holds his right hand to his cnest, touching his caste-cord (nabdab), his elbow bent (nyiku). He touches his
sash with his left hand (nyamir). His attitude is indicative of agreement and at tending. His skin is light yellow. He has a diadem on his head. His hair is styled in a chignon curled inwards at the back of his head. He wears long striped trousers, a small loincloth tucked up between his legs and with kuta Mesir pat tern, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the right says: haryya wibhisanna, (arya Wibisana), the honourable Wibisana. In the OJ Uttarakanda IX (Cod. Or. 10.454: 13) Wibisana’s birth as a son of Kékasi and Wésrawa is mentioned. In chapter X (Cod. Or. 10. 454: 13-15) he performs penance with his brothers on the mountain Gokarna. They have pro pitiated the god Brahma. He grants them boons. Wibisana elects to be always resolute in practising ascetism and never to perform any vile action. He later plays a role as Rama’s counsellor in the OJ Ramayana. He thus was a traitor op posed to the party of his bad brother Rawana. Cod. Or. 3390-98 A drawing on English paper, watermark Munro, countermark superfine 1886. 33 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, white, light grey, black. Artist: Ida Putu Héma. Origin-, griya Pratoda, Badung. Mentioned by Juynboll 1902: 540. Prahasta A man sits on his left knee facing left. He makes obeisance (panangkilan). He holds his right hand close to his face and makes a gesture which indicates that he is explaining something and speaking politely (ngungkab suara). He holds his girdle with his left hand (nyamir). He has the face of a demon with bulging eyes. He has sharp teeth and a tooth through his cheek. He has a diadem on his head. His hair is styled in a chignon curled upward at the back of his head. He wears short striped trousers, a small loincloth with kuta Mesir pattern, tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece, and another sash over his left shoulder. His skin is white. A text in Balinese script in ink at the top on the right says: sang patih, prahastë, (sang patih Prahasta), the patih Prahasta. A patih is a kind of adviser to the king. According to the OJ Uttarakanda V (Cod. Or. 10.454: 7) Prahasta is a son of Sumali and Kétumati and a sister of Kékasi. He later becomes Rawana’s patih. He has a savage fight with the monkey Nila in which he is killed (OJ Ramayana XXI: 223-247). a
Cod. Or. 3390-99 A drawing on English paper, watermark Munro, countermark superfine 188 (the last number is hardly visible; it might be 6). 33.1 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, yellow, light and dark green, white, light grey, black. Artist: Ida Putu Héma. Origin', griya Pratoda, Badung. Mentioned by Juynboll 1902: 540. Indrajit A man stands facing left. He has the face of a demon with bulging eyes, sharp eye-teeth and a tooth through his cheek. He wears a diadem on his head. His hair is styled in a double chignon. He holds his right hand close to his head and makes a gesture which indicates that he is explaining something and speaking politely (ngungkab suara). His left hand is close to his chest at his caste-cord (nabdab). His skin is white. He wears long striped trousers, a small loincloth with kuta Mesir pattern and a flower-pattern, tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a prince. A text in Balinese script in ink on the right says: sang ngindrajit, putra sang rawanna, ngalahhang, sang hyang ngindra, (Sang Indrajit, putran sang Rawana ngalahang Sang Hyang Indra), Indrajit, son of Rawana defeats the god Indra. Indrajit (Skt) means indeed conquerer of Indra. It is another name of Méganada, the son of Rawana and Mandodari (OJ Uttarakanda XII; Cod. Or. 10.454: 19). He performs ascetism (OJ Utt. XXV; Cod. Or. 10.454: 39-40) and is given a reward by the god Rudra: a chariot which can fly through the air, an arrow with wondrous powers and the ability to create darkness, so that he becomes almost in vincible. In Utt. XXVII (Cod. Or. 10.454: 43) Rawana decides to attack Indra’s heaven. His son Méganada joins him. The latter defeats Indra’s son Jayantaka. In Utt. XXVIII (Cod. Or. 10.454: 45) Indra himself, seated on his elephant Erawana, comes down and fights Méganada. Indra is defeated by him. Brahma declares in Utt. XXIX (Cod. Or. 10.454: 46) that from then on Méganada will be called Indrajit, the conquerer of Indra. Cod. Or. 3390-100 A drawing on English paper, watermark Munro, countermark superfine 1886. 33 x 23 cm. Polychrome, watercolours and ink.
Colours: red, pink, light salmon-pink, light and dark green, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Wésrawa A man stands facing left. He has bulging eyes. He wears a turban on his head. He holds a rosary in his right hand and makes a gesture which indicates that he is speaking and explaining (ngungkab suara). He touches his coat with his left hand (nyamir). His skin is light grey. He wears long striped trousers, a small loincloth tucked op between his legs, a sash round his waist, a girdle, a long coat with an Indian pattern of black and white flowers (caul) and with a lining patterned with stripes and flowers, and a sash over his left shoulder. A text in Balinese script in ink on the right says: bhaga (wan, crossed out) wan wésrawah, hajin sang dasawaktra, sang kumbakarnna, sang wibhisanna, sang srupnakka (bagawan Wésrawa, ajin sang Dasawaktra, sang Kumbakarna, sang Wibisana, sang Surpanaka), the sage Wésrawa, father ofDaswaktra, Kumbakar na, Wibisana and Surpanaka. This sage is, according to the OJ Uttarakanda II (Cod. Or. 10.454: 3), the son of the sage Pulastya and the daughter of Trnawindu (OJ). He is called Wisrawah in Old Javanese. In Uttarakanda III (Cod. Or. 10.454: 4) he has a son called Wesrawana (OJ), which means descended from Wisrawah (OJ). In IX (Cod. Or. 10. 454: 11-13), the giant Sumali notices Wesrawana (OJ) performing ascetism. He wants his daughter Kékasih (OJ) to be married to Wisrawah (OJ) in order to have grandchildren whose characters are like their father s. The father Wisrawah (OJ) or Wésrawa (Bal.) takes her as his wife, but gives her children like demons. The turban, the rosary, and the long coat are characteristically worn by ascetics. (I have the impression that Wésrawa is often used for Wisrawah as well as for Wesrawana by the artist). Cod. Or. 3390-101 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours', red, pink, salmon-pink, light and dark green, yellow, white, light grey, black. Artist'. Ida Putu Héma. Origin: griya Pratoda, Badung.
Aksa A standing man faces left. He has his right fist to his chest touching his caste- cord, his elbow bent (nyiku). His left hand touches his sash (nyamir). This at titude indicates obeisance and listening. He has round eyes, but small, even teeth. He wears a diadem on his head. His hair is styled in a coif on the forehead and he has long curly hair at the back. He wears long striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His skin is light grey. His jewelry is characteristic of that of a royal personage. There are two air-ornaments (awon-awon, type I) in the background. A text in Balinese script in ink on the right says: sang prawiratyaksë, putran sang rawanna, (sang prawira Ati Aksa, putran sang Rawana), the hero Ati Aksa, son of Rawana. In the OJ Ramayana IX: 50 he is called Aksa and he is killed by Anoman while laying Rawana’s garden waste. He is crushed by a branch of a tree and dies im mediately. Cod. Or. 3390-102 A drawing on English paper, watermark Munro, countermark superfine 1886. 33.2 x 23 cm. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, green, yellow, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Dumraksa A standing man faces left. He has the face of a demon with bulging eyes, sharp teeth and a tooth on his cheek. He wears a diadem with a garuda ornament at the back on his head. He has a coif at his forehead and long curly hair on the back of his head. His right arm points down, the fingers spread (majejegang), indicating that he is speaking. He touches his girdle with his left hand (nyamir). His attitude is characteristic of a patih or of a demang of the coarser type. It is called rajasinga and it expresses eagerness to act. His skin is light salmon-pink. He wears long striped trousers, a small loincloth with a black and white floral pattern (caul), a sash with long ends around the waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the right says: patih, dumbrëksë, patih Dumraksa. According to the OJ Uttarakanda V (Cod. Or. 10.454: 7) Dumraksa is the eldest son of Sumali and Kétumati. He is one of the commanders in Rawana’s ar-
my during the battle with Rama (OJ Ramayana XIX: 9). In XXI: 165 he again advances into the battle. He fights Anoman and is finally overcome by him and killed (XXI: 182-191). Cod. Or. 3390-103 A drawing on English paper, watermark Munro, countermark superfine; the date is cut off. It might have been 1886. 33.2 x 22.5 cm. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, yellow, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Parswa A standing man faces left. He has the face of a demon with bulging eyes, sharp teeth and a tooth on his cheek. He has a diadem on his head. His hair is long and curly and is formed into six pointed locks on his head. He holds his right hand to his sash and touches his girdle with his left hand. This attitude is called mapekik, to arrange the girdle. It indicates waiting before one starts to do something. His skin is light grey. He wears long striped trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. A text in Balinese script in ink on the right says: patih, parswa, Patih Parswa. Suparswa, or Parswa is also a son of Sumali and Kétumati (OJ Uttarakanda V; Cod. Or. 10.454: 7). In the OJ Ramayana XIX: 9 he is mentioned as being among the best of the commanders in Rawana’s army. Cod. Or. 3390-104 A drawing on English paper, watermark Munro, countermark superfine 1886. 46 x 33 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, pink, light salmon-pink, light and dark green, white, light grey, black. Artist: Ida Putu Héma. Origin: griya Pratoda, Badung. Salya is going to cut off his loincloth binding him to the sleeping Satyawati A man and a woman are depicted in a roofed open building with four poles, three of which are visible in the drawing. A small curtain hangs from the roof a
(ider-ider). On the left of the building there is a pile of five bolsters (galeng matumpuk). A checkered mattrass lies on the wooden floor of the building and a bedspread hangs from the floor of the building. A woman lies on the bed, having her eyes closed. Her head is to the left. Her skin is light salmon-pink. She wears a skirt with kuta Mesir pattern, and a long loincloth with a floral design. Another sash with Indian floral patterns (caul) is wrapped around her and the man in front of her. He sits on the right facing her. He brandishes a kris in his right hand. His left hand is to his sash. He wears a diadem on his head. He is clad in a shoulder- piece and a sash hanging over his left shoulder. His skin is light salmon-pink. A text in Balinese script in ink at the bottom says: pangipuk salya (pangipuk Salya), Salya has been speaking sweet words to his wife (cf. KBNWB I: 314). All Balinese give this name to this scene. Another text in Balinese script in ink at the top on the right says: prabhü salya, ngunus krëis jagë ngtas wastrë, kalilit hantuk déwi satyawatti, krënna kalilit takut katinggallin mayudda, ngalawan watëkorawa (prabu Salya ngunus kris jaga ngetas wastra kalilit antuk déwi Satyawati krana kalilit takut katinggalin mayuda nglawan watek Korawa), prince Salya draws his kris to cut the garment twisted around the déwi Satyawati and Salya. The reason why she twisted it around them both was the fear of being left behind (when Salya) went to fight the host of Korawa (this is incorrect; it should read Pandawa). The prince Salya, sitting upright on the bed in the pavilion, has drawn his kris in order to sever the loincloth while his wife is asleep. This scene is described in the OJ Bharatayuddha XXXVIII: 11-12 and in the geguritan Salya (Cod. Or. 11.164, 16.090). Salya has been ordered by Duryodana to become commander-in-chief of the army and to fight the Pandawa (BY XXXIV: 5). Satyawati, Salya’s wife, is distressed, as she knows that her husband will die in the battle. She draws a kris in order to kill herself, but she is stopped by Salya who speaks sweet words to her (BY XXVIII: 1). During the night before the battle, Satyawati can not sleep, but Salya comforts her so that she falls asleep, but she twists her garment around Salya’s body to try to stop him from leaving. In the early morning, when Salya has to leave for the battle, he decides to cut the garment so as not to awaken her. He then goes to fight and is killed in battle by Yudistira. In the drawing it is Salya’s loincloth which is twisted around them and not Satyawati’s as mentioned in the text. The pile of cushions is called galeng matumpuk. Such a pile always consists of an odd number of cushions, three, five, seven, or nine. They are mentioned in descriptions of the couches in palaces which are meant for lovers (see for instance the Balinese geguritan Bagus Umbara, Van Eck 1876) and they are depicted in drawings. These days these piles of cushions are used during tooth-filing (mapandes) ceremonies held for triwangsa. The first three cushions have special names and are made of special materials. In Tabanan the first cushion is called
palangka gading, yellow couch. It has a pattern of yellow checks. The second one is called pakis, fern. It has a pattern of green checks. The third one is called kemit, keepsake. It has a pattern of diagonal black or purple checks. In Klungkung the fourth cushion is called kembang musi. It has a floral pattern. The cushions are used alternately during the filing. The ceremony consists of cutting and filing, which takes place when the person in question is lying down on a mat tress and a cushion. The cutting and filing alternates with the rinsing of the mouth with several liquids and with sirih. This takes place when the person in question is sitting. When the mouth is rinsed the cushion is replaced by a new one. It is odd that only three or four cushions have names, but according to infor mants, the rest of the cushions do not have names. Cod. Or. 3390-105 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.2x41.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, ochre, yellow, light grey, white, black. Artist', no. 7. Origin-. Buléléng. Anoman visits Rama and Laksmana. He is sent by Sugriwa to ask Rama for help A white monkey stands to the left facing right. His legs are spread, his right knee is bent. He makes a sembah. His thumb nails are sharp and long. His hair is styled in a large double chignon. The jewels at his ears have flames coming from them. He wears a necklace in the form of a snake curled round his neck. The rings round his wrists, arms and ankles have sharp points. They are called wesi urani in Buléléng. His wristlets and armlets point at each other (menék, tuun). He has an ornament decorated with an ogre’s head (karang bintulu) on his knees. He wears a short loincloth patterned with black, grey and white checks tucked up between his legs and a sash round his waist. He also wears shoulder-ornaments. There is a large jewel mounted at the tip of his tail. A man stands to the right at the front. He faces left. His legs are spread. With his right hand he makes a gesture which indicates that he is allowing the other to speak. With his left hand he holds his caste-cord (nabdab). His body is bent forward slightly. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. He has a high crown with a large manuk ornament at the back on his head. His face is refined. His skin is light green. Another man stands on the far right. He also faces left. His legs are spread. He holds his right hand to his
trousers. He holds his left hand in front of his body. This attitude indicates that he is standing at ease while listening. His skin is ochre. His face is refined. His hair is styled in a double chignon with a large curing ornament at the back. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and his jewelry is characteristic of that of a royal per sonage. A text in Balinese script in ink at the bottom on the left says: sang nganoman (Sang Anoman), Anoman. At the bottom in the middle is written: sang rama (Sang Rama), Rama and at the bottom on the right: sang laksmana (Sang Laksmana), Laksmana. A meeting takes place between Anoman and Rama and Rama’s brother Laksmana. It is probable that the first meeting is depicted here, since Anoman honours Rama with a sembah. In other meetings an object (a ring or a letter) is handed over. The first meeting is described in the OJ Ramayana VI: 133-147. Anoman is ordered by Sugriwa to go to find Rama and Laksmana. Rama has entered the Resyamuka mountain. Anoman greets Rama. He praises his courage because he has entered the dangerous mountain. Anoman asks Rama why he is wandering through the forests. Rama explains he is searching for Sita. Anoman says that Sugriwa wants to become Rama’s friend and that he has sent Anoman to search for Rama. The same scene is depicted in drawing No. 3390-272. This scene is called patemon sang Anoman ring sang Rama, the meeting of Anoman and Rama, by the Balinese. Cod. Or. 3390-106 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. There is a drawing on the left- hand side and on the righthand side of the fold. Polychrome, watercolours and ink. Colours: dark bordeaux-red, light red, light magenta, light salmon-pink, light blue, dark blue, light green, dark green, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. Left: Prahasta A man like a demon faces right. He stands in a dancing attitude. His legs are placed wide apart, his toes curl upwards (tampak sirang). His knees are bent. In his right hand he holds a club (gada) with a three-pointed ornament (bajra) on top (nggawa). His left hand is held in front of his stomach and points down (nyaup,
nyamir). The upper part of his body is slightly bent forwards. He has bulging eyes, a half-open mouth with sharp teeth visible inside and a tooth on his cheek. His skin is light magenta. He wears a diadem with a curing ornament on his head and a chignon curled inwards. He wears long trousers in a floral pattern, a small loincloth tucked up between his legs, a sash round his waist, and a shoulder-piece. His jewelry is characteristic of that of a royal personage. There are air ornaments at the top (awon-awon, type II). A text in Balinese script in ink at the top says: prahastë, Prahasta. This is a son of Sumali and Kétumati who is killed by the monkey Nila (see No. 3390-98). Right: Jambulmali A man like a demon faces right. He stands in a dancing attitude. His legs are placed wide apart, knees bent. His left knee is raised (nyingjing). In his right hand he holds a club (gada) with a three-pointed ornament on top (nggawa). He touches his diadem with his left hand (nabdab gelung). He has round bulging eyes. His mouth is half-open. His teeth and fangs are sharp. His curly hair is bound in a knot on top of his head. His skin is light salmon-pink. He wears a small loincloth tucked up between his legs and a sash round his waist, a shoulder- piece and another sash round his neck like a caste-cord. A text in Balinese script in ink on the left says: jambulmali, Jambulmali. He is mentioned as being among the commanders of Rawana’s army by the OJ Ramayana XIX: 9. He is killed by Anoman in XX: 24. According to KBNWB IV: 706, gada, the club is only known “from the draw ings and from rerajahan (magical drawings)”. Cod. Or. 3390-107 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 34.2 x 42.2 cm. The sheet is folded vertically into two halves. There is a drawing to the right and to the left of the fold. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, light magenta, light and dark blue, light and dark green, yellow, light salmon-pink, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. Left: Bajramusti A man like a demon stands and faces right. His left leg is raised (nyingjing). He holds a sword (pedang) in his right hand (nggawa). His left hand points up which indicates that he is speaking (ngungkab suara). His nails are long and pointed. a
He has a face like a demon, with bulging eyes, a half-open mouth with sharp teeth and fangs, and a tooth on his cheek. He has a diadem and two horns on his head. He has long hair. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash round his neck. One end hangs down over his right arm. His jewelry is that of a prince. At the bottom on the right is a rock-ornament. A text in Balinese script in ink at the top on the right says: bajremusti, Bajramusti. Bajramusti is mentioned as being among the commanders in Rawana’s army in the OJ Ramayana XIX: 9. He is killed by the monkey Ménda in XX: 29. Bajramusti (Skt vajramusti) means grasping a thunderbolt. The demon however holds a sword, not a thunderbolt. Right: the monkey Mésimuka A monkey stands in a dancing attitude. He faces left. His left knee is raised (nyingjing). He stretches his left arm up and holds his right hand in front of his girdle. This attitude is called buta nawa sari. It indicates that he is eager to do something. He has round, bulging eyes, a wide-open mouth with sharp teeth and fangs, and a tooth on his cheek. There are two horns at his forehead. He wears a diadem on his head. His hair is long. His skin is light salmon-pink with blue and white spots. He also wears a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and a sash over his left shoulder, the end of which hangs over his right arm. There is a rock ornament with some plants at the bottom on the right, and an air ornament (awon-awon, type II) at the top on the left. A text in Balinese script in ink at the top on the left says: mésimuka, Mésimuka. Mési or mésa (Skt mesa) means ram or goat. The monkey’s appearance thus accords with his name which means looking like a goat or a ram. Mésimuka might refer to the monkey Ménda (cf. No. 3390-71), who has the same appearance. He kills Bajramusti, as mentioned above, and in No. 3390-71. The figures depicted on either side of the fold then belong together; they are fighting. Cod. Or. 3390-108 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. There is a drawing on each side of the fold. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, magenta, light magenta, salmon-pink, light and dark blue, yellow, light and dark green, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja.
Left-. Puntadaksi A standing demon faces right. His left knee is raised (nyingjing). In his right hand he holds a club with a three-pointed ornament on top (bajra). His left hand is directed upwards indicating that he is going to speak (ngungkab suara). He has the face of a demon with bulging eyes, a half-open mouth with sharp teeth and fangs and a tooth on his cheek. His hair is styled in a coif on his forehead and he has long hair at the back which is left free. He has a diadem on his head. Flames come from the left of his head and from his left wrist. His skin is light magenta. He wears long trousers with a floral pattern, a small loincloth tucked up between his legs, a sash with long ends round his waist, one end of the sash hangs over his right arm, and he wears a shoulder-piece also. His jewelry is characteristic of that of a royal personage. There is a rock ornament at the bottom on the right. There is some unfinished air ornamentation consisting only of a coloured spot at the top on the left. On the right of the fold the complete ornament is depicted. A text in Balinese script in ink at the top on the left says: puntadaksi, Pun tadaksi. In Latin script Van der Tuuk has added: sputadaksi? This refers to the demon Sputadaksi, or Sphutadaksi as Puntadaksi is called in OJ. In the OJ Ramayana XX: 15 Sputadaksi is numbered as being among the demons of Rawana’s heir. In XX: 17-18 he is killed by the monkey Nala, or Anala. Right: the monkey Anala A standing monkey faces left. His right knee is raised (nyingjing). He holds his right hand close to his face (ulap-ulap) which indicates that he is looking hard at something. His left arm is stretched out close to his raised knee (nerudut). The finger nails of his left hand are long and sharp, which is a characteristic of figures which represent demons. He has bulging eyes, and a wide-open mouth with sharp teeth and fangs. He has a diadem on his head and a headdress with flames. A jewel is mounted in his tail. His skin is light salmon-pink. He wears a short loincloth, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal personage. There is a rock ornament at the bottom on the left. Air ornaments of the awon-awon type II surround the upper part of the monkey. A text in Balinese script in ink at the top says: handala, Anala. He is usually called Nala (see No. 3390-65). In No. 3390-65, a drawing of the same monkey but by an artist from South Bali, the background of this character is described. The difference in style between the work of artists from South Bali and from North Bali is clearly visible when the two drawings of the same monkey are compared. The manner in which the long finger-nails and the hair on the body are drawn here are typical of North Bali.
Cod. Or. 3390-109 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 34.1 x 42.1 cm. The sheet is folded vertically into two halves. There is a drawing on the left side and on the right side of the fold. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, light magenta, magenta, light and dark blue, light and dark green, yellow, light brown, white, grey, black. Artist-. I Ketut Gedé. Origin: Singaraja. Left: the monkey Sarpamuka A monkey stands in a dancing position. He faces right. His knees are bent, his left leg raised (nyingjing). He touches his diadem with his right hand (nabdab gelung), while he holds his left hand in front of his body, the elbow raised (nyiku). He has a head like a snake with bulging eyes, a half-open mouth with sharp teeth and fangs, and a forked tongue. He has sharp teeth in his cheeks. His skin is white and decorated with red crescents. He has a knot in his tail. He wears a diadem and a high crown on his head. His long hair falls free at the back of his head. He wears a small loincloth tucked up between his legs, a short loincloth, a sash with long ends, a girdle, and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the right says: sarpamuka, Sar pamuka. Sarpamuka (Skt sarpamukha) means having the face of a snake. A monkey with a snake’s head is not mentioned in the OJ Ramayana. In No. 3390-82 another monkey with a snake’s head is depicted by an artist from South Bali. Its name is Druwa. Right: the monkey Bawimuka A monkey stands in a dancing position. He faces right. His knees are slightly bent, his feet wide apart (agem). He has a head like a pig with bulging eyes, sharp teeth and fangs. He also has a tooth on his cheek. He holds his right hand out in front of his body while his left arm hangs by his side. This attitude is called raja- singa. He has feet with split hoofs and spurs at the ankles. He wears a diadem and a kerchief (kekendon) on his head. He wears a short loincloth, a sash round his waist, a girdle, and a shoulder-piece. His jewelry is characteristic of that of a royal personage. His skin is light blue with light brown spots. Air ornaments (awon- awon, type I) are depicted to the right of the monkey. A text in Balinese script in ink at the top in the centre says: bawimuka, Bawimuka.
Bawimuka (OJ, Bal.) means having the head of a pig. The appearance of the monkey accords with his name. A monkey with this appearance is not mentioned in the OJ Ramayana. The monkeys Sarpamuka and Bawimuka, however, play a role in Balinese wayang Ramayana performances. Cod. Or. 3390-110 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, ochre, light and dark green, light grey, white, black. The parts coloured red on the crown and in the sash of the figure to the right of the fold are damaged. Artist: no. 7. Origin: Buléléng. Sugriwa kneels in front of Rama and Laksmana A monkey kneels on his left knee to the left of the fold. He faces right. He makes a sembah. He has a diadem and a kerchief (kekendon) with a garuda orna ment at the back on his head. A large jewel is mounted at the tip of his tail. His skin is ochre. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash round his neck, crosswise over his chest. His jewelry is characteristic of that of a royal per sonage. A man stands to the right at the front. He faces left. His feet are set wide apart (agem). The upper part of his body is slightly bent. With his right hand he makes a gesture of allowing someone to speak, while his left hand, clenched into a fist, hangs by his side (matéken). His skin is green. His face is refined. He has a high crown with a manuk ornament, and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder- piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. Another man stands on the far right. He faces left. He holds his caste-cord with his right hand, and his girdle with his left. This attitude in dicates that he is at ease and listening. His face is refined. His hair is styled in a chignon with a large bintulu ornament at the back. He has a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, and a shoulder-piece. His jewelry is that of a royal personage. His skin is ochre. A text in Balinese script in ink at the bottom on the left says: sugriwa, Sugriwa. At the bottom on the right is written: sang laksmana, Laksmana, and in the cen tre: sang rama, Rama.
A meeting between the monkey Sugriwa and the princes Rama and Laksmana is depicted. This scene refers to an episode described in the OJ Ramayana VI: 151-157. A meeting between Rama, Laksmana and Sugriwa takes place after Sugriwa has sent Anoman to search for Rama. Sugriwa needs Rama to defeat his wicked brother Subali. At the first meeting Rama and Sugriwa cement their friendship. Sugriwa tells Rama about the evil deeds of his brother Subali. This scene is called patemon Sang Sugriwa ring Sang Rama, Sugriwa meets Rama, by the Balinese. Cod. Or. 3390-111 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, light violet, violet, ochre, yellow, white, light grey, grey, black. Artist: no. 7. Origin: Buléléng. Rama shoots an arrow at Subali who fights Sugriwa. Laksmana and Twalén are watching A man standing to the right faces left. He holds a bow in his left hand (nggawa). He touches the bowstring with his right hand (nabdab). His face is refined. He has a diadem and a crown with a manuk ornament at the back on his head. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and a sash over his left shoulder. His jewelry is characteristic of that of a royal personage. On the far right another man stands facing left. His right hand is to his girdle (nabdab), his left arm hangs by his side (matéken). This attitude indicates that he is at ease and that he is listening and watching attentively. His face is refined. His hair is styled in a double chignon with a large bintulu ornament at the back. He has a diadem on his head. The colour of his skin is ochre. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal personage. A small figure stands in the foreground in front of the men who are standing. He faces left. He holds his left hand above his head (ulap-ulap) and his right fist to his hip. This attitude means that he is watching something attentively. His skin is grey. His eyes are of the female type, which is characteristic of servants. He has short, bristly hair. He wears a short loincloth in black, grey and white checks tucked up between his legs, and a sash round his waist. There is a flower behind his ear. Two monkeys fight to the left. They face each other. They look exactly the same. Their skin is col oured ochre. They have diadems and kerchiefs (kekendon) with garuda or-
naments on the backs of their heads. They wear long trousers, small loincloths tucked up between their legs, sashes, girdles, shoulder-pieces and further sashes across their chests. They hang down over the right shoulder of the monkey on the far left and over the left shoulder of the monkey to the right. Each has a large red jewel mounted at the tip of the tail. The figure on the far left stands upright. An arrow has been shot into his chest. He raises his left arm (ulap-ulap), and looks at tentively to the right. His right hand, clenched into a fist, hangs by his side (matéken). He is held by the sash across his chest by the monkey to his right whose left arm is pendent (matéken). The latter crouches. His right leg is held by the other’s to his left. A text in Balinese script in ink on the left says: sang subali, Subali, and in the centre: sang sugriwa, Sugriwa. At the bottom to the right is written: sang rama, Rama, and: towalén, Twalén and at the bottom on the far right: sang laksmana, Laksmana. Rama, accompanied by his brother Laksmana and his servant Twalén, has just shot an arrow at the monkey-king Subali who fights his brother Sugriwa. This scene is described in the OJ Ramayana VI: 165-172. The leaves bound around Sugriwa according to the text are not depicted in the drawing nor in drawing No. 3390-79 in which the same scene is portrayed. The iconography of the servant Twalén is characteristic of North Bali. This scene is called bah Bali, Bali’s fall, by the Balinese. Cod. Or. 3390-112 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.4 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light green, green, light violet, violet, ochre, yellow, white, light grey, grey, black. Artist: no. 7. Origin-. Buléléng. Rama has shot an arrow at a deer-, Twalén tries to catch it A man stands to the right. He faces left. He holds a bow in his right hand, while his left arm is raised in a gesture indicating that he has just shot an arrow. He has a diadem and a high crown with a manuk ornament on his head. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs and a sash round his waist with long ends hanging down, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a prince. A small figure stands to the left, facing left. He holds a small ochre coloured deer which tries to escape his grasp and to run away. An arrow has pierced the deer’s
body. The man’s right leg is crippled. He has female eyes, and short bristly hair. He has a flower behind his ear. He wears a short, black, grey and white checkered loincloth with a sash. His skin is grey. A text in Balinese script in ink at the bottom on the left says: kidang kancanna (kidang kancana), a golden deer. In the centre is written: towalén, Twalén and at the bottom on the right: batararama, lord Rama. Rama has just shot an arrow at a deer. It runs away on the left of the drawing. The servant Twalén tries to seize the animal. This scene refers to an episode described in the OJ Ramayana V: 36-45. Rawana pays a visit to Marica to ask him for help. Marica refuses at first, but is threatened by Rawana. Marica then proposes that he should change himself in a golden deer and go to the forest. He will make sure that Rama and Laksmana leave Sita to go after the deer, so that Rawana can do what he wants with Sita. Rawana agrees. When Sita sees the beautiful deer, she asks Rama to catch it for her. Rama orders Laksmana to keep an eye on his wife. He goes after the animal. It goes a long way and Rama gets angry because he cannot catch it. He finally decides to shoot it with an arrow. The animal cries like a human being when it is hit by the arrow. The same episode is depicted in Nos. 3390-273 and 284, but in a slightly different way. Cod. Or. 3390-113 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, light violet, violet, ochre, yellow, white, light grey and black. Artist', no. 7. Origin: Buléléng. Subali and Sugriwa fight Two monkeys fight each other. They face each other. The monkey standing on the right presses a lump of rock to the other’s head with his right hand, while holding the left leg with his left hand. The monkey on the left sits on his buttocks. He presses a rock to the other’s head with his left hand. He holds the ankle of the other monkey with his right hand. The monkeys are clad in the same way. They have diadems and kerchiefs (kekendon) with garuda ornaments at the back on their heads. Their skin is coloured ochre. They wear long trousers, small loincloths tucked up between their legs, sashes round the waists, girdles and shoulder-pieces. Their jewelry is characteristic of that of royal personages. A text in pencil in Latin script by Van der Tuuk at the bottom on the left says: Sugriwa & Subali, Sugriwa and Subali.
The fight between the two monkeys is depicted. They smite each other with rocks. This scene refers to an episode described in the OJ Ramayana VI: 157-197. It is also depicted in drawing No. 3390-79. The smiting with rocks is not explicitly mentioned in the text; in the texts they bite and scratch each other and try to win the fight in many different ways. In the graphic arts and in theatre, however, they fight with rocks. This scene is called pasiat Subali Sugriwa, the fight of Subali and Sugriwa, by the Balinese. Cod. or. 3390-114 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.2 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light green, dark green, ochre, yellow, light violet, violet, white, light grey, black. Artist: no. 7. Origin: Buléléng. The sheet is damaged at the bottom in the centre and on the right. Jatayu fights Rawana who has abducted Sita. Rawana drives his mount Wilmana A man and a woman are depicted to the right of the fold. They sit on the neck of a winged figure with the body of a male demon. The man faces left. He holds a sword in his right hand. His left arm is placed around the woman’s waist. He has bulging eyes, sharp eye-teeth and a tooth on his cheek. He has a diadem on his head and a crown and a garuda ornament at the back of his head. His skin is pink. He wears black trousers, probably of velvet, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash round his chest which hangs over his left shoulder. His jewelry is characteristic of that of a royal personage. The woman turns her body and head to the right, away from the man. She tries to escape the embrace of his left arm with both hands. Her skin is white. She has a refined face. Her hair is long. She wears a diadem on her head and her hair is styled in a chignon at the top of which is placed a bintulu ornament. She wears a long loincloth, a sash round her waist, a girdle and sash to cover her breasts and a shoulder-piece. Her jewelry is characteristic of that of a royal per sonage. The winged figure on the right faces left. The wings point up. The figure has the face of a demon with bulging eyes, a gaping mouth with sharp teeth and fangs inside and a fang on his cheek. He has a diadem and a chignon curled up ward on his head with a bintulu ornament at the back. His right knee is bent, his left leg stretched behind him. This posture is called the flying posture. He holds
the woman’s legs with his left hand. He wears a small loincloth tucked up between his legs, a sash round his waist and a sash crossed around his neck and over his chest. His skin is ochre. Another winged figure stands on the left, facing the group to the right. His body bears some relation to the appearance of humans except that his head and feet resemble those of a bird. He holds a double lance in his right hand. He points (nuding) with his left index linger at the man to his right. At the same time he pushes the right leg of the winged figure on the right with his left paw. He has a diadem and a kerchief (kekendon) with a bintulu ornament at the back on his head. He wears a small loincloth tucked up between his legs, a sash round his waist, another sash crossed around his neck and over his chest. His skin is light yellow. A text in Balinese script at the bottom on the left says: paksi gentayu, (paksi Gentayu), the bird Gentayu or Jatayu. At the bottom on the right is written: sang rawana nglinggihin wilmana ngëmban déwi sita (sang Rawana nglinggihin Wilmana ngemban Déwi Sita), Rawana drives Wilmana; he carries Déwi Sita. In the drawing, a fight between a bird called Gentayu or Jatayu and Rawana, who holds Sita while mounted on Wilmana in the air, is depicted. This scene is described in the OJ Ramayana VI: 15-28. Sita weeps and cries aloud when she is abducted by Rawana and taken away on his mount called wimana in OJ. Her cries are heard by the bird Jatayu. He feels obliged to defend Sita, because his father had been a friend of Rama’s father. Rawana draws his sword, Candrahasa. A fierce fight ensues. Jatayu frees Sita for a moment, but he is not strong enough to withstand Rawana. One of his wings is cut off. The bird falls to earth and Rawana goes off with Sita. The word wimana, mount, chariot, is used in the OJ text. This is regarded in OJ iconography (see for instance Stutterheim 1925 II: pi. 35, the relief of the Siwa temple of the Prambanan complex in Central Java) and in Balinese iconography as demon in the shape of a bird, called Wilmana, a misrendering of wimana. The scene is also depicted in Nos. 3390-274 and 285. It is called siat Jatayu, the fight of Jatayu, by the Balinese. Cod. Or. 3390-115 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours', red, pink, light and dark green, light violet, violet, ochre, yellow, brown, white, grey, black. Artist: no. 7. Origin'. Buléléng. The sheet is damaged in the centre at the bottom. The nose of Ungu, the dark brown demon, is also damaged.
Anoman disguised as a demon meets Rawana. Indrajit, Sangut and the patih Prahasta and Sukasrana and the demon Ungu are watching Seven figures are depicted, three on the left and four on the right. They are divided into two groups which face each other. A man sits in an armchair with a cane seat and arms on the left at the front. His left leg is placed over his right leg. He has the face of a demon with bulging eyes, sharp teeth, eye-teeth, and fangs. He wears a diadem and a high crown with a manuk ornament at the back of his head. His skin is pink. He wears long black (velvet) trousers, a short loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash crossed over his chest. He holds his left arm in his lap, while his right hangs by his side (matéken). His attitude indicates that he is sitting at ease and listening. Behind him on the far left stands a man. He also faces right. He has the face of a demon with bulging eyes, and with fangs. His hair is styled in a double chignon with a bintulu ornament at the back. He also has a diadem on his head. He holds his left arm to his stomach while his right arm hangs by his side (matéken). His attitude indicates that he is listening to somebody. His skin is pale violet. He seems to be wearing long trousers, a small loincloth tucked up between his legs, a sash round his waist, and also a shoulder-piece and another sash crossed over his chest. Only part of his legs and upper body are visible because another small man sits crosslegged in the foreground on the left. This man has bulging eyes, a pointed mouth and one tooth in his upper jaw. He holds a large flat bag to his neck with both hands. His hair is styled in a kind of pony-tail (jambul). He wears a short loincloth and a sash round his waist. His skin is light violet. A man kneels to the right at the front. He faces left. His fingers are crossed over each other (cakupan tangan) which indicates that he is speaking very humbly. He has the face of a demon with bulging eyes, sharp teeth and eye-teeth and a tooth on his cheek. His skin is ochre. His hair is held in place by a kerchief (kekendon) curled inward with a large garuda ornament at the back. He has a diadem on his head. The lower part of his body is only partly visi ble. He wears a small loincloth tucked up between his legs, a shoulder-piece and a sash over his left shoulder. His jewelry is characteristic of that of a prince. Another man like a demon stands to the far right. He holds his right fist to his sash across his chest and he holds his left fist to his girdle (nyamir). His attitude means that he waits and makes obeisance. He has the face of a demon with bulging eyes, sharp teeth and a tooth on his cheek. His hair is held in a large kerchief (keken- don) with a garuda ornament at the back. He has a diadem on his head. His skin is dark-brown. The lower part of his body is only partly visible, because a demon sits at his feet. Another demon crouches in the foreground to the left. He holds his fists in front of his stomach. He has a large pointed nose, sharp teeth, long, pointed fangs and female eyes. He has long curly hair. His skin is dark brown. He wears a short loincloth tucked up between his legs and a sash over his chest.
Behind him, on the far right, another small demon sits crosslegged. He has bulg ing eyes, sharp teeth and eye-teeth and curly hair. His skin is white with ochre spots. He holds his hands in front of his stomach, touching his sash (nyamir). This attitude indicates that he is waiting while making obeisance. He wears a short loincloth, a sash around the waist and another sash over his chest. A text in Balinese script in ink at the top on the left says: méganada, Méganada. At the bottom on the left is written: sangut, Sangut. At the bottom in the centre: rawanna, Rawana. At the top on the right is written: patih prasta, patih Prahasta and further to the right: patih sukasranna, patih Sukasrana. At the bottom on the right is written: buta ungu, buta Ungu and further to the right: sangnganoman malingsé dadi buta (sang Anoman malingsé dadi buta), Anoman has changed himself in a demon. A meeting takes place between Prahasta and Sukasrana, Rawana’s patihs, and Rawana accompanied by his son Méganada or Indrajit and his servant Sangut. Rawana sits at ease in an armchair. Prahasta makes the kind of sembah which in dicates that one feels very humble. He is accompanied by two demons of lower rank, Ungu and Anoman in disguise. They wait. This scene is not explicitly described in the OJ Ramayana but in VIII: 69-80 a transformation of Anoman is described. He has arrived in Langka. He changes into a demon because he does not want to be recognized as a monkey by other demons. He wants to know what Rawana looks like, so he enters the palace where Rawana sleeps. He discovers Rawana. Sita, however, is not with him. Anoman then changes back to what he normally looks like and continues his search for Sita. A somewhat different version, probably based on a local wayang version (carita kawi padalangan), in which Anoman disguised as a demon forms part of Prahasta’s suite, is depicted in the drawing. The object held by Sangut is a kampék. This is a large, flat bag made of basket- work in which sirih utensils are kept in the compartments inside the bag. The utensils consist of sirih leaves, chalk made from sea shells, gambir, pinang nuts, a pinang cutter, and tobacco. Cod. Or. 3390-116 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light orange-red, ochre, yellow, light and dark green, light violet, violet, white, light grey, black. Artist: no. 7. Origin: Buléléng. The sheet is torn at the bottom in the centre.
Sayongsarba offers food to Anoman. She is accompanied by Mén Gelabig, Anoman by Mredah A woman like a demon stands on the left. She faces right. She holds her left arm in front of her breasts and makes a gesture indicative of speech. She looks at the objects placed in the centre. Her right arm is akimbo. She has long, flat breasts with wrinkles and large nipples, which indicates that she is old. She has the face of a demon with bulging eyes, sharp teeth and fangs and a fang on her cheek. She has long hair. She wears a diadem with a bintulu ornament at the back and a ker chief (kekendon) with another bintulu ornament on her head. Her skin is ochre. She wears a long loincloth, a sash round her waist, a girdle, a shoulder-piece and another sash crossed between her breasts. Her jewelry is characteristic of that of a royal personage. A small female figure kneels at her feet on the far left. She faces right. She stretches her left arm up towards the objects placed in the centre. Her right arm is akimbo. She has long breasts with wrinkles. She has a face with a pro truding forehead and lips. Her hair is styled in a chignon curled inwards at the back of her head. Her skin is pale orange-red. She wears a skirt and a sash round her waist. A bowl on a foot (dulang) with a deckle (saab), a yellow pot and a drinking vessel (caratan) stand in front of the two women. A white monkey stands to the right. He faces left. The upper part of his body is bent forwards. He holds his right hand, which has a sharp, long thumb-nail, close to his chest. His left arm is akimbo. He looks at the objects in the centre. He wears a small black and white checkered loincloth tucked up between his legs and a sash. He has a necklace in the form of a snake. His hair is styled in a chignon. His armlets and wristlets have triangular ornaments which point towards each other. There is a large red jewel at the tip of his tail. A small male figure stands in front of him facing left. His left arm stretches upwards while his right arm is around his head pointing forwards (ulap-ulap). This indicates that he is watching something attentively. His knees are bent. His skin is dark green. He has female eyes and a round nose. He wears a short loincloth tucked up between his legs, a sash round his head, and a head- band. His hair is short and bristly. Texts in Balinese script in ink at the top on the left say: sayongsarbha, Sayongsarba, and at the bottom on the left: mén gelabig, Mén Gelabig. In pencil in Latin script Van der Tuuk has added: Men Glabig. On the right at the bottom in the centre is written in Balinese script, in ink: hordah, Wredah, and on the far right: sangnganoman (sang Anoman), Anoman. A meeting is depicted between a witch called Sayongsarba accompanied by her servant Mén Gelabig, and Anoman, accompanied by Wredah. According to Van der Tuuk (KBNWB II: 312) Sayongsarba is derived from the Skt Svayamprabha, or OJ Swayamprabha. This witch is mentioned in the OJ Ramayana VII: 74. In VII: 63-80 some of the monkeys, on their search for Sita, go South guided by Anoman. They arrive in a grotto on their way to Langka. They are very tired and hungry. They see a beautiful white house. A girl with a slender waist comes and
offers them fruit. She is called Swayamprabha (OJ). She promises that if they close their eyes and follow her, she will show them a quick way of reaching Langka. They do so. She then casts a spell upon them in order to postpone their trip. The bowl and the vessel in the drawing contain water in which to wash the hands before and after the meal which is served on a dulang covered by a deckel. Instead of a group of monkeys only their leader is depicted. Sayongsarba (Bal.) is represented by an old and ugly witch instead of by a girl with a slender waist. This might be explained by the fact that, according to the Balinese, she belongs to the category of forest ghosts (tonyan alas; cf. KBNWB III: 312). The iconography and the colour of the skin of Wredah are characteristic of Buléléng. In KBNWB IV: 765 Van der Tuuk calls Sayongsarba’s servant Mén Gulabig in which gulabig means ‘with flat, hanging breasts’. He remarks that she figures as a servant in the wayang. This is an important remark. It informs us that the ar tist was inspired by wayang versions of stories known to us from textual stories. Cod. Or. 3390-117 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet is folded vertically into two halves. There is a drawing to the left and to the right of the fold. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, light salmon-pink, light green, light brown, yellow, light violet, light grey, white, black. Artist'. Probably I Ketut Gedé. Origin'. Singaraja. Left: Rawana flies through the air with Sita A man like a demon holds a small woman in his left arm. They both face left. The man’s right arm hangs by his side. He points downwards with his right index-finger, but he is not threatening anyone. This gesture means that his hand is at rest. He has the head of a demon with bulging eyes, fangs, and a fang on his cheek. He has a diadem and a high crown on his head. His hair is long. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash cross-ways over his chest. His skin is light salmon-pink. The woman sits on his left knee. She is of the refined type. Her skin is white. She has long hair and a small diadem on her head. She holds a batik sash hanging over her breasts and over her left shoulder with her right hand. The sash has a black and white pattern (batik Betawi). Her left arm hangs by her side. She wears a skirt, a long loincloth and a sash wrapped around the upper part of
her body. All round the figures there is air ornamentation (type IV). There are two rock ornaments at the bottom on the right. A text in pencil in Latin script by Van der Tuuk to the left says: Rawana, Rawana, and close to the air ornamentation is written in ink: awon 2 , awon-awon. Rawana starts to fly throught the air with Sita. He has abducted her. The ab duction of Sita is described in the OJ Ramayana V: 64-89 and VI: 1-5. After sen ding away Laksmana, Sita goes into the forest to pick flowers. She meets an old sage. He tells her that she looks very beautiful. He asks her whether she is mar ried. She tells him that she belongs to Rama. The old sage, being Rawana in disguise, starts villifying Rama. He says that Sita would surely prefer him as a husband to the vile Rama. When she refuses to countenance the suggestion to do so the sage seizes her. He changes into Rawana and flies away with her. This episode is called kasambut Sita, or kasabit Sita, the abduction of Sita, by the Balinese. In KBNWB I: 240 Van der Tuuk refers to this drawing when he gives an ex planation of the term awon-awon: “the curved lines in blue and also in red in drawings to represent the air, as for instance where Rawana flies through the air with Sita”. Right: Rama or Kresna A man stands in a dancing attitude. He faces left. He holds his right hand close to his diadem (ulap-ulap) which indicates that he is looking at something atten tively. He holds his left hand close to his chest, touching his caste-cord (nabdab). His head is refined. He wears a diadem and a high crown with a garuda ornament at the back on his head. His skin is light green. He wears long striped trousers, a small loincloth tucked up between his legs, a sash round his waist with long ends hanging down, a girdle, a shoulder-piece and another sash over his shoulders. Three rock ornaments on top of each other are depicted on the far right. They have leaves and flowers on stalks. A text in pencil in Latin script by Van der Tuuk on the top right says: Kresna of Rama?, Kresna or Rama? Kresna and Rama have the same appearance, but in view of what is depicted at the left of the drawing—the abduction of Sita—it makes much sense to conclude that it is Rama who is depicted here. He looks attentively at something. This might refer to his search for Sita after he discovers that she is missing. It is remarkable that the figure does not have long hair. In other drawings from this artist Rama (Nos. 3390-283, 284, 286, 287) as well as Kresna (Nos. 3390-33, 35, 117) have long black hair. It is probable that the application of black in the draw ing is unfinished. Other details which should be black, for instance the space be tween the diadem and the crown, have also not yet been coloured.
Cod. Or. 3390-118 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.2 cm. The sheet is folded horizontally and vertically into four parts. Polychrome, watercolours and ink. Colours', red, pink, light pink, salmon-pink, light and dark blue, light and dark green, yellowish-grey, white and black. The first sketches, in pencil, are still visible. Artist', no. 5. Origin: Badung. Anggada is sent as an envoy to Rawana to convince him to send Sita back. Rawana is angry. He refuses to do so. Rawana is attended by Délem A monkey stands on the far left. He faces right. His legs are spread apart. With his right hand he makes a gesture of speech to a higher ranking person (matur). He holds his left hand in front of his girdle (nabdab). He has a diadem on his head. His hair is styled in a double chignon with a garuda ornament at the back. He wears a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash hangs over his right shoulder. His jewelry is characteristic of that of a royal personage. His skin is light pink. A tree with a stag-horn fern is depicted in front of him. It is surrounded by a fence (bebataran). A demon stands on the far right. He faces left. His legs are spread wide apart, his knees bent. He points at the monkey (nuding) with his left index finger and with his middle finger. He holds his right hand in front of his girdle (nabdab). He has bulging eyes, sharp teeth and fangs and a fang on his cheek and on his eyebrows. He has a high crown and a diadem with a garuda ornament at the back on his head. He wears short trousers, a small loincloth tucked up be tween his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. His skin is yellowish-grey. A small figure facing left sits crosslegged at his feet. This figure has bulging eyes. He is about to draw his kris from his girdle. His skin is light salmon-pink. He wears a short loincloth with a sash. He has a cap with a tuft of hair (jambul) on top of his head. The ground is indicated by a continuous rock ornament. There are awon-awon ornaments (type I) in the air. A text in Balinese script in ink on the left says: hi hanggadda, Anggada, and close to the tree is written: tarü paddapa, a tree called “drinking with its feet”. At the top on the right is written: dasamukka, Dasamuka and lower down in the cen tre: hi délëm, I Délem. A meeting takes place between the monkey Anggada and Dasamuka or Rawana, who is accompanied by his servant Délem. Rawana threatens Anggada. Such a situation is described in the OJ Ramayana XVIII: 38-50. Anggada is
ordered by Rama to go as an envoy via the dam to Langka to Rawana. He enters the audience-room. He kneels down and pleads with Rawana to honour Rama and to give Sita back to him. Then he may continue to live in his palace. Rawana gets very angry. He is rude to the monkey. Anggada then gets angry too. He stands up, and says that Rawana will certainly be vanquished, a thing which had never happened before. The argument between the angry Anggada and Rawana is depicted in the drawing. This scene is called kutus Anggada, Anggada as an envoy, by the Balinese. Cod. Or. 3390-119 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, bordeaux-red, pink, light salmon-pink, violet, light violet, magenta, light and dark blue, light and dark green, yellow, light brown, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Left: Kampana A demon stands in a dancing attitude. He faces right. His legs are spread apart, his left knee is bent and raised (nyingjing). In his right hand he holds a club with a three-pointed ornament on the top (nggawa). He holds his left hand in front of his stomach to his sash (nyaup). He has bulging eyes, sharp teeth and fangs, fangs on his cheek and eyebrows, long sharp fingernails and locks of curly hair on his forehead. He has a kerchief and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash crossed over his chest. His jewelry is characteristic of that of a royal personage. His skin is light salmon-pink. A text in Balinese script in ink at the top on the left says: kampanna, Kampana. Kampana or Akampana is a son of Sumali (Uttarakanda V; Cod. Or. 10.454: 7). He fights in Rawana’s army. He is crushed by Anoman with a lontar-palm in the OJ Ramayana XXI: 196-197. Right: Pratadaksi Another demon stands in a dancing attitude. He faces left. His legs are spread apart, the right knee bent and raised (nyingjing). In his right hand he holds a club with a three-pointed ornament at the top. He holds his left hand close to his chest,
his elbow is raised (nyiku). This attitude is called ngungkab suara, going to talk. He has bulging eyes, sharp teeth and fangs, and a fang on his cheek and on his eyebrows. He has locks of curly hair on his forehead. There is a diadem on his head. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash over his chest. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the right says: pratëdaksi, Pratadaksi. By Pratadaksi the demon Pratapanaksi might be meant. He is mentioned as be ing among Rawana’s main warriors in the OJ Ramayana XX: 15. In XX: 18 he is killed by the monkey Nala. Cod. Or. 3390-120 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, magenta, pink, light and dark blue, light and dark green, yellow, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Méganada fights Amman On the left of the drawing a monkey stands in a dancing attitude. He faces right. His left knee is bent and raised (nyingjing). He holds his left hand above his knee while his right arm hangs by his side (matéken). His attitude indicates that he is resting and waiting to do something. He has sharp thumb nails. His skin is white. His hair is styled in a double chignon. His earrings have flames coming from them. He wears a short black and white checkered loincloth, a small checkered loincloth tucked up between his legs and a sash round his waist. His necklace is a snake. His armlets, wristlets and anklets have three sharp points (bajra). They all point upwards (menék). A rock ornament with creepers growing from it is depicted by his right foot at the bottom. At the top on the left there is a creeper. There is air ornamentation (awon-awon, type II) to the right of the monkey. A demon stands on the right. He faces left. His legs are spread and his knees bent. His toes are curled up (tampak sirang). He holds a snake hanging down in front of him with both hands. The snake wears a diadem and a high crown. Its mouth is wide-open, its tongue protrudes. The demon has bulging eyes, long eye-teeth in his upper jaw and a moustache. There is a diadem on his head. His hair is styled in a large double chignon. His skin is dark blue. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist,
a girdle, a shoulder-piece while another sash hangs over his left shoulder. There is air ornamentation (type II) in what is the air in the drawing. A text in Balinese script in ink at the top on the left says: marutisuta (Maruti suta), Marut’s son. (This should read Marut Suta or Maruti, which is an epithet for Anoman, the son of Marut, the god of the Vital Air. Maruti suta means the son of Anoman). At the top on the right there is written: mégënadda, Méganada. A meeting takes place between Anoman and Méganada, Rawana’s son. The latter holds a snake-arrow. The snake-arrow is represented by a snake with a crown. Méganada is about to throw it at Anoman. This scene is described in the OJ Ramayana IX: 63-83. Anoman goes as an envoy to Langka. He destroys the flowers and the trees in Rawana’s garden. Indrajit or Méganada comes and fights Anoman. He uses all sorts of arrows, but they do not wound the monkey. Finally he takes his snake-arrow. It is as large as a lontar-palm and has the head of a snake with large fangs. The arrow winds itself around Anoman. This episode is called siat Méganada, the fight of Méganada by the Balinese. This scene is also depicted, but in a slightly different manner, in No. 3390-267. Cod. Or. 3390-121 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.4 x 42.1 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, turquoise, yellow, light brown, brown, violet, light violet, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Left: Gentayu or Jatayu holds a sword A winged figure is standing. He faces left. His skin is green. He has feet like a bird with long nails and spurs and a pointed beak with sharp teeth and fangs. His wings and tail point upwards. He holds a sword in his right hand. His hair is styled in a chignon curled upwards. He has a diadem with a garuda ornament on his head. He wears a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Latin script in pencil by Van der Tuuk at the top on the left says: Gën- taju, Gentayu or Jatayu. (‘G’ and ‘j’ are interchangeable in Balinese). The bird Jatayu plays a role in the OJ Ramayana as already mentioned under No. 3390-114. In VI: 18-27 he tries to rescue Sita. He fights Rawana, but finally one of his wings is cut of so that he falls to the ground. In VI: 66-75 Jatayu, severely wounded and dying, is found by Rama and Laksmana. At first, Rama thinks that
Jatayu has killed or kidnapped Sita, because of the feathers and the footsteps on the ground. The bird tells him what has really happened and then dies. Rama gives him a ritual cremation. The fact that Jatayu holds a sword in the drawing indicates that he is going to fight. The person with whom he intends to fight is Rawana. Right: Kumbakarna A male demon stands in a dancing attitude. His head and body are en face. His legs are placed wide apart, his toes curled (tampak sirang). He has bulging eyes, fangs, and fangs on his cheeks also. He has a diadem and a high crown with a garuda ornament on his head. He holds his right hand up, touching his crown (nabdab gelung), while his left arm hangs by his side. His attitude indicates that he is getting ready to do something. He has many finger-rings and long, sharp nails. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash crossed over his chest; the ends of the sash fall over his shoulders at the back. A text in Latin script in pencil by Van der Tuuk at the bottom says: Kum bakarna. Kumbakarna is the second son of Kékasi and Wesrawa, and the younger brother of Rawana (Uttarakanda IX; Cod. Or. 10.454: 13). He performs ascetism on mount Gokarna with his brothers. Brahma promises to give boons to them, but after granting Rawana invincibility and Wibisana steadfastness in ascetism, Brahma becomes reluctant to grant further boons. The gods are afraid of Kumbakarna’s strength. They decide upon a trick. The goddess of Wisdom, Saraswati, seats herself on Kumbakarna’s tongue. He cannot speak, but can only gasp. He is then granted sleep for a thousand years. In the last but one canto of the OJ Ramayana XXII: 3-9 he still sleeps, but he is finally forced to wake up after Prahasta’s death; demons make a deafening noise with musical instruments and scratch and bite him all over his body. He rises to his feat. He criticises Rawana’s behaviour (XXII: 10-41), but has to keep his pledge to the king Rawana because he is a knight. He has to fight. A terrible battle takes place with the monkeys. They climb upon Kumbakarna. He eats a lot of them. He is killed by Laksmana and Rama who shoots arrows at him (XXII: 42-89, XXIII: 1-8). Cod. Or. 3390-122 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, red, light salmon-pink, light and dark green, yellow, light brown, white, grey, black. Artist: I Ketut Gedé. Origin: Singaraja.
Anggada tries to convince Rawana to return Sita A monkey stands to the left in a dancing attitude. He faces right. He has a knot in his tail and part of his tail is wound round his right arm. His left knee is bent and raised. He holds his left hand close to his knee and his right arm up. This at titude is called rajasinga. It indicates that he is going to do something. He has a diadem on his head. His hair is styled in a double chignon. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, and a shoulder-piece. His jewelry is characteristic of that of a prince. His skin is light salmon-pink. A rock ornament with leaves is depicted at his feet at the bottom in the centre. A demon stands on the right and faces left. His legs are spread wide apart, his knees bent and his right knee raised (nyingjing). He holds his right arm in front of his chest (nabdab), while his left hangs by his side (matéken). Part of his sash hangs over his right arm. He has bulging eyes, a heavy moustache and long hair. There are a diadem and a high crown with a garuda ornament at the back on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash crossed over his chest. His jewelry is that of a royal personage. His skin is light salmon- pink. The air is filled with awon-awon ornamentation (type II). A text in Balinese script in ink at the top on the left says: hanggadë, Anggada, and at the top on the right: rawanna, Rawana. A meeting between Anggada and Rawana is depicted. This scene refers to an episode described in the OJ Ramayana XVIII: 38-50. Anggada tries to convince Rawana to give Sita back. A similar scene is depicted in No. 3390-118. This scene is called kutus Anggada, Anggada as an envoy, by the Balinese. Cod. Or. 3390-123 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34 x 42.2 cm. The sheet is folded vertically into two halves. There is a drawing on both halves of the folded sheet. Polychrome, watercolours and ink. Colours: bordeaux-red, red, violet, light violet, light magenta, pink, salmon- pink, light and dark blue, yellow, white, grey, black. Artist: I Ketut Gedé. Origin: Singaraja. Left: the monkey Wresaba A monkey stands in a dancing attitude. He faces right. He raises his left knee (nyingjing). He touches his diadem with his right hand (nabdab) and points for wards with his left index-finger, which indicates that he is going to walk. His tail is curled round his right arm. His feet have hoofs which are split and spurred. His
skin is salmon-pink with blue spots. He has horns on his head. He wears a diadem on his head. His clothes consist of a small loincloth tucked up between his legs, a sash round his waist with long ends hanging down, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A rock ornament, con sisting of a combination of four rocks, is depicted at his feet. A text in Balinese script in ink at the top on the left says: wrësaba, Wresaba, which means, the monkey with the appearance of a bull (Skt vrsabha). His ap pearance accords with his name. He is mentioned as being among the best monkeys in the OJ Ramayana XVIII: 17 and XIX: 41. He is also depicted in drawing No. 3390-85. Right: the monkey Saraba A monkey stands in a dancing attitude. He faces right. His legs are spread (agem). He holds his hands close to his body (rajasinga), which indicates that he is going to do something. His skin is salmon-pink with blue spots. He has feet with hoofs which are split and spurred. He has horns on his head. He wears a diadem with a garuda ornament on the back of his head. His clothes consist of a small loincloth tucked up between his legs with long ends which hang down, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal per sonage. A rock ornament, consisting of three rocks, is depicted at his feet. A text in Balinese script in ink at the top on the right says: saraba, Saraba. Sarabha (Skt) means deer. The monkey’s appearance accords with his name. He is numbered among the best and oldest monkeys in the OT Ramayana XVIII: 17 and XIX: 40. Cod. Or. 3390-124 A drawing on Dutch paper, watermark concordia, countermark VdL. 33.8 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, magenta, light magenta, light and dark blue, light and dark green, yellow, light orange-brown, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Part of the face of the figure to the right is damaged. Corrections have been made in white paint to remove black blots of ink at the bottom in the centre and at the top on the right. The sheet is torn along the fold in the centre. There is a hole in the centre on the left and on the right of the fold. Anala fights Puntadaksi A demon stands in a dancing attitude to the left. He faces right. His left knee is bent and raised (nyingjing). He holds his left hand to his knee, and touches his
diadem with his right hand (nabdab), which indicates that he is going to do something. He has long, sharp finger-nails, a head with bulging eyes and fangs, fangs on his cheeks and eyebrows, and long hair. He has a diadem on his head. Flames come from his mouth, from the left side of his head and from his ear- jewels. He wears a short loincloth, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, and another sash crossed over his chest. His skin is light orange-brown. A tree, which is bent, is depicted in the centre. It has groups of leaves which are indicated by black vertical stripes. A monkey stands on the right facing left. He has placed his right foot on the trunk of the tree. He raises his hands (buta nawa sari) and with his right hand he holds his tail. He wears a diadem on his head. Flames come from the top of his head. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal personage. His skin is light orange-brown. A text in Balinese script in pencil at the top on the left says: puntëdaksi, Pun- tadaksi, and at the top on the right: handala, Anala. In No. 3390-108 the form Nala is used. The fight between the monkey Anala or Nala and a demon of the retinue of Rawana, called Puntadaksi in Balinese and Sphutadaksi in OJ is depicted. He will be killed by the monkey. This scene is described in the OJ Ramayana XX: 17-18. The same fight is depicted by another artist in No. 3390-108. Cod. Or. 3390-125 Two drawings on Dutch paper, watermark concordia, countermark VdL. 43 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. The drawing on the top half is upside-down. Polychrome, watercolours and ink. Colours', red, violet, magenta, light magenta, light and dark green, light salmon- pink, yellow, light blue, white, grey and black. Artist: I Ketut Gedé. Origin: Singaraja. Bottom: a barong performance In the centre a hairy skin with a mask of a tiger is borne by two figures. Their long trousers are visible under the skin, but nothing else of them can be seen. They face right. A man stands at the far left. We see his back. He raises his hands (buta nawa sari). His right knee is also raised (nyingjing). He wears long trousers, a jacket with long sleeves and a short loincloth tucked up between his legs. Three men are standing behind the animal in the centre. Their heads, arms and feet on ly are visible. The man standing on the left is depicted en face. He is masked. He
raises his hands. The pink mask represents a witch (léak) with a long curly tongue. Another masked man stands in the centre. He has a cap (capil) on his head. His blue mask represents a demon. He wears a jacket with long sleeves. The man on the right faces right. He wears a cap on his head, and probably a pink mask of a man with female eyes. He holds the horns of the masked animal. Another masked man stands on the right. His pink mask has a very long pro truding tongue like a léak. He faces the animal. He raises his left hand. He wears long trousers, a long loincloth wrapped round his waist like a woman’s cloth, a short loincloth tucked up between his legs, a girdle, and a jacket with long sleeves. A man crouches at the centre in the foreground. He stabs himself with a kris. The kris is bent double. He has female eyes, a cap (capil) on his head and he wears long trousers and a jacket with long sleeves. He does not look like a Balinese. All men have light salmon-pink coloured skin. A text in Balinese script in ink at the top on the right says: puniki lalampahan barong, sami naluk tapël (puniki lelampahan barong, sami nyaluk tapel), this is a barong performance, all wear masks. A performance of masked men and a barong, probably a barong macan, a tiger-barong, which is carried by two men, is represented. The masked figure on the right with the woman’s loincloth represents a female léak, although the figure does not have breasts. The men on the left behind the animal are probably two more léak and the man seen from the back is probably a male dancer. The man on the right holds the horns of the barong and is probably a male actor in the drama being staged. The sitting man in the centre is a spectator who has gone into a trance. He has been stabbing himself with a kris so that the weapon has bent dou ble. The fact that he does not look like a Balinese is probably a joke of the artist’s. Top\ the musicians accompanying the barong performance A group of fourteen men play various musical instruments. Two men face each other and play a set of drums on the right. One of them is seen en face. He beats the drum with his right hand. His eyes are of the female type. The other drummer is seen from the back. He holds the drum with his left hand and he beats it with a drum stick in his right hand. They both wear short loincloths, jackets and Euro pean hats (tetopong). Two heads wearing European hats are visible at the top on the right behind the drummers. A text in Balinese script in ink on the righthand side says: hanak makandang, (anak makendang), people playing drums. In the foreground on the right a man is seen en face. He plays a metallophone with keys resting over a wooden resonator. He handles two mallets. He wears a loincloth, a jacket and a European hat. His eyes are of the female type. A creeper with flowers is depicted behind him on the far right. A text in Balinese script in ink says: hanak mgangsa (anak magangsa), some one playing a gangsa.
A man sits on the far left. He beats a large gong with a stick. He wears a tropical helmet, trousers, a short loincloth and a black jacket. His eyes are round. The large gong hangs in a rack from a horizontal pole. A bag for the mallets hangs from the pole on the right. A text in Balinese script in ink at the top on the left says: gong. A man with a cap (capil) on his head and with female eyes holds the gong itself, to stop it swaying. Another man in the centre holds the ropes by which the gong hangs from the pole. He wears a cap on his head and a jacket with long sleeves. His eyes are of the male type. Four heads are visible, two on the left of the gong, and two on the right of the gong. They are male heads, but they have female eyes. One of them wears a kepi and the other three have a cap (capil) on their heads. In the foreground on the left a man sits playing a large cymbal. His eyes are of the female type. He wears long trousers, a short loincloth, a jacket and a European hat. A text in Balinese script in ink says: céngcéng. A bit more to the right a man sits playing a small gong hanging in a rack. He has female eyes. His forehead is bald. He wears a jacket and long trousers with a sash. A text in Balinese script in ink says: makëmpul (makempul), playing the kem- pul. Nearly all the men have moustaches of the type worn by European men towards the end of the nineteenth century. A text in Balinese script in ink at the top on the right says: skaha magambel, n gigl an g barong, (seka magambel, ngigelang barong), a club of musicians accom panying the barong dance. A group of musicians and onlookers is depicted. The former are members of a club as can be seen from their uniforms. All except one man wear the same type of European jackets and hats. They do not look Balinese. It is possible that the artist wanted to make a joke and depicted an orchestra consisting of foreigners and, at the bottom side, even a foreigner in a trance stabbing himself. Neither the barong nor the masked actors depicted at the bottom of the drawing represent the South Balinese style of performing. This might be due to the fact that the artist came from another region in which barong performances were not known. In No. 3390-14 the barong stage-play and the regions where it is performed are described. It is probable that Van der Tuuk had this drawing in mind when he gave a specific explanation of jahuh (KBNWB IV: 344): “about six young men with white masks dancing around the barong and reciting parts of texts. The other two wear black masks”. Cod. Or. 3390-126 Two drawings on Dutch paper, watermark concordia, countermark VdL. 42.5 x 34.5 cm.
The sheet is folded horizontally into two halves. There is a drawing on the bottom half and on the top half. The drawing on the top half is upside-down. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, light and dark green, dark violet, light blue, yellow, light salmon-pink, white, light grey, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet is torn in the centre along the fold. Bottom-. Canclra Kirana threatens Kuda Angling Baya. He is undressed by her servant The ground is indicated by light grey. A woman stands on the far left. She faces right. She points with her left index finger (nuding) at a man to the right. She holds a whip in her right hand. She has a refined face with long hair and a diadem with a garuda ornament on her head. She wears a skirt, a long loincloth, a sash round her waist and a girdle. Another sash is wrapped over her breasts. Over her shoulder hangs a shoulder-piece. She has a sash with black and white batik pat terns (batik Betawi) round her neck. Her jewelry is characteristic of that of a royal personage. Her skin is light salmon-pink. There are two rock ornaments and a small tree between her and the person to her right. A women stands in front of her in the centre. She faces right. She draws away the loincloth of the man on the far right who faces her. She wears a skirt, a long loincloth and a sash round her neck with ends hanging on her back. Her hair is styled in a knot at the back of her head, which is characteristic of lower ranking women. Her skin is light salmon- pink. Between her and the man on the far right is a rock ornament with some stalks. The man on the far right holds his right hand close to his cheek, a sign of distress. He covers his penis with his left hand. He has long hair with a diadem and a garuda ornament. His skin is light salmon-pink. He wears a shoulder-piece and a sash over his chest. The ends hang over his left shoulder. The lower part of his body at the backside is covered by one end of a loincloth. The other end of the loincloth is hold by the woman in the centre who wraps it round her waist. The air at the top of the sheet is indicated by awon-awon ornaments (type II). A text in Balinese script in ink at the top in the centre says: lampahan gambuh, gambuh story, and more to the right, close to the woman: tuwan déwi candra kiranna, (Tuan Déwi Candra Kirana), the princess Candra Kirana. At the top on the right there is written: pun kudanglung baya, wawu rawuh, makte campaka wilis lawut klalungin, (pun Kuda Anglung Baya wau rauh, makta campaka wilis, laut kalalungin), Kuda Anglung Baya has just come bringing a light green cam paka flower, but he was undressed. Close to the woman in the centre is written: pahongan, (pawongan), servant. A princess called Candra Kirana holds a whip and menaces a man called Kuda Anglung Baya. The princess is accompanied by a servant, who grasps the man’s
loincloth so that he stands naked before them. The man does not hold a flower in his hand as is suggested in the text. I have not yet found the story nor the text on which this drawing is based. Can- dra Kirana is a name for the princess of Daha. She is the beloved of the wandering prince Panji. The scene must, therefore, refer to a Panji story which was perform ed towards the end of the last century in the gambuh theatre. The drawing belongs to the same series as No. 3390-132. Top-, a female servant undresses Semar while Turns, already undressed, watches The ground is indicated by light grey, the air by awon-awon ornaments (type II). A man stands on the lefthand side. He faces right. His skin is light grey. His black and white checkered loincloth is being pulled away by a woman standing in the centre. He tries to cover his large penis with his left hand. He has female eyes and a coif on his forehead. A woman stands in the centre, facing him. Her loincloth is tucked up so that her vagina is visible. She pulls away the black and white checkered loincloth of the man standing in front of her and to her left. She points with her left index finger at his huge penis. Her hair is styled in an asym metrical chignon (tetagelan), characteristic of lower class women. Her skin is light salmon-pink. To the right there sits a naked man. He faces left. His skin is light salmon-pink. His penis and his scrotum are visible. He has a little coif on his forehead. His eyes are of the female type. There is a leafy tree behind him in the far right. He leans against it. A text in Balinese script in ink at the top on the left says: i smar, rawuh huli di taman bagendra klalungin (I Semar rauh uli di taman Bagendra kalalungin), Semar has come from the Bagendra garden and is undressed. In the centre close to the back of the woman is written: hi condong, macingcingngan (I condong macingcingan), the female servant has tucked up her loincloth. At the bottom on the right is written: malih hi turas klalungin, (malih I Tural kalalungin), Turas is also undressed. A female servant, having tucked up her loincloth, pulls away the clothes of the servant Semar. She is recognizable as a servant by her hair style. Another ser vant, Turas, has already been undressed. The female servant imitates the behaviour of the servant of her mistress Candra Kirana in the drawing on the top half of the sheet but in a less restrained way. She obviously wants to have sexual intercourse with the servant on the left. She has already done so with Turas, who sits exhausted on the right. As has already been mentioned at No. 3390-42 Semar and Turas are the servants of Panji. Cod. Or. 3390-127 Twelve drawings on Dutch paper, mark P.v.L. 43.1 x 34.7 cm.
The sheet is folded horizontally into two halves. There are six drawings on the recto side and six on the verso side. Each page is divided horizontally into two halves. On the top half there are three drawings in ink and on the bottom half there are similar drawings, but they are sketched in pencil only and they are slightly larger. Ink, black and grey, and pencil. Artist and origin-. According to informants the ornaments might have been made by silver smiths (pandé) in Bratan, South of Singaraja. Several pandé recognized the fine style of drawing as characteristic of silver and goldsmiths well-versed in engravings. The karang bintulu, recto, top left, is reproduced by Nieuwenkamp 1906-1910: 163. Recto, top left: karang bintulu, an ornament in the form of a one-eyed ogre’s head An ornament with a one-eyed ogre’s head en face without a lower jaw is depicted. The head has a long protruding tongue. There are creepers around the top and the sides of the mouth. No rocks are depicted. A text in Balinese script in ink at the top says: karang bintulu, ornament with a one-eyed ogre’s head. At the bottom of the drawing in purple ink in Latin script there has been added by Van der Tuuk: karang bintulu. Recto, bottom left: karang bintulu A sketch in pencil of a similar figure. A text in Balinese script in pencil at the top says: karang bintulu. Other karang bintulu are depicted in Nos. 3390-23, 24 and 46. Recto, top centre: karang saé, an ornament in the shape of a Chinese lion with leafy branches in its mouth An ornament with an ogre’s head without a lower jaw is depicted. The head is en face. Creepers and flowers are depicted on the top of the head. Large curled fangs protrude from the upper jaw and two large fangs stick straight out from the cheeks. A text in Balinese script in ink at the top says: karang sahé (karang saé), an or nament with a Chinese lion’s head. At the bottom in Latin script in ink Van der Tuuk has added: karang saè (karang saé). Recto, bottom centre: karang saé A similar figure is sketched in pencil. A text in Balinese script in pencil at the top says: karang sahé (karang saé). In Nos. 3390-9, 12, 13, 23 more karang saé, but in a different style, are depicted.
Recto, top right: karang rupa, an ornament with an ogre’s head en face An ornament with an ogre’s head without a lower jaw and with a pair of horns is depicted. The head is en face. A long tongue with floral ornaments at the end hangs out. Two fangs stick out from the cheeks. A rock is mounted on top of the head which wears a diadem. A text in Balinese script in ink at the top says: karang rupa. At the bottom in Latin script in ink Van der Tuuk has added: karang roepa (karang rupa), an or nament with an ogre’s head en face without a lower jaw. Recto, bottom right: karang rupa A similar head, but without a rock ornament on top, is sketched in pencil. A text in Balinese script in pencil at the top says: karang rupa. This ornament is also depicted in Nos. 3390-2, 17, 46. Verso, top left: karang curing, an ornament in the shape of an ogre’s head en profil with one bulging eye and an upper jaw only An ornament with an ogre’s head en profil with one bulging eye and a pro truding upper jaw with a fang pointing downward is depicted. A large fang on the cheek points up. There are creepers at the back of the head. The rock is missing. The head faces left. A text in Balinese script in ink at the top says: karang curing, and Van der Tuuk has added in Latin script in ink at the bottom: karang tjoering (karang cur ing), an ornament in the shape of a bird’s head. In Nos. 3390-23, 24, 46 more karang curing are depicted. Verso, bottom left: karang curing A sketch of a similar figure has been made in pencil, but here it has a very large creeper on top of its head. A text in Balinese script in pencil says: karang curing. Verso, top centre: karang asti, an ornament in the shape of an elephant’s head en profil An ornament with an animal’s head en profil is depicted. It faces left. It has one round eye and an elephant’s trunk and fangs pointing upward. There are creepers on its back. A text in Balinese script in ink at the top says: karang hasti, karang asti. At the bottom in Latin script in ink has been added by Van der Tuuk: karang asti, an or nament with an elephant’s head. Verso, bottom centre: karang asti A similar figure is depicted, but without creepers. A text in Balinese script in pencil at the top says: karang hasti, karang asti. In Nos. 3390-23, 24, 46 more karang asti are depicted.
Verso, top right: karang paksi An ornament with an ogre’s head en trois quarts is depicted. It faces left. It has a pointed, half open beak and small sharp teeth with fangs. A long and curly tongue protrudes. There are creepers at its back. A text in Balinese script in ink at the top says: karang paksi, karang paksi. At the bottom in Latin script in ink has been added by Van der Tuuk: karang paksi, an ornament with a bird’s beak. Paksi is another name for manuk, bird. More karang paksi or karang manuk are depicted in Nos. 3390-17, 23, 250. Verso, bottom right', karang paksi A similar figure is sketched in pencil. A text in Balinese script in pencil at the top says: karang paksi. Another text in Balinese script but in ink at the bottom of the top half says: sawtuning cakra, mlu ta hortén, hulu pinaranan kakarangan, tiba ring sagara (sawetu ning cakra, malu ta ortén, ulu pinaranan kekarangan, tiba ring segara), when the process of creation starts, the sketch originates first, the head is called ornament, then it falls into the ocean. On the right two lines of text have been written in pencil in Balinese script. The text is hardly legible: pinara patra, salukahé, wéhang, huyu pinarana kakarangan, matmahan (?). The meaning of this phrase is not clear. However, both inscriptions refer to what precedes the final drawing of a karang or kekarangan: a sketch made in black charcoal. Another text in Latin script by Van der Tuuk at the bottom half says: patra karang (crossed out) saradipa vgl. dipa (daon ipun api), pattern called saradipa (cf. dipa, having fiery leaves), and: karang cawiri, an ornament with an ogre’s head, but according to KBNWB I: 629 it has a bird’s beak. The note to karang saradipa might refer to drawing No. 3390-130, verso, top right. The six or naments mentioned above are probably supposed to be engraved on the silver ob jects made by smiths. There is an example of such ornaments on a bowl from Karang Asem in Galestin 1962: pi. XVI. Cod. Or. 3390-128 Six drawings on Dutch paper, watermark concordia, countermark Van Gelder. 41.6 x 34.3 cm. The sheet is folded horizontally into two halves. There are three drawings on the top of the recto side as well as on the verso side of the sheet. Ink, black and grey. The outlines have been sketched in pencil and are still visbible in places. Artist'. No. 8. Origin'. Bratan. The sheet is a little torn in the middle along the fold and damaged at the edges. The karang dedari is reproduced by Nieuwenkamp 1906-1910: 24, and 1919/20: 206, pi. 14.
Recto, top left: karang srenggi, an ornament in the shape of the horned demon Srenggi An ornament with an ogre’s head en trois quarts is depicted. It faces left. It has round eyes, sharp teeth and fangs, and horns. The head has a small diadem. Creepers grow up from the neck. The rocks are omitted. A text in Balinese script in ink at the top says: karang srenggi (karang srenggi), and at the bottom in Latin script a scribe has added: Karang prenggi (karang srenggi), ornament with a figure with horns. It is named after a demon called Srenggi which is mentioned in the OJ Bharatayuddha XII: 17. He kills Irawan, a son of Arjuna. A statue of this demon is often depicted in silver or in gold on the hilts of krisses (cf. KBNWB II: 108). Recto, top centre: karang mretiu, an ornament in the form of three ogre’s heads en face on top of each other An ornament with three ogre’s heads en face on top of each other is depicted. Each head has a diadem with a garuda ornament at both sides. No rock has been added. A text in Balinese script in ink at the top says: karang mrëtiyu (karang mretiu), and at the bottom in Latin script in ink has been added by a scribe: Karang rnerti- joe (karang mretiu), an ornament representing death. Mretiu here means death or the god of Death. By the god of Death either Yama or Siwa might be meant. He is represented by a pamurtian in the drawing. A pamurtian is the ferocious manifestation of a god or of a hero, for instance the god Siwa and the king Kresna, who plays an important role in the Bharatayuddha (see No. 3390-177). The pamurtian of important figures have many heads placed on top of each other (matumpuk). A pamurtian Siwa always has three heads on top of each other. I have not yet come across a pamurtian Yama. It is therefore possible that by karang mretiu a pamurtian Siwa is meant. In No. 3390-46 another karang mretiu is depicted, but it is associated with a different figure. Recto, top right: karang dedari, an ornament in the form of a woman’s head en face An ornament with a woman’s head askew is depicted en face. The head is decorated with a diadem with a garuda ornament on both sides and a little cap. Flowers stick out behind on the right. The head has long hair and it wears a necklace. A text in Balinese script in ink at the top says: karang dadari (karang dedari). At the bottom in Latin script in ink has been added by a scribe: Karang dadari (karang dedari), an ornament representing the head of a nymph. Verso, top left: karang kapindra, an ornament in the shape of a monkey’s head en trois quarts An ornament with a monkey’s head en trois quarts is depicted. It faces left. It has a diadem and a kerchief with a garuda ornament at the back of its head. Creepers grow up at the back from the neck like a tail.
A text in Balinese script in ink at the top says: karang kapindra (karang kapin- dra). At the bottom in Latin script in ink has been added by a scribe: Karang kapindra, an ornament with the most important of all monkeys as a base. By the most important of the monkeys the king Sugriwa is probably meant. Verso, top centre-, karang kala, an ornament in the shape of an ogre’s head en trois quarts An ornament with an ogre’s head en trois quarts is depicted. It faces left. It has locks of curly long hair. Creepers and leaves come from the neck at the back. A text in Balinese script in ink at the top says: karang kala. At the bottom in Latin script in ink has been added by a scribe: Karang kala, an ornament with the head of kala. Kala is the name of the demon son of Siwa and of demons in general. Karang kala can mean both. Verso, top right: karang tranggana, an ornament in the shape of an elephant’s head en trois quarts representing a constellation An ornament with an ogre’s head en trois quarts is depicted. It faces left. It has an elephant’s trunk. It wears a diadem, a kekendon and a garuda ornament on its head. Creepers and the leaves of a stag-horn fern (simbar) come from the neck and grow upwards and downwards. A text in Balinese script in ink at the top says: karang tragangga, and at the bottom in Latin script in ink has been added by a scribe: Karang tranggana. Tranggana means star, constellation. It is also the name of a flower ornament worn by women. In Van Eck 1875: 105 and in Covarrubias 1937: 115 it is men tioned that small acacia blossoms or yellow flower petals are carefully pasted in a row in the blackened area to emphasize the outline of the brow. They are called tranggana, meaning a constellation. The constellation in the drawing is represented by an elephant. In the Balinese palelintangan (star-calendars) there is a constellation called elephant (gajah; Maass 1929: Tabel I). The elephant is the name of a double-star. According to KBNWB IV: 778 its trunk is formed by the Pleiades (Kartika) and its tail by Orion (Tenggala, the Plow). Cod. Or. 3390-129 Six drawings on Dutch paper, mark P.v.L. 43.4 x 34.6 cm. The sheet is folded horizontally into two halves. There are three drawings on the recto side as well as on the verso side. Ink, black and grey. The sketches in pencil, including the drafts of the texts, are still visible. Artist: no. 8. Origin: Bratan.
The karang musi (verso, top right) is reproduced by Nieuwenkamp 1906-1910' 229. Recto, top left: karang Canda Pinggala, an ornament in the shape of the head of the lion-king Canda Pinggala An ornament with an animal’s head en trois quarts facing left is depicted. It has the head of a lion with long curly hair and a long curly tongue. Creepers come from the right side of the neck. A text in Balinese script in ink at the top says: karang candapinggala, and at the bottom in Latin script has been added by Van der Tuuk: karang Tjandaping- gala (karang Canda Pinggala), an ornament with the head of Canda Pinggala. Canda Pinggala (OJ Candrapinggala) is a lion-king living in the forests in Ujayini and Malwa in India. He plays a role in the second story of the OJ Tantri Kaman- daka (Hooykaas 1931: 82). According to KBNWB IV: 339 it is an ornament which is found on temple gateways. I have not yet managed to find such an orna ment on temple gateways in Bali. Recto, top centre: karang Andaka, an ornament in the shape of the head of the bull Andaka or Nandaka An ornament with an animal’s head en profil facing left is depicted. It has the head of a bull with large ears and horns. A long tongue ending in a creeper comes from the mouth. Creepers and leaves of the stag-horn fern come from the right of the neck. A text in Balinese script in ink at the top says: karang handaka, karang An daka, and at the bottom in ink in Latin script has been added by Van der Tuuk: karang Andaka, a rock ornament with the head of Andaka. By Andaka the bull Nandaka is meant. He plays a role in the OJ Tantri Kamandaka (Hooykaas 1931: 64). He is the bull of the brahman called Dar- maswami. By carrying heavy loads day and night the bull brings the brahman much business success so that he becomes very rich. After some time the bull by means of a trick, manages to run away because he thinks he is not well treated by the brahman any longer. He goes into the forests in Ujayini and meets the lion- king Canda Pinggala. According to KBNWB I: 43 the karang Andaka is depicted on temple gateways. It has the shape of a bull. Recto, top right: karang bina/mina, an ornament in the shape of a bird’s head en trois quarts An ornament with an animal’s head en trois quarts facing left is depicted. It has the beak of a bird, sharp teeth and fangs. It also has large fangs on its cheek which
I point upwards. It wears a kekendon on its head. Creepers come from the right of its neck. A text in Balinese script at the top says: karang bina. At the bottom in Latin script in ink has been added by Van der Tuuk: karang bina and in pencil there is added: mina. The name of this ornament is problematical. Bina (Bal.) can be related with several OJ morphemes. Bina (OJ bhinna), means split, difference, but this makes little sense here. Bina (OJ bhïna) means frightening. This also makes little sense. Mina (OJ mina), means fish. This is also problematical. Mina often refers to gajah mina, fish-elephant. Such an ornament is depicted in Nos. 3390-46 and 129, verso. The name accords with what is depicted in these cases. The animal in drawing No. 3390-129, recto however, looks like a bird and not like a fish. In KBNWB IV: 842 we find “karang bina, see the plate”. Van der Tuuk has added in parentheses bhïma?. Van der Tuuk, referring to this plate, supposed that the name be bhlma, which means fearful, terrible, which is also the name of the third of the Pandawa brothers Bima (Bhïma in OJ). This also does not help us greatly in determining the meaning of the name of this ornament, as the figure in the drawing does not look like Bima. Verso, top left: karang mina, an ornament in the shape of the head of a fish-elephant An ornament with an elephant’s head en trois quarts is depicted. It faces left. It has sharp teeth, long eye-teeth and elephant’s fangs, a tromp and horns. Creepers come from the right of the neck. The skin of the head has spots in the shape of flowers. The eyes are almond-shaped and are of the female type. A text in Balinese script in ink at the top says: karang mina. At the bottom in Latin script in ink Van der Tuuk has added: karang mina, ornament in the shape of a fish-elephant. By mina, gajah mina is meant. In No. 3390-46 another ornament bearing the same name is depicted. Verso, top centre', karang ménda, an ornament in the shape of the head of a goat en profil An ornament with an animal’s head en profil faces left. It has goat’s teeth and a goat’s head. Creepers and leaves of the stag-horn fern (simbar) come from the right of its neck. A text in Balinese script in ink at the top says: karang ménda. At the bottom in Latin script in ink has been added by Van der Tuuk: karang menda, an ornament in the shape of a goat. In No. 3390-12 another karang ménda is depicted, but the style is different. Verso, top right', karang musi, an ornament in the shape of the head of a rat en profil An ornament with a rat’s head en profil facing left. Creepers and some leaves of a stag-horn fern (simbar) come from the right of its neck.
A text in Balinese script at the top says: karang musi. At the bottom in Latin script in ink has been added by Van der Tuuk: karang moesi (karang musi), an ornament in the form of a rat. This is also mentioned in KBNWB IV: 574 Cod. Or. 3390-130 Six drawings on Dutch paper, mark P.v.L. 43.2 x 34.3 cm. The sheet is folded horizontally into two halves. There are three drawings on the recto side and on the verso side at the top of the sheet. Ink, black and grey. Artist: no. 8. Origin-. Bratan. The sketches in pencil, and also the draft of the texts, are still visible. The karang Boga is reproduced by Nieuwenkamp 1906-1910: 233. Rect °, top left: karang Boma, an ornament in the shape of the head of the demon Boma enface An ornament with an ogre’s head en face is depicted. He has bulging eyes and angs, and there are fangs also on his cheeks and eyebrows. He wears a diadem and a high crown. The ear-jewels are large. Creepers come from them. He wears a necklace. No rocks have been added. A text in Balinese script at the top says: karang Boma. At the bottom in Latin script in ink has been added by Van der Tuuk: karang Bhoma (karang Boma) or nament with the head of Boma. In No. 3390-18 another ornament bearing the same name is depicted. Reeto, top centre: karang Rama Parasu, an ornament in the shape of the head of Rama Parasu en face An ornament consisting of a man’s head en face with three rocks on his head is depicted. The head is of the refined type, but the eyes are slightly rounded It has a small beard. It wears a diadem, large ear-jewels and a necklace with lone pointed leaves. 6 A text in Balinese script in ink at the top says: karang prama, prësu, karang Rama Parasu. At the bottom in Latin script in ink has been added by Van der Tuuk: karang Rama pragoe, karang Rama Parasu, an ornament with the head of Rama Parasu at the base. Rama Parasu (Skt, OJ Parasurama) is an incarnation of the god Wisnu. He is called Rama-with-the-axe, because his emblem is an axe. In the OJ Adiparwa: 3 he is born in the lineage of Bhrgu (OJ). Jamadagni is his father. He fights with Arjuna Sahasrabahu and defeats him. In Adiparwa: 63 he kills all the ksatriya on earth, but marries the only remaining ksatriya princess, so that this class will not die out.
Recto, top right: karang gelap, an ornament in the shape of a lightning-head An ornament with an ogre’s head en trois quarts faces left. It has bulging eyes and fangs, also on the cheek. It has sharp teeth, with one large front tooth in the upper jaw which sticks out. A long curly tongue ending in a creeper comes from the mouth. There are flames on the head. A text in Balinese script in ink at the top says: karang glap, karang gelap. At the bottom in Latin script in ink has been added by Van der Tuuk: karang glap (karang gelap), an ornament in the form of a lightning-head. In Nos. 3390-20, 40 more karang gelap are depicted. In KBNWB IV: 758 reference is made to the drawings: “see the drawing, with a long protruding tongue and fangs, (it can be seen) on both sides of temple-gateways.” More karang gelap or karang Kala Rahu are depicted in Nos. 3390-20, 46, 248, 250 and in photographs Nos. 13 and 21. Verso, top left: karang Boga, an ornament in the shape of the head of the snake Boga or Antaboga. An ornament with an animal’s head en profil faces left. The mouth-piece looks somewhat like that of a snake. It has a forked tongue consisting of three creepers. It has a diadem and a high crown with a garuda ornament on its head. The ear- jewels are large. Leaves come from the right of its neck. A text in Balinese script in ink at the top says: karang boghga (karang Boga), and at the bottom in Latin script in ink has been added by Van der Tuuk: karang bhoga (karang Boga), an ornament with the head of Boga. By Boga the snake An taboga (Bal.) or Anantabhoga (OJ) is meant. Antaboga is the eldest of the snake children of Kadru (OJ Adiparwa: 30, 46). He carries the earth and lives in the ocean. In KBNWB I: 69 he is described as follows: the name of a karang, representing an ogre en profil with a threepartite curly tongue. Verso, top centre: karang uek, an ornament in the shape of the head of a pig An ornament with two rocks with an animal s head en profil at the base is depicted. It faces left. It has the head of a pig and a long curly tongue. The eye is almond-shaped, and of the female type. It has a diadem on its head. Creepers come from the right of its neck. A text in Balinese script in ink at the top says: karang huwëk (karang uek). At the bottom in Latin script in ink has been added by Van der Tuuk: karang oewëk (karang uek), an ornament with the head of a pig. In KBNWB II: 500 it is mentioned that karang uek represents the profile of a pig. Other ornaments with a pig at the bottom called karang bawi are depicted in Nos. 3390-15, 23, 249.
Verso, top right: karang dipa, an ornament in the shape of a lamp consisting of three one-eyed ogre’s heads An ornament with one-eyed ogre’s heads is depicted. It consists of a large one- eyed ogre’s head in the centre without a lower jaw (karang bintulu), but with a long tongue with a creeper going upwards at the sides and a diadem with flames on the head. From the sides of the mouth two creepers with a snake’s body emerge upwards. They end in the head of a bird en profil (karang curing) with flames. At the top in the centre is a second, smaller one-eyed ogre’s head en face without a lower jaw. It is surrounded by flames. A text in Balinese script in ink at the top says: karang dipa. At the bottom in Latin script in ink has been added by Van der Tuuk: karang dipa (karang dipa), an ornament with the shape of fire. In the text under the drawing a quotation mark in pencil has been added by Van der Tuuk. Dipa (OJ, Skt dipa) means fire, flame, lamp. In KBNWB II: 496 reference is made to the plate: “karang dipa, see plate; it looks like a lamp with a fire consisting of three tongues flaming up”. As has already been mentioned, the note by Van der Tuuk to drawing No. 3390-127 might refer to this drawing. Cod. Or. 3390-131 Four drawings on Dutch paper, no marks. 43 x 34.3 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the recto and of the verso sides of the sheet. Polychrome, watercolours and ink. Colours', light red, light salmon-pink, yellow, light yellow, light green, light greyish-blue, light ochre, white, light grey, black. Artist and origin: The kerchief (kekendon) and the ornaments behind the ear (ron-ron) of Sinduraja are drawn in the North Balinese style. The way the whiskers of the servants on the recto side are depicted is also characteristic of the North Balinese style of drawing. I call this artist no. 9. The drawings on the verso side are unfinished. The details (jewels, patterns on clothes), which are usually drawn in ink after the colouring in has been done, have not yet been drawn. The drawing on the recto side at the top is reproduced in Prijono 1938: pi. 1, and that on the recto side at the bottom in Prijono 1938: pi. II. Recto top: Sidapaksa takes leave of king Sinduraja. Sidapaksa is accompanied by his servant Twalén and Sinduraja by Délem The ground is indicated by a floor ornament with curls. A tree stands in a fence in the centre. Two pudak plants grow from it. A flower with leaves which are I
spread widely, is mounted where the branches begin. This ornament is a substitute for the stag-horn fern. Creepers (bun tan pa wit) grow up from the flower and curl themselves round the branches. A man stands on the left. He faces right. He holds his right hand in front of his body while his left arm hangs by his side. His attitude indicates that he is granting someone something while listening. His skin is light ochre. He has bulging eyes, whiskers and short curly hair. He wears a diadem and a kerchief (kekendon) with a garuda ornament at the back on his head. He wears a long loincloth which covers completely his right leg, but which only partly covers his left leg, a sash round his waist, a girdle and shoulder- ornaments. His jewelry is that of a royal personage. He has a kris in a black and white sheath (pepélétan) on his back in his girdle. Behind him on the far left a fat male figure crouches. He faces right. His hands are clenched into fists. His hair is styled in a knot on the top of his head. His eyes are round. He has a large plug through his ear-lobe. He wears a short loincloth, a checkered sash round his waist and a kris in a black and white wooden sheath on his back in his girdle. His skin is light ochre. A man kneels on the right close to the tree. He faces left. His right leg is crossed over his left (matédoh), as is the etiquette for male servants. He makes a sembah. His face is of the refined type with almond-shaped eyes. His hair is styled in a double chignon with a small garuda ornament at the back. He has a diadem on his head. He wears a short loincloth, a sash round his waist with long ends hang ing down, a girdle and he wears a kris in a black and white wooden sheath on his back in his girdle. He wears shoulder ornaments. His jewelry is that of a royal personage. His skin is white. A fat man kneels on the far right (matédoh). His right knee is crossed over his left. He has placed his right fist on his right knee while his left arm hangs by his side. His skin is light greyish-blue. His hair is styl ed in a small pony-tail (jambul) on the top of his head. He wears a short red, white and black checkered loincloth and a black and white checkered sash. There are some creepers on the far left and far right at the top. A text in Latin script in ink at the top on the left by Van der Tuuk says: Delëm, Délem. Close to the tree he has written also: prabu Sinduradja (prabu Sinduraja), the king of Sinduraja. At the top on the right is written: sidapaksa, Sidapaksa, and on the far right: twalen, Twalén. A meeting takes place between the king of Sinduraja and Sidapaksa. They are accompanied by their servants Délem and Twalén. This scene might refer to episodes from the OJ Sri Tanjung. In I: 3-6, the knight Sidapaksa is in the service of king Silakrama from Sinduraja. After serving for three years Sidapaksa is or dained by the king to become a headman (bekel). Sidapaksa is ordered by the king to go to the sage Tambrapétra in Prangalas to search for a medicine against headache. Sidapaksa has to go without troups, his only companion being a ser vant. During the meeting he kneels down in front of the king, who places his foot upon Sidapaksa’s head. This indicates the superiority of the king which Sidapaksa acknowledges. The king then leaves.
In canto II: 25-27 another audience is described. Sidapaksa makes obeisance in front of his king. Sinduraja orders Sidapaksa to go to Indra’s heaven to search for white whool and gold. He should also deliver a letter, which he is not allowed to read. The scene in which the servant takes leave of the king mentioned in the first canto is what might be represented in the drawing. Another possibility is that it is the audience described in canto II, which is depicted. However the letter given to Sidapaksa, which will later be of great importance, is not depicted. It seems therefore that it is the audience mentioned in the first canto, which is depicted in the drawing. Recto, bottom: Sidapaksa stabs his wife Sri Tanjung to death The ground is indicated by a floor ornament with jewels. A leafy tree with two pudak flowers at the base of the trunk is on the far left. A betel-palm laden with fruit is depicted on the right. Where the trunk ends and divides itself into branches there is a flower. A small building consisting of a base and four poles which are stuck in stereobates and which support a roof stands in the centre. There is a woman in the building facing left. She kneels down (matimpuh) in the way women make obeisance. She makes a sembah. Her skin is white. Her hair is styled in a chignon curled inwards with a garuda ornament at the back. She wears a skirt, a long loincloth, a sash wrapped round her breasts, a girdle and a shoulder ornament. Her jewelry is that of a princess. A man stands on the left. He faces her. He stabs her in the breast with his sword, so that blood pours out. He has a refined face with almond shaped eyes, a double chignon with a garuda ornament at the back and a diadem on his head. He wears a long loincloth which covers all his right leg but only part of his left leg, a girdle and a sash round his waist. His jewelry is that of a royal personage. His skin is light yellow. A text in Latin script in ink by Van der Tuuk close to the man says: Sidapaksa. Another text in the pavilion says: istri tandjung, Sri Tanjung. Sri Tanjung, kneeling in a building, is stabbed by her husband Sidapaksa. This scene refers to an episode described in the OJ Sri Tanjung V: 100-107. Sidapaksa kills his wife by stabbing her to death from behind while she is kneeling at the cremation ground, Gandamayu. The reason why he does so is that the king has told him that Sri Tanjung has been unfaithful to her husband during his absence. Sidapaksa had been sent to Indra’s heaven by the king to search for certain ob jects. Meanwhile the king wanted to seduce Sri Tanjung, but she had refused. Now Sidapaksa is back, he does not believe that his wife is innocent, although her servants can prove this. The difficulty is that, according to the text, Sri Tanjung is killed at the crema tion ground, and not in a pavilion of a compound. She is also said to have been stabbed in the back and not in her breast as shown on the drawing. We can only conclude that the artist had another version in mind.
In Balinese the Skt and OJ sri, beautiful, majestic, and a honorific for women, is rendered by istri, woman. Hence, Istri Tanjung. Verso top: the servants of Sidapaksa, Twalén and Mredah, stab a female servant The ground is indicated by a floor ornament with jewels. A pavilion stands in the centre and consists of a base and four poles, stuck in stereobates, supporting a roof. A pot and a plant have been placed to both sides of the poles. A woman sits in a kind of kneeling position in front of the pavilion. She faces left and makes a gesture which indicates concentration (mamusti). She wears a skirt, a long loincloth and a sash wrapped around her waist with long ends hanging down. Another sash hangs round her neck. Her hair is styled in a double knot at the back of her head. She has a large round plug (subeng) in her ear-lobe. Her skin is white. A fat man with light greyish-blue skin stands on the far left. He stabs the woman in front of him with a dagger right through her breast, so that blood pours out of the wound. His eyes are of the female type. His hair is styled in a kind of pony-tail (jambul). He wears a short loincloth tucked up between his legs and a black and white checkered sash. Another fat man stands on the right facing left. He holds a stick (kléték) in both hands. The stick has a lasso at the end and this has been secured round the woman’s neck. His skin is ochre. He has female eyes and his hair is styled in a pony tail. He wears a short loincloth tucked up between his legs and a black, white and red checkered sash. At the top and close to the man on the left a text in Latin script in ink by Van der Tuuk reads: twalèn, Twalén, and to the right: mrëdah, Mredah, and in the centre is written: tjondong (condong), female servant. Twalén stabs the servant of Sri Tanjung to death, while the other servant of the righthand party, Mredah, catches her with a lasso on a stick. The female servant meditates to prepare herself for death. In this drawing the servants imitate the behaviour of their lords. Such imitation is often depicted in drawings. In written texts they are rarely mentioned, except in the case of suicides. In the OJ Bharatayuddha XLV: 9 Satyawati’s female servant Sugandika stabs herself to death after her mistress had done so and in the Malat III: 908 (Cod. Or. 4305) Madukara, the servant of the princess Nawang Rum, drowns herself after her mistress has stabbed herself to death. The lasso (kléték) is used for binding animals and used also to bind criminals. This is often depicted in drawings (see for instance No. 3390-192 and Hooykaas 1931: pi. 18). The rope is tied through a hollow bamboo stick to prevent the animal or the criminal from biting the rope. The fact that it is depicted in connec tion with the female servant of Sri Tanjung indicates that she like her mistress is regarded as a criminal.
Verso, bottom: Sidapaksa drives a horse. He is surrounded by ordinary Balinese and accom panied by his servant Twalén The ground is indicated by a floor ornament with curls. There are floral or naments at the top. A man rides a saddled horse on the right. He faces right He has white skin. He looks like Sidapaksa, as described in the drawings on the recto side. Two parasols are held above his head in front of him and behind him as a token of honour. A small man walks in front of him to the right. He faces right He has bulging eyes and short hair. He wears a short black, white and red checkered loincloth and a sash. A group of three men, facing right, is depicted on the left behind the horse. The man in front has a light greyish-blue skin. He wears a black, red and white checkered loincloth. His hair is styled in a pony-tail. He has female eyes. A man walks behind him bearing a lance with a flag. He has round eyes and short hair. His skin is light ochre. He wears a short loincloth with a sash and a kind of bolero (kuaca). The man on the far left holds a kris on a pole which is decked with a flag. He has female eyes, a protruding chin, and short hair. His skin is ochre. He wears a black and white checkered loincloth with a sash and a kind of bolero. Close to the horseman a text in Latin script in ink by Van der Tuuk reads: Sidapaksa. Sidapaksa drives a horse. He is followed by his servant Twalén and accom panied by other ordinary Balinese carrying weapons of state and guiding the horse. The man on the right could be Mredah, because of his checkered loincloth, but his face differs from that of Mredah on the recto side of the sheet. Moreover the man on the far left also wears a checkered loincloth. This scene might refer to episodes described in the OJ Sri Tahjung VII: 34-37 and 44-53. The army of Prangalas goes with Sidapaksa and Tambrapétra to In- draprasta to join the army of the Pandawa. Subsequently both armies march against Sinduraja. Sidapaksa goes to the king alone, lures him to the sanctuary of the goddess Durga and kills him there. Sri Tanjung, brought to life again, stipulates that she will only join her husband after she has received the kings’s head from Sidapaksa. Cod. Or. 3390-132 Two drawings on Dutch paper, watermark concordia, countermark VdL. 42.3 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half of the sheet. The drawing on the top half is upside- down. Polychrome, watercolours and ink. Colours: red, light magenta, light and dark green, light greenish-brown, light blue, dark blue, yellow, light salmon-pink, light orange-brown, white, grey, black.
The sheet is torn in the centre along the fold. Artist: I Ketut Gedé. Origin: Singaraja. Bottom: Kuda Angling Baya is about to fight the red demon (buta Abang). The demon’s ser vant watches The air is indicated by awon-awon ornaments (type II). A leafy tree is depicted on the far left. There are two leafy trees one large, one small, close together in the centre. A man stands on the far right and faces left. He is on the verge of drawing his kris with his right hand. His left hand supports the end of the sheath under his loincloth (nabdab urangka). His face is of the refined type. He has long hair with a diadem and a large garuda ornament at the back of his head. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a long loincloth which covers his left leg completely, a sash round his waist, a shoulder-piece and another sash over his left shoulder. A demon stands on the left. He faces right. He holds a large sword (pedang) with his right hand. His left hand is stretched forward. He has bulging eyes, long fangs and six locks of curly hair on the top of his head. He wears a beard. He also wears long trousers, a small loincloth tucked up between his legs, a sash round his waist and another sash crossed over his chest. His skin is light orange-brown. A small demon crouches on the far left. His body faces right, his head is en face. He looks at the large demon in front of him. He has bulging eyes and protruding teeth. He wears a short loincloth tucked up between his legs. He holds the end of the sash with his right hand. His left arm is held above his head (ulap-ulap) which indicates that he watches something attentively. His skin is light salmon-pink. A text in Balinese script in ink at the top on the left says: hi buta habang, mangmit ring taman bagendra, (I Buta Abang mangemit ring taman Bagendra), the red demon watches over the Bagendra garden. At the top on the right is writ ten: ngaran hi lungbaya, kahutus ngalih campaka, wilis, ring taman bagendra, (ngaran I (Ang)lung Baya kautus ngalih campaka wilis ring taman Bagendra), someone called (Ang)lung Baya is sent to search for the light green campaka flower in the Bagendra garden. Anglung Baya is confronted with the demon which guards the Bagendra garden. The demon threatens Anglung Baya with his sword, so that he draws his kris to defend himself. A demon servant of the red demon sits behind him. This scene refers to an episode from a Panji story, but I am regrettably unable to locate it at present. The drawing belongs to the same series as No. 3390-126. Top: the green demon (buta Ijo) of the Bagendra garden chases Semar and Turns The air is indicated by awon-awon ornaments (type III). A large demon runs on the left. He faces right. His left leg is raised high. His hands are stretched for-
ward. His skin is light green. He has large bulging eyes, his mouth is wide-open, his tongue protrudes from his mouth. His hair consists of eight curled locks which stand upright on his head. He wears long trousers, a small loincloth tucked up between his legs and a sash round his waist. Another sash hangs over his right shoulder. Two small fat men are depicted on the far right. Their bodies are directed to the right, their heads are turned backwards to the left. The figure in front at the bottom sits on his knees. His left hand is directed upwards, his right hand is placed close to his knees. He wears a short loincloth and a sash. He has a small coif on the top of his head. His eyes are of the female type. His skin is light salmon-pink. Another figure sits on his knees on top of the first man. His skin is light greenish-brown. He holds a cleaver in his right hand. He has female eyes, a large plug (subeng) in his earlobe and a little coif on the top of his head. He wears a short loincloth with a sash. A text in Balinese script in ink at the top in the centre reads: ngaran hi butë ijo, hatunggu ring taman, ngmit campaka wilis (ngaran i buta Ijo atunggu ring taman ngemit campaka wilis), someone called the green demon guards the garden and watches over the light green campaka flower. At the top on the right is written: hi smar, sarëng hi turas (I Semar sareng I Turas), Semar and Turas. A demon with light green skin chases Semar and Turas, the servants of Kuda Anglung Baya. They are being chased because their lord wants their help to steal the campaka flower from the garden. As has already been mentioned, I am as yet unable to locate this story. I can only say that it is performed in gambuh theatre. Cod. Or. 3390-133 Two drawings on Dutch paper, watermark concordia, countermark VdL. 33.7 x 41.5 cm. The sheet is folded vertically into two halves. There is a drawing on the left- hand side and on the righthand side of the fold. Polychrome, watercolours and ink. Colours: red, light magenta, light blue, blue, yellow, light and dark green, light salmon-pink, light grey, grey, white, black. Artist: I Ketut Gedé. Origin-. Singaraja. Left: an arja performance with Panji, Semar and Turas A man stands in a dancing attitude to the left. He faces right. He holds his loincloth with his left hand (nyaup kampuh). The end of the sash round his waist hangs over his right hand. His right arm hangs by his side. His left leg is raised (nyingjing). His face is refined. His skin is light salmon-pink. His hair is styled in
a chignon of the Panji-type. He wears long trousers, a small loincloth tucked up between his legs, a long striped loincloth with a border of songkét, a sash round his waist, a kris on his back in this girdle and a shoulder-piece. His jewelry is characteristic of that of a prince. Two small figures stand on the far left behind the man. They are exaggerating the dancing attitude called rajasinga. They face right. The figure at the bottom of the sheet has female eyes. He wears a short red and light magenta checkered loincloth tucked up between his legs, and a sash. His skin is light salmon-pink. He has a small coif on the top of his forehead. The figure on top of him has grey skin. He also has female eyes and a small coif on the top of his forehead. He raises his left and arm in an exaggerated way. A text in Balinese script in ink at the top on the left says: puniki harja; (puniki arja), this is arja, and: smar, turas, pahji, Semar, Turas, Panji. Three men performing an arja stage-play are depicted. Panji with his servants Semar (with grey skin) and Turas (with salmon-pink skin) dance. Arja is a kind of musical comedy with song, dance, and stage-play. The repertory includes for in stance the Malat stories centred around the hero prince, Panji (cf. De Zoete & Spies repr. 1973: 196-210). Right: a man with a bowl with flowers performs a péndét dance A man stands in a dancing attitude. He is depicted en face. His head is askew. He has large round eyes, both directed to one side, long hair, a moustache and a small beard. He raises his right arm and leg (nyingjing). He wears a kerchief round his head in the style adopted in Buléléng. His clothes consist of a small loincloth tucked up between his legs, a long black, grey and white checkered loincloth with a border of songkét, a sash round his waist, a bolero (kuaca). He holds a basket of flowers in his right hand. His skin is light salmon-pink. There is a kris in his girdle on his back. A text in Balinese script in ink at the top on the right says: puniki hanak mamé, ndét bokor, (puniki anak maméndét bokor), this is a man performing a péndét dance with a bowl. A man with a bowl performs a péndét dance. This is a ceremonial dance which can be performed both by groups of men and groups of women (see De Zoete & Spies repr. 1973: 46). Offerings, bottles of holy water, and baskets of flowers are carried to and from a temple in ritual procession on the occasion of a temple festival (déwayadnya). When such a procession leaves the sanctum of a temple or the lawn in front of a temple complex and when it re-enters, the men and women carrying the abovementioned objects and walking in front of the procession start dancing. Another group of dancers goes to meet them, making the same dancing movements. To raise the knee and the hand high are characteristic of the péndét dance (see photograph no. 40).
Cod. Or. 3390-134 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.2 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light and dark blue, dark green, yellow, light salmon-pink, greyish salmon-pink, grey, white, brown, black. Artist-, no. 5. Origin: Badung. Prabangsa meets Patih Jayastra of Mataram accompanied by the tumenggung Gagak Baning. Prabangsa is attended by Jerubud The ground is indicated by a floor-ornament with meanders, the air by awon- awon ornaments (type I). A man stands on the far left. His body is en face, but his face is en trois quarts and looking to the right. His legs are spread. He points with his left index finger (nuding) at a man to the right. With his right hand he holds the grip of his kris which is on his back in his girdle, as he is about to draw his kris. He has bulging eyes, a moustache and whiskers. His hair is styled in a chignon of the Panji-type. He has a diadem on his head. He wears a long loincloth, which covers his legs partly, a sash with kuta Mesir pattern with long ends hanging down and a shoulder-piece. His skin is light salmon-pink. His jewelry is characteristic of that of a royal personage. A small man stands in front of him, further to the right. He faces right. He raises his left arm, while his right arm is held in front of his chest. He has a bald pate, short straight hair at the back of his head and a small moustache and whiskers. His skin is light salmon-pink. He wears a short loincloth tucked up between his legs, a sash round his waist and a jacket with long sleeves. His eyes are oval shaped. A man stands on the far right. His body is en face but his head is en trois quarts and is turned to the left. He has a refined face. His hair is styled in a chignon of the Panji-type (gelung Panji maringgit). His skin is light salmon-pink. He points with his right index finger (nuding) at the man to his left. With his left hand he holds the top of the kris-sheath, which he has in his girdle at his middle. He wears a loincloth which is tucked up in front but which falls long at the back. It is checkered on the outside while the lining is patterned with checkers and dots. He also wears a sash with long ends, a shoulder-piece and another sash over his chest and left shoulder. Another man stands in the centre. His body faces right, but his head is turned to the left. His skin is greyish salmon-pink. He stretches his left arm above his head (buta nawa sari) and holds his loincloth with his right hand (nyaup kampuh). His attitude indicates that he is ready to do something. He has
bulging eyes, a heavy moustache, whiskers and long curly hair. He has a diadem on the top of his head. He wears a long loincloth which is lined and which is tucked up in front but which hangs down at the back, a sash with long ends and another sash crossed over his chest. There is a kris on his back in his girdle. All krisses have sheaths of black and white wood (pepélétan). A text in Balinese script in ink on the left says: prabangngsë, Prabangsa, and close to the small figure in front of him: hi jerubud nang snén (I Jerubud, Nang Senén). In Latin script in ink has been added by Van der Tuuk: Djrubud zoon v. Snen, Jerubud, son of Senén. A text in Balinese script in ink in the centre of the drawing reads: tumgungnggagak baning, tumenggung Gagak Baning. In Latin script in ink has been added by Van der Tuuk: Tumenggung Gagak baning. At the right there is written in Balinese script in ink: patih mëtaram jayastra, (patih Mataram Jayastra), Jayastra patih of Mataram. Close to the air ornaments at the top in the centre there has been written in Latin script in ink by Van der Tuuk: awon 2 , awon-awon, and at the top on the right: uit de Malat, from the Malat. A conflict between Prabangsa and Jayastra, the patih from Mataram, is depicted. Prabangsa is Panji’s half-brother, a son of the king of Keling or Koripan, and the Liku, a woman of lower class. Prabangsa draws his kris and threatens the patih. Jayastra does the same. He is accompanied by the tumeng gung of Mataram, called Gagak Baning. The latter shows his anger. Prabangsa is accompanied by a servant called Jerubud, the son of Senén. The story referred to is contained in the Malat IV: 57A-72B (Cod. Or. 4305). The king of Mataram pays a visit to the king of Lasem. They both want another wife. Portraits of princesses available in the neighbouring realms are painted. The king of Mataram chooses the princess of Gegelang and the king of Lasem the princess of Singasari. An envoy is sent by Mataram to Gegelang. He bears a letter with a proposal of marriage. The king of Gegelang refuses the proposal, because the princess has already been promised to the crown prince of Kadiri. The envoy says that this is known to his lord, but that he feels himself free to make a pro posal, since the prince of Kadiri had disappeared long ago. Prabangsa, who stays at the court of the king of Gegelang, becomes very angry when he hears this. He wants to fight the envoy, but he is restrained. This scene is probably depicted in the drawing. Van der Tuuk gives us information about the figure of Jerubud. According to KBNWB IV: 371 Jerubud is the name of a son of Senén, depicted in the drawings with scenes from the Malat from Badung. Senén {KBNWB III: 21) “is a servant who is of Muslim origin. He plays a role in the gambuh stage performance derived from the kidung Rangga Lawé”. The name itself is not mentioned in the afore mentioned texts but only in the drawings from Badung. It seems from these notes as though the ar tist based his drawings more on scenes from stage performances than on scenes described in texts.
Cod. Or. 3390-135 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light pink, light blue, dark blue, light yellow, yellow, yellow- ochre, light green, dark green, bluish-green, grey, black, white. Artist: no. 5. Origin: Badung. Pmj 1 makes love to Rangkésari in the mountains. Panji’s two wives Tiksnarengga and Tiksnawati watch them. Panji is accompanied by Turas andMisa Kanyéri, who tries to touch the servant of the women The ground is indicated by continuous rock ornamentation. There are awon- awon ornaments (type I) in the air. On the far left there is a leafy tree with two rock ornaments on the left of its trunk at the base. A stag-horn fern is mounted at the end of the trunk. A man sits close to the tree. He embraces a woman. The man who sits on the left puts his left leg over the woman’s hips (ngilid). This is one of the ways of making love in Bali. He has placed his arm around her (ngelut) and touches her breast with his right hand at the same time. He tries to tuck up her loincloth with his left hand. His face is refined. His skin is light ochre. His headdress is a chignon of the Panji-type. He wears short trousers, a long loincloth with an Indian floral pattern, a sash round his waist, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a prince. The woman holds her head close to the man, but she wards off his ad vances with her hands. Her hair is long. She has a diadem with a garuda orna ment on her head. Her skin is light yellow. She wears a skirt, a loincloth and a sash. The loincloth is in the kuta Mesir pattern on the outside while the lining is in an Indian floral pattern. She has jewels on top of her shoulders which suggest a kind of shoulder ornament. Her other jewelry is characteristic of that of a princess. A small man sits kneeling on his right knee at their feet on the far left. He holds a bamboo flute (suling) in his left hand. He points with his right index finger at the couple. He has a round face with oblong eyes, a bald forehead and short straight hair at the back of his head. His skin is light brown. He wears a small loincloth tucked up between his legs, a shirt with buttons and a jacket with long sleeves. Another small man sits on his knees in front of them in the centre of the draw ing. With his left hand he touches the breast of a female figure which crouches on the far right. His right arm hangs by his side (matéken). He has a protruding mouth and female eyes. His hair is styled in a pony-tail. He wears a small loincloth tucked up between his legs. His skin is light ochre. The female figure sit-
ting at the bottom on the right faces left. She touches the man’s mouth with her right hand to ward him off. Her left hand is placed in her lap. She wears a long loincloth and a sash over her shoulders. Part of her hair is styled in a chignon on the back of her head. Her skin is light salmon-pink. A little higher and to the right stand two women. The woman on the far right faces left. She holds her head askew. Her right hand makes a gesture which indicates that she is speaking, her left arm hangs by her side (matéken). She has a refined face. Part of her hair is styled in a kekendon with a garuda ornament at the back. Her long hair falls free at the back. She has a diadem on her head. She wears a skirt, a long loincloth, a sash covering her breasts and a shoulder-piece. Her jewelry is characteristic of that of a princess. Her skin is light salmon-pink. The other woman, standing further to the left, is clad in the same way. She stands in an attitude similar to the other except that her head is turned to the right. Her skin is light yellow. Both women look rather sad. A text in Balinese script in ink on the far left close to the tree reads: tarü tangngi (taru tangi), a tangi-tree. Close to the small figure on the lefthand side is written: hi turas, I Turas, close to the man at the top on the left: hi panji malatrësmin, I Panji Malat Rasmin, and close to the woman on his lap is written: hi rangkésari, I Rangkésari. Close to the small man further to the right is written: misakanéri, Misa Kanyéri, and close to the sitting woman: pun hina (pun inya), the maidser vant. Close to the woman standing on the far right is written: thiksnarënggë, Tiksnarengga, and to the other woman further to the left: tiksnawatti, Tiksnawati. At the top in the centre is written: panglangngëné ring hukir, mangngabal (panglangoné ring ukir Mangabal), having fun on the mountain Mangabal. Prince Panji sits at the foot of a tree and caresses his beloved Rangkésari. His two other wives, the princesses Tiksnarangga and Tiksnawati, watch this in a rather shy and sad way. They reproach him like a child for his behaviour, which is too affectionate. Rangkésari is not yet officially his wife. Panji’s servant Misa Kanyéri imitates his master, but in a coarse way, grasping the breast of the female servant of the princesses. The other servant, holding a flute which symbolizes a phallus, raises his finger in warning. The group is sporting in the mountains of Mangabal or Mangebel, a region in Gegelang, where the king of Gegelang has a country house (Malat II: 92A-B, Cod. Or. 4304). This scene might refer to an episode described at the end of the Malat (Cod. Or. 13.530: 143). Panji abducts the princess Rangkésari. He brings her to a building called Radyanangis at the top of a mountain and makes love to her. It is likely that the scene in the drawing refers to episodes in gambuh performances, in particular those staged in Badung. The references in the KBNWB IV: 371 and II: 21 and II: 326 point to this. Misa Kanyéri is according to KBNWB II: 326 one of the names of Prasanta, the highest ranking servant of Misa Prabangsa. It is also the name of a servant of the king of Malayu in the gambuh performances of Badung, according to Van der
Tuuk. The appearance of Misa Kanyéri tells us that he is a man who belongs to the fourth class, so that he cannot be Prasanta. His appearance resembles that of Semar. We may thus conclude that in this drawing Misa Kanyéri is another name for Semar. Cod. Or. 3390-136 A drawing on Dutch paper, watermark pro patria, countermark VdL. 41.8 x 34 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, brown, light and dark green, light blue, grey, white, black. Artist and origin-, the drawing is signed at the back in Balinese script: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Made Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga in Sanur, worthless, weak; paid five. Madukara takes leave of Nawang Rum. She has to bring a love-letter to Panji The drawing is surrounded by a frame drawn in ink with stripes and with orange and brown. The ground within the frame is indicated by broad brown, grey and black stripes and dots. The tops of leafy trees are depicted on the left and on the right at the top. Leaves are indicated by green and black dots. The sky is indicated by light blue. A woman stands on the left. She faces right. She holds her left hand by her side and her right hand in front of her body. Her attitude indicates that she is speaking with a lower ranked person. Her face is refined. She has long hair with a diadem and a large garuda ornament. She wears a skirt, a long loincloth with a sash wrapped round her waist and a girdle. Her jewelry is that of a princess. Her skin is light salmon-pink. She looks down at a woman who sits on her knees to the right. This woman makes a sem- bah. She has a refined face, long hair, a diadem and a garuda ornament at the back of her head. She wears a skirt, a long loincloth and a girdle. A sash covers her breasts and her left shoulder. Her skin is light salmon-pink. A vessel on a foot (dulang) is depicted between the women. A pudak flower partly covered by a deckel (saab) is placed in it. A text in Balinese script in ink on the left says: nawang rüm, Nawang Rum and on the right is written: madükara, Madukara. A text in Balinese script in pencil in the frame at the top says: papamit madükarané ring hi nawang rüm makacéti, mdëk sira panji, (papamit Madükarané ring I Nawang Rum, maka céti medek sira Panji), Madukara takes leave of Nawang Rum. She goes as a match-maker to pay her respects to Panji.
The servant Madukara kneels down and takes leave of the princess Nawang Rum. The vessel with the pudak flower refers to love and to a love affair, since the pudak is, because of its oblong shape, a symbol of the male sexual organ. As has already been mentioned under drawing No. 3390-25 the leaf around the flower was inscribed with a text, usually a love letter or a poem. (In the OJ Gatotkacasraya (Cod. Or. 12. 931) Abimanyu sends such a flower to his beloved Sitisundari by the servant Sudarpana). The scene in the drawing refers to an episode described in the OJ Malat III: 72A-90B (Cod. Or. 4305). Prince Panji is on his way from the palace of the king of Singasari to his quarters. Women look at him over the wall of the palace. One of them is the widow, princess Nawang Rum. She falls in love with Panji. She writes a love-letter and orders her servant Madukara to take it to the prince. Cod. Or. 3390-137 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42.3 x 34 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, brown, light and dark green, light blue, grey, white, black. Artist and origin', the drawing is signed at the back in Balinese script: gambar pakaryyan hida madé tlaga, saking sanür griya tlagha, nirguna, hinakaya, puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga in Sanur, worthless, weak; paid five. It has to be noticed that the artist writes his name tlaga in this drawing and tlagha in No. 3390-136. Panji receives Madukara who brings him a token of love from Nawang Rum The drawing is surrounded by a frame drawn in ink with vertical stripes and by orange and salmon-pink colouring. The ground within the frame is indicated by broad, brown, grey and black stripes and dots. On the left and on the right of the drawing at the top, the tops of leafy trees are depicted. Leaves are indicated by green and black dots. The sky is indicated by light blue. A man stands on the left and faces right. He has a refined face. His hair is styled in a chignon of the Panji- type. His left arm hangs by his side while his right hand is held close to his stomach. His attitude indicates that he is speaking to a lower ranking figure. His skin is light salmon-pink. He wears a long loincloth with a sash. There is a kris with a black and white sheath (pepélétan) on his back in his girdle. He has another sash over his right shoulder. He looks at the woman kneeling before him on the right. She faces him and makes a sembah. Her head is refined, she has long
hair, and a diadem and a garuda ornament on her head. She wears a long loincloth and a girdle. A sash covers her breasts and her left shoulder. Her skin is light salmon-pink. Between her and the man a vessel with the pudak flower, part ly covered by a deckel, has been placed. A text in Balinese script in ink at the top in the centre says: panji katüran surat (Panji katuran surat), a letter is given to Panji, and on the right close to the woman is written: madükara, kawütu ring nawa rüm (Madukara kautus ring Nawang Rum), Madukara is sent as an envoy by Nawang Rum. A little lower is written: tan katampi, rejected. In the frame at the top in Balinese script in pencil is written: palëh hi madükarané, ring sira panji, mawa sawupakaran panomah, saking nilib, (paleh I Madükarané ring sira Panji, mawa saupakaran panomah saking nilib), Madukara speaks sweet words to Panji while secretly carrying all the offerings for a proposal with her. The servant Madukara kneels in front of Prince Panji. She offers him the vessel with the pudak flower with a letter from her mistress. She praises the beauty of her mistress. This scene refers to an episode described in the OJ Malat III: 72A-90B (Cod. Or. 4305). Madukara is sent by her mistress to Panji. On the way she meets Panji’s company. She does not know what Panji looks like. She asks a man, called Kebo Katrangan, whether he is prince Panji. “I have got a letter for him”, she says. Kebo Katrangan explains that he is not the prince. He takes her to him. She has to wait a little while, as the prince is dressing. Then she meets Panji. She gives him the letter and tells him how beautiful her mistress is. To begin with Panji is interested in her mistress. Then he asks Madukara whether her mistress is marriageable. Madukara answers that she is a widow, who did not want to kris herself on the occasion of her husband’s cremation. Panji answers that she is thus a woman forbidden to him, and he rejects her advances. Cod. Or. 3390-138 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42 x 34 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, brown, light and dark green, light blue, grey, white, black. Artist and origin-, the drawing is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga in Sanur, worthless, weak; paid five. The central part of the drawing is reproduced by Nieuwenkamp 1906-1910: 25, and 1919/20: 200, pi. 11.
Nawang Rum and Madukara are stabbing themselves to death The drawing is surrounded by a frame drawn in ink with vertical stripes and with orange and salmon-pink colouring. The ground within the frame is indicated by broad brown, black, grey and salmon-pink stripes and dots. A leafy tree grows on the left. Leaves are indicated by dots. The sky on the righthand side is in dicated by blue. A woman stands on the right, en face. She stabs herself in the shoulder with a kris, so that blood pours out of the wound. In her left hand she holds the sheath of the kris made of black and white wood (pepélétan). She has a refined face, long hair and a diadem with a large garuda ornament. Her skin is light salmon-pink. She wears a skirt, a long loincloth with a sash and a girdle. A woman sits on her right knee on the left. She faces the woman on the right. She also stabs herself in her shoulder with a kris, and she also holds its sheath, turned upside down, in her left hand. Blood pours out of the wound. She has a refined face, long hair, a diadem and a small garuda ornament. She wears a long loincloth with a sash and a girdle. Another sash is wrapped round her breast and over her right shoulder. A text in Balinese script in ink on the left says: madükara, Madukara, and at the top on the right: nawang rüm nëbëk raga (Nawang Rum nebek raga), Nawang Rum stabs herself to death. In the frame at the top is written in Balinese script in pencil: tan katampi, pangrëmih i madükarané, saking kawütus hantuk hi nawang mm, kancit nbëk raga, nga, (tan katampi pangrëmih i Madükarané saking kautus antuk I Nawang Rum; kancit ngebek raga), Madukara’s sweet words have been rejected by Panji after being conveyed to him by Nawang Rum; she finally stabs herself to death, it is said. Nawang Rum kills herself by stabbing herself to death because she is rejected by Panji. Her servant Madukara does the same as her mistress. The scene referred to is described in the OJ Malat III: 72A-90B (Cod. Or. 4305). Madukara returns to her mistress from her mission to Panji. She reports that Panji rejects her because she has been married before. Nawang Rum is distressed and ashamed. She kills herself. The people around her think that she does so because she is a widow and that now she wants to follow her husband. Only Madukara knows that it is because of her objection by Panji. After some time Madukara feels responsible for the death of her mistress, as she was the one who told Panji that Nawang Rum was a widow. She drowns herself. In the drawing the mistress and the servant stab themselves to death at the same time. Such scenes are very common and are often described in literature, as already mentioned in No. 3390-131. In the OJ Bharatayuddha XLV: 9 for in stance the servant of Satyawati, Sugandika, followed her mistress into death im mediately after the mistress had been widowed. In the OJ Arjunawijaya 63.8 and 64.1 Citrawati (Bal. Indrawati) stabs herself to death when she is told that her husband Arjuna Sahasrabahu had been slain. Her servants do as well (see No. 3390-299).
Cod. Or. 3390-139 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light bordeaux-red, red, pink, ochre, light ochre, light and dark green, light and dark blue, white, black. Artist: no. 11. Origin-. South Bali. The right edge of the sheet is damaged. Rangga Titah Jiwa kneels in front of the king of Malayu The drawing is surrounded by a frame with pink and red colours. The ground is indicated by ochre and light ochre colouring. The background is light blue. Dark blue colouring with an ochre coloured rim indicates the sky at the top on the right. A leafy tree stands in the middle in a fence with a stone ornament. A stag horn fern ornament (simbar) with a one-eyed ogre’s head in the centre is mounted on the trunk of the tree. A creeper (bun tan pa wit) winds itself around the trunk of the tree. A man stands on the far left. He faces right. He holds his left hand in front of his stomach while his left arm hangs by his side. His attitude indicates that he is speaking to a lower ranking person. He has a refined face. His skin is light ochre. His hair is styled in a chignon curled downwards. He wears a long loincloth with a sash. His jewelry is characteristic of that of a royal personage. There is a kris on his back in his girdle. Another man kneels on his left knee on the right. He faces left. He makes a sembah. He has a refined face. His hair is styled in a curly chignon of the Panji-type (gelung Panji maringgit). His skin is light salmon-pink. He wears a long loincloth with a sash. There is a kris on his back in his girdle. A text in Balinese script in ink on the left says: malayu, Malayu and on the right: rangga titah jiwa, Rangga Titah Jiwa. The Rangga Titah Jiwa kneels and makes obeisance to the king of Malayu. This scene refers to the Malat, but it cannot be said that this refers to a particular episode, as so many audiences take place between the king and his subordinates. Titah Jiwa is the name of Jurudéh, Panji’s servant of high rank, when he is in disguise in Gegelang. Rangga is the title of a court functionary. Titah Jiwa stays with Panji and the king of Malayu at the court of the king of Gegelang. They are in disguise. They prepare themselves for the battle with the kings of Lasem and Mataram. The rangga has a special headdress of a coif with a curled rim (gelung Panji maringgit) and he wears a necklace.
Cod. Or. 3390-140 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours', light bordeaux-red, red, pink, light and dark green, light brown, brown, ochre, light yellow, light blue, blue, black. Artist: no. 11. Origin: South Bali. The sheet is glued onto a piece of transparent textile. A meeting takes place between Rangga Titah Jiwa and Kebo Angun-Angun The sheet is bordered in light and dark green. The ground is indicated by ochre and light yellow. The background is light blue. At the top on the left there is dark blue colouring with a rim of ochre representing the sky. A leafy tree is depicted in the centre. It has a stag-horn fern (simbar) ornament with a one-eyed ogre’s head on the trunk. The tree grows from a rock ornament. A creeper (bun tan pa wit) curls itself round the trunk. Another leafy tree growing from a rock ornament is depicted in the corner on the right. A man stands on the left. His body is directed to the left, but he looks back to the right. He holds his right hand in front of his stomach while his left arm hangs by his side. His attitude indicates that he is answering somebody. He has a refined face, his hair is styled in a curled chignon of the Panji-type. He wears a long loincloth with a sash and a kris on his back. His jewelry is characteristic of that of a prince. His skin is pale brown. Another man stands on the right. He faces left. He has a refined face. He wears a helmet on his head with a tuft of hair on top. His legs and arms are covered with hair. He makes gestures indicative of speech with both hands. He wears a long loincloth, a sash round his waist, and a kris on his back in his girdle. Another sash is crossed over his chest. His skin is light brown. A text in Balinese script in ink on the left says: rangga titah jiwa, Rangga Titah Jiwa, and on the right is written: këbo hangunangun, Kebo Angun-Angun. A meeting between Rangga Titah Jiwa and Kebo Angun-Angun is depicted. The latter says something whereupon the first answers. Kebo Angun-Angun is the name for Panji’s servant Punta when he is in disguise in Gegelang. A kebo is a court functionary in charge of matters to do with the army. Titah Jiwa is another servant of Panji’s, as already mentioned under No. 3390-139. A helmet is the characteristic headdress of a kebo. He also wears a sash crossed over his chest (slimpet). No specific scene derived from a Malat text is depicted.
Cod. Or. 3390-141 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.2 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light bordeaux-red, pink, ochre, light yellow, light green, dark green, light blue, blue, black. Artist: no. 11. Origin: South Bali. Panji and Kuda Nirarsa The sheet is bordered in light and dark green. The ground is indicated by ochre and light yellow. The background is light blue. On the left at the top there is dark blue colouring with an ochre surround. A small leafy tree is depicted on the left. A large leafy tree grows from a rock ornament in the centre. A creeper curls itself round the trunk. There is another leafy tree on the right. It is only partly visible. It grows from a rock. There is a stag-horn fern ornament (simbar) with a one- eyed ogre’s head in the centre on the thruk. A man stands to the left. He faces left. He had a refined face. His hair is styled in chignon of the Panji-type. His skin is light yellow. He makes a gesture indicating that he is speaking with his right hand while his left are hangs by his side. He wears a long loincloth with a sash round his waist and another sash hangs over his left shoulder. He has a kris on his back in his girdle. Another man stands to the right of the tree. He faces left. He holds his right hand against his chest. His left arm hangs by his side. His attitude indicates that he is listening to and agreeing to something. His skin, face, headdress and clothes are similar to those of the man in front, except for the shoulder sash which is missing. A text in Balinese script in ink at the bottom on the left reads: sang apanji hamalat rasmi (sang Apanji Amalat Rasmi), Panji Malat Rasmin, and on the right there is written: kudda nirarsa, Kuda Nirarsa. Two men stand behind one another, Panji in front, and Kuda Nirarsa behind him. Panji gives an order to someone supposed to be standing to his left and Rirarsa remains silent and agrees to something. Panji can be recognized by the way his hair dressed, i.e. in a coif (gelung Panji), and by the broad sash he wears over his shoulder. Kuda Nirarsa’s hair is also styled in a gelung Panji, but he does not wear the sash over his shoulder. Kuda Nirarsa is the name adopted by prince Panglulut when he is in disguise in Gegelang. He forms part of the suite of Panji, who had met him while Panglulut was lamenting his deceased wife in a hermitage. Panji decided that Panglulut was too young to spend his time mouring, so he took him to Gegelang (Malat II: 73A-85B, Cod. Or. 4304). No specific scene derived from the Malat is depicted in this drawing.
Cod. Or. 3390-142 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light bordeaux-red, red, pink, ochre, light yellow, brown, light brown, light and dark green, light and dark blue, black. The lower part of the loincloth of the figure on the left is damaged. Artist: no. 11. Origin-. South Bali. The patih and the demungfrom Singasari The sheet is bordered by light and dark green. The ground is indicated by ochre and light yellow. The background is light blue. At the top on the right there is dark blue colouring with an ochre rim. A leafy tree grows from a rock on the far left. It has a stag-horn fern (simbar) on the trunk. A creeper curls itself round the trunk. In the centre another leafy tree grows from a rock ornament. A creeper (bun tan pa wit) winds itself round its trunk. A man stands to the right. He faces right. His skin is light yellow. His face is refined. His hair is styled in a curled chignon of the Panji-type (gelung Panji maringgit). He holds his hands in front of his body, and makes a gesture indicative of polite speech. He wears a long loincloth with a sash round his waist and a kris on his back. His jewelry is characteristic of that of a royal personage. He wears a necklace (badong). Another man stands on the left. He faces right. His skin is light brown. His face is refined. His forehead is bald, but a bunch of curly hair grows on the back of his head. He makes gestures which indicate that he is listening. He wears a long loincloth with a sash and a kris on his back in his girdle. Another sash hangs crossed over his chest. A text in Balinese script in ink on the right says: patih ing singhaskar (patih ing Singasekar), the patih from Singasekar or Singasari. On the left is written: dmung ring singhaskar (demung ring Singasekar), the demung from Singasekar or Singasari. The patih and the demung from Singasari stand behind one another. The patih speaks and the demang listens to him. A patih can be recognized by his hair style, a ribbed chignon of the Panji-type (gelung Panji maringgit), and by his necklace. A demang always has a bald forehead, long hair at the back of his head and he always wears a sash crossed over his chest (slimpet). The drawing refers to figures playing a role in the Malat stories. In Malat III: 58B (Cod. Or. 4305) Panji is in the realm of the king of Singasari. The patih and the demung are functionaries at the king’s court.
Cod. Or. 3390-143 A drawing on Dutch paper, watermark concordia, countermark VdL. 42 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the up per half and on the lower half of the sheet. The drawing at the bottom is upside- down. Polychrome, watercolours and ink. Colours: red, light magenta, violet, green, light green, light blue, light salmon- pink, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet is torn in the centre along the fold. Top: a woman taking a bath is caught by a crab. A man trying to help her is also caught A floor ornament on the ground indicates a stone floor. A stone wall with a bamboo pipe is depicted on the right. Water streams from the pipe. A leafy tree is set in the background on the right. Another leafy tree in a high stone fence is depicted on the far left. A long loincloth hangs over the fence. There is a rock or nament at the bottom close to the fence. A naked woman stands under the bam boo pipe close to the tree. Her body is directed to the left, but her head and shoulders are turned. A stream of water runs from the pipe over her back. Her skin is light salmon-pink. Her hair is styled in a knot on the back of her head. A large crab catches her vagina with its right claw. The woman holds her right hand to her pubic hair and tries to get the claw away. With her left hand she pushes a man to the right away. The crab catches the mouth of the man on the right with its left claw. He is bent forwards. Blood pours from the wound. The man faces left. His mouth is half-open. He looks frightened. He has a kerchief round his head. He wears a small loincloth tucked up between his legs, which leaves his large penis visible. He has just had an ejaculation. A text in Balinese script in ink at the top in the centre says: pancoran (pan- coran), spout. Another text close to the woman says: hanakayëh, kapit yuyu, (anak kayeh, kapit yuyu), a bathing woman is caught by a crab. Close to the man is written: hanak mwani, nulungin, lawut bunguté kapit yuyu (anak muani nulungin, laut bunguté kapit yuyu), a man helps but his mouth is caught by a crab. A woman taking a bath under a spout is attacked by a crab. A man comes to help her but he is also caught by the crab. The fact that he has just had an ejacula tion indicates that the man and the woman are having a love affair. They were probably disturbed by the crab. This scene might refer to the witty songs (lelucon) sung in wayang and in arja performances when a servant enters. The songs often
contain obscenities. The songs have the following structure: they consist of four lines of eight syllables. They are called peparikan in Balinese (Ginarsa 1971(2): 33-35). I have not yet traced songs which this drawing might refer to. A copy on a wooden panel is reproduced in photograph No. 51. Bottom: a man who steals a piglet is bitten by a dog The ground is indicated by grey and light green. A leafy tree stands to the right. It is surrounded by rock ornaments. A group of four men deals with two animals. On the far right a man holds a female pig in both hands. He runs to the right with the pig, and looks back. He is bitten in his right leg by a male dog which stands at the bottom of the tree. The man has female eyes. He wears a small loincloth tucked up between his legs. He has short hair. There is an opium pipe (cangklong) on his back in his girdle. His skin is light salmon-pink. A group of three men stands on the left, looking at the man on the right. Two of them hold a man standing in the middle. The man holds a sword in his right hand, and is ready to use it. He has bulging eyes, long hair and a white skin. He wears a short loincloth tucked up between his legs and a sash round his waist. The men holding him are both clad in the same way. Their skin is light salmon-pink. They have round eyes and short hair. A text in Balinese script at the top on the left says: puniki né nglah kucité, kapaling ngëmbus kris, (puniki né ngelah kucité, kapaling, ngembus kris), this is the man who owns the pig which has been stolen. He draws a kris. At the bottom on the right there is written: maling kucit caplok cicing, the pig-thief is bitten by a dog. A man runs away with a piglet which he has stolen. He is caught by a dog. The owner of the pig draws his sword and wants to use it against the thief. Two men restrain him. The thief steals the piglet which he intends to sell to get money to buy opium. In this drawing also reference is probably made to the songs mentioned above. The fact that the text maling kucit caplok cicing has eight syllables could indicate that it is part of a peparikan. Cod. Or. 3390-144 Two drawings on Dutch paper, watermark concordia, countermark VdL. 42 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. The drawing on the top half is upside- down. Polychrome, watercolours and ink. Colours: red, light magenta, light green, green, violet, light blue, light salmon- pink, light grey, white, black.
Artist: I Ketut Gedé. Origin: Singaraja. The sheet has been torn all along the fold. Bottom-, a man holding a pig is bitten by a boar The ground is indicated by light grey. There are rock ornaments depicted on the left, in the middle and on the right. The rock in the centre has sharp points (sekar taji gunung). A leafy tree stands on the top of this rock. Another leafy tree stands on the righthand side. A man stands in the centre. His body is directed to the left, but his face is to the right. He raises his left leg, which is bitten by a boar. Blood pours from the wound. With his hands he holds the hindlegs of another swine which stands in front of him on the left. The man has a round face with bulging eyes, and short hair. His skin is light salmon-pink. He wears a short loincloth tucked up between his legs and a sash round his waist. A text in Balinese script in ink at the top says: hanak ngjuk céléng, tgor bangkal, (anak ngejuk céléng tegor bangkal), someone who is taking a pig is bit ten by a boar. According to I Ketut Suwidja, B.A. this scene refers to a peparikan sung in wayang and arja performances by a servant. The text runs as follows: kaja kaja ka Kelungkung, kauh kauh ka Buléléng, dibi sanja maling bangkung, mara sauh jejegut céléng, South to Klungkung, West to Buléléng, yesterday he stole a sow, today he is tripped up by a pig. Top: two men carry a swine hanging on a pole; the swine bites one of the men The ground is indicated by light grey curving lines. There are rock ornaments on the left, in the centre and on the right. The rock on the left has a flower in the centre and has sharp points (sekar taji gunung). The rock in the centre also has sharp points and leaves. A leafy tree grows from it. Two men carry a bamboo pole on their shoulders. They run to the right. A durian fruit hangs off the end of the pole on the left. A swine hangs upside-down from the pole in the middle. It is biting the penis of the man on the right. Blood pours from it. The man looks back and grasps his penis with his right hand. With his left hand he touches the grip of his butcher’s knife (golok) which is in his girdle on his hip. He has a round face, female eyes, and short hair. His skin is light salmon-pink. He wears a short loincloth tucked up between his legs and a sash round his waist. The man on the left points with his right index finger at the man on the right. He holds the pole with his left hand. He has a round face, female eyes and wears a kerchief round his head. His skin is light salmon-pink. He wears a short loincloth tucked up be tween his legs and a sash round his waist. He has an opium pipe (cangklong) on his back in his girdle. A text in Balinese script in ink at the top on the left says: nanggap hupah ngën céléng, (nanggap upah negen céléng), to earn money by carrying a pig. On the
right close to the pig is written: dak caplok céléng, (calak Caplok céléng), a penis bitten by a pig. This drawing probably refers to a peparikan, but unfortunately I have not yet managed to trace it. Cod. Or. 3390-145 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2. cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, light and dark blue, yellow, light yellow, white, grey, black. Artist: no. 5. Origin-. Badung. Arjuna pays his respects to Bisma who reclines upon a bed of arrows The air is indicated by awon-awon ornaments (type I). There are some flowers in the air on the right above the head of a man. A leafy tree is depicted in the cen tre. It grows from a rock ornament with plants at its sides. Leaves are indicated by dots. A chariot stands to the right of the sheet. It has an ornamented back piece with a flower in the top (cf. No. 3390-5). It has two wheels. A man reclines in the chariot. Broken arrows serve as a kind of mattress. There is an arrow in the man’s chest. Blood pours from the man’s chest where the arrow has pierced it. The man has a refined face. He wears a turban on his head. His skin is yellow. He wears long trousers, a small loincloth tucked up between his legs, a long coat which is lined and which has long sleeves, a sash round his waist and another sash over his left shoulder. Another man sits kneeling on his right knee on the left. He faces right. He makes a sembah. He has a refined face, his hair is styled in a double chignon, and he wears a diadem and a garuda ornament on his head. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a shoulder-piece and a sash over his right shoulder. His jewelry is characteristic of that of a prince. A text in Balinese script in ink on the right close to the man in the chariot says: bhagawan bisma (bagawan Bisma), the sage Bisma. On the left close to the kneel ing figure is written: sang dananjaya, ngatürran toya, (sang Dananjaya ngaturang toya), Dananjaya offers holy water. A prince called Dananjaya, or Arjuna, kneels in front of the sage Bisma, who reclines in a chariot on a bed of arrows (saratalpa, OJ). A rain of flowers comes down from the sky. According to the inscription, Arjuna is offering holy water which is not, however, depicted in the drawing. This scene refers to an episode
described in the OJ Bharatayuddha XIII: 5-10. Yudistira has ordered Arjuna and Sikandi to fight the sage Bisma, because he has chosen the party of the Korawa. Finally Bisma is conquered by Sikandi, but he is not yet dead. He waits until the sun starts its journey to the North before he dies, because this is the appropriate time to die. Yudistira, Arjuna, Nakula and Sadéwa come and embrace Bisma’s feet out of respect for their former teacher. Bisma, however, does not want to recline on a bed of grass to wait upon his death. Arjuna changes the grass for his arrows. After a while the Pandawa brothers take leave. Duryodana, the king of the Korawa, remains with Bisma. He offers him water to drink, but Bisma refuses. He will take water only from Arjuna. Arjuna then ar rives and gives him some holy water obtained by shooting an arrow into the ground. In the drawing the bed of arrows is embellished with a chariot. A rain of flowers comes down from the sky to indicate that the dying man is an extraordinary hero. This scene is called kalenggak Bisma, Bisma moribund, by the Balinese. Cod. Or. 3390-146 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.5 x42.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, yellow, light yellow, light and dark green, light blue, white, grey, brown, light brown, black. Artist: no. 5. Origin: Badung. The sheet is damaged at the bottom on the left and at the top in the middle. Aswatama talks to Duryodana who is wounded in the thigh. His servant Délem is also wound ed. Sangut touches Duryodana’s knee A leafy tree grows in the centre from a rock ornament. Leaves are indicated by little dots. The air is indicated by awon-awon ornaments (type I). A man stands on the far left. He faces right. He makes a gesture indicating that he is speaking with his right hand. His left arm hangs by his side. He has almond-shaped eyes, a small moustache and whiskers. He has a diadem and a kerchief in a Javanese black and white batik pattern (batik Betawi) on his head. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, a shoulder piece and another sash over his right shoulder. This sash is sketched, and not yet worked out. His jewelry is that of a prince. A small fat man sits and kneels in front of him. He faces
right. He holds the left and right knee of a man on the righthand side. He has round eyes, a protruding mouth and a cap on his head with a pony-tail on the top. His skin is light yellow. He wears a short checkered loincloth tucked up between his legs, a sash round his waist and a kris with a black and white sheath (pepélétan) on his back. The man on the right leans backwards. His body is askew. He faces left. He makes a gesture indicative of speech with his right hand, while his left arm hangs limp (matéken). He has bulging eyes, a moustache, and a diadem and a large garuda ornament on the back of his head. Such a large garuda ornament is called candi rebah. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs, a shoulder-piece and another sash over his left shoulder. A small, fat man sits on the far right. He also leans backwards. He faces left. With his right hand he makes a gesture which indicates that he is speaking, while his left hand is held to his thigh. He has bulging eyes and a cap with a tuft of curly hair on top of his head. He wears a short loincloth with a sash round his waist. His skin is light brown. A text in Balinese script in ink on the left close to the standing man reads: hidda bagus swatamma (Ida Bagus Swatama), Aswatama. Close to the sitting man is written: hi gulü dawa, (I Gulu Dawa), the Long Necked One. This is a nickname for Sangut. Close to the tree on the right there is written: tarü waringin (taru waringin), waringin-tree. Close to the man on the right is written: duryyodanna, hlung pupuné, (Duryodana elung pupuné), Duryodana’s thigh is broken. At the bottom on the right is written: hi délëm batisné lung, (I Délem batisné lung), Délem’s leg is broken. Aswatama, accompanied by the servant Sangut speaks to Duryodana. His thigh is broken, and so is the leg of his servant Délem. This scene refers to episodes described in the OJ Bharatayuddha XLVIII: 1-4, XLIX: 3, and L: 13. Bima fights Duryodana. They both had the same teacher, and they are almost each other’s equal in strength. King Kresna therefore suggests to Bima that he abandon the code not to beat beneath the navel. Arjuna points at his thigh during the fight and Bima understands what he means. He beats Duryodana’s thigh with his club and crushes it. Duryodana falls down, his crown lying beside him. Duryodana swears that he will not die until he has used the heads of the five Pan daw as a hassock (XLIX: 3). Aswatama is the son of the brahman Drona. He is very brave and after the death of the commander-in-chief Salya he expects to become the new com mander. He is very dejected over Duryodana’s defeat because this implies that the battle between the Korawa and Pandawa is lost, and that a new commander- in-chief is no longer necessary. A talk between Aswatama and the wounded Duryodana is not explicitly mentioned in the OJ text, but it is possible that Duryodana utters the curse in the drawing. In the Balinese inscription Aswatama has been given the title Ida Bagus, which in Balinese is the fitting designation for a brahman of Siwaite descent.
Cod. Or. 3390-147 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.6 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, light and dark blue, yellow, light yellow light brown, light greenish-grey, white, black. Artist: no. 5. Origin: Badung. The central part of the drawing is reproduced by Nieuwenkamp 1906-1910: 43 and 1919/20: 162, pi. 1. Sitisundari jumps from a ramp into afire to follow her husband into death. Pan Senténg, Nang Klicur and Mredah are present. The female servant Padma weeps The air is represented with awon-awon ornamentation (type I). A large tub with flames is depicted on the left. A man stands on the far left facing right. He holds a bunch of oval shaped objects in both hands. He has a round face and al mond shaped eyes. He wears a kerchief round his head. His skin is light greenish- grey. He wears a short loincloth tucked up between his legs and a sash round his waist. His jewelry consists of armlets, wristlets and a jewel in his forehead. He looks at the woman in the air. Another man stands on the right of the tub. He also holds oval shaped objects in both hands. He has round eyes. His skin is light brown. He wears a small loincloth tucked up between his legs and a kerchief round his head. There is a ramp behind him in the centre. From the top of the ramp a woman jumps down into the tub of fire. She holds her hands folded in front of her breast (mamusti), which is a gesture indicative of meditation. Her skin is light yellow. She has long hair with a diadem and a garuda ornament. She wears a skirt in the kuta Mesir pattern, a long loincloth in a black and white In dian floral pattern, a sash round her waist and a shoulder-piece. Her armlets, and anklets are characteristic of those of a royal personage. A fat man sits on his left knee on the right at the bottom of the ramp. He faces left. He holds his right hand in front of his chest which indicates obeisance while his left hand is held to his thigh. He has female eyes. He wears a small loincloth tucked up between his legs and a sash round his waist. He has a cap on his head with a tuft of hair on top. His skin is light greenish-grey. A woman stands on the far left. She faces left. She holds her right hand against her forehead which expresses grief. Her left arm hangs by her side (matéken). She has long hair. She wears a small diadem with a garuda ornament on her head. Her clothes consist of a skirt, a long loincloth, and a sash covering her breasts. Her skin is light yellow.
A text in Balinese script in ink in the centre says: pasatyan sitisundari, rabin blmanyu, saking dwarawatti, (pasatian Sitisundari rabin Bimanyu saking Dwarawati), the suicide of Sitisundari, Abimanyu’s wife from Dwarawati. Close to the man on the left is written: pan sënthéng, Pan Senténg, and close to the fire: grombong, trough. Close to the man on the right of the tub is written: nang klicur, Nang Klicur. Close to the kneeling man is written: hi mrëdah, I Mredah, and close to the woman on the right: pajrowan mwasta hi padma, (panjroan mawasta I Padma), servant called I Padma. Sitisundari the wife of Abimanyu, jumps from a ramp into a fire being made by two men, Pan Senténg and Nang Klicur. The fuel has been put into a large basket. Sutisundari’s female servant, I Padma, looks at it, and she is filled with grief. Her male servant, Mredah, kneels and prays. Sitisundari does this because according to the OJ Bharatayuddha, XV: 4-19, Abimanyu, Arjuna’s son and Sitisundari’s husband, has been killed by the Korawa. His first wife, Utari, will not follow him into death because she is eight months pregnant. His second wife, Sitisundari, takes leave of Utari, goes to the battle-field to be with her dead husband and jumps into the fire to kill herself and so follow her husband into death. There are two ways in which a woman can commit ritual suicide: to jump into a fire (masatia) and to stab oneself to death (mabéla). Mabéla is depicted for in stance in No. 3390-138. The objects held by Nang Klicur and Pan Senténg represent kloping, the sheath of the bud of the coconut-flower. Traditionally it is split and dried and us ed as fuel in cremations. The fuel is sprinkled with oil and arak (a kind of spirit). A grombong is in fact the stone trough used in the preparation of chalk (pamor). In KBNWB IV: 692 it is also called the pit into which the satia jumps. Cod. Or. 3390-148 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42.2 cm. The sheet is folded verticalled into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, light brown, brown, yellow, light yellow, white, light grey, grey, black, light blue and dark blue. Artist: no. 5. Origin: Badung. Bima fights Bagadata who is accompanied by the elephant Irawana The air is represented by awon-awon ornamentation (type I). An elephant stands in the centre. It faces right. It has a deck on its back. It catches the man standing on the right side, facing it, with its trunk. This man wields a club in his
right hand. The sharp thumbnail of his left hand, clenched into a fist, points at the elephant’s head. His legs are placed wide apart, his knees bent. He has round eyes, a small moustache and a large double chignon (gelung buana lukar). His armlets and wristlets are provided with three sharp points (bajra) pointing towards each other (menék, tuun). His necklace is in the form of a snake. He wears a small black, grey and white checkered loincloth tucked up between his legs with long ends hanging down, a sash round his waist and a girdle. His skin is light brown. Another man sits close to the back legs of the elephant on the left. He faces right. He points (nuding) with his left index finger at the man on the right. He holds a double lance in his right hand. He has bulging eyes. His hair is styled in a chignon curled inwards with a garuda ornament at the back. He wears a diadem on his head. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink in the centre says: Bhimaséna, Bimaséna. Under the elephant has been written: gajahné, hirawanna, (gajahné Irawana), his elephant is Irawana, and on the left is written: bagadattë, Bagadata. A fight between Bima and Bagadata is depicted. Bima menaces him with his club, while Bagadata makes only a menacing gesture with his hand. The elephant, called Irawana and belonging in the drawing to Bagadatta, grasps Bima in order to stop him bludgeoning Bagadata with the club. It is a problem to explain this scene. It is clear that one of the fights in the Bharatayuddha is referred to. According to the OJ Bharatayuddha XIII: 16-17, however, it is Arjuna who fights Bagadata and kills him and not Bima. In XX: 3, though, Bima fights an elephant called Aswatama. He is attacked by the elephant, but kills it. The elephant is owned by the king of Malwa. We may conclude that in this drawing the artist is expressing his view of the story so that it is Bima who fights Bagadata and an elephant as well. Irawana or Erawan (OJ Airawana) is the name of the elephant of Indra. Bagadata is a good friend of Indra’s and he has probably borrowed Indra’s elephant to use it in battle. Cod. Or. 3390-149 A drawing on Dutch paper, watermark concordia, countermark VdL. 42 x 34.5 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, light green, brown, white, black. Artist and origin: the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna hinakaya;
puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga in Sanur, worthless, weak; paid five. The sheet is torn in the centre on the left, along the fold, and at the top on the right. The drawing is reproduced in Nieuwenkamp 1919/20: 196, pi. 9. Salya cuts the loincloth which binds him to his wife Satyawati The drawing is bordered by an ink frame and by stripes and orange and salmon-pink colouring. There is a horizontal border at the top of the drawing with ornamentation representing woodwork. There is stone ornamentation at the bot tom. Curtains are drawn at the top on the right and on the left. A pile of five bolsters (galeng matumpuk lima) is depicted on the right. A woman leans against it. Her eyes are closed. Her skin is white. She has long hair and a diadem on her head. She holds her left hand to her shoulder and her right arm in her lap. Part of her loincloth is loosely wrapped around the lower part of her body. The end of the small loincloth of the man on the left is wrapped round her hips. This man, sitting on the left close to her feet, faces her. He holds a kris in his right hand, and tries to cut off the loincloth which he holds up with his left hand. He has a refined face, a small moustache, a chignon with a large garuda ornament on the back of his head, and a diadem on his head. His skin is light salmon-pink. He wears short trousers, a small loincloth, a sash round his waist and a girdle. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top in the centre says: salya ring paturwan (Salya ring paturuan), Salya in the sleeping place. At the bottom on the right is written: satyawati, Satyawati. In the frame at the top is written in pencil in Balinese script: pangipuk salya, nga, bratëyüda, (pangipuk Salya, nga., Bratayuda), this fragment is called lovescene with Salya, Bratayuda (OJ Bharatayuddha). Salya cuts the loincloth that binds him to his wife Satyawati who is still asleep on her couch. This scene is described in the OJ Bharatayuddha XXXVIII: 11-12 and in the geguritan Salya (Cod. Or. 11.164, 16.090). It is also depicted in Nos. 3390-104 and 172. Cod. Or. 3390-150 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink.
Colours: red, pink, light and dark blue, green, light salmon-pink, light brown, light greyish-brown, yellow, light grey, black. Artist: no. 5. Origin: Badung. Kresna and Satyaki pay Drestarasta and Sanjaya a visit. They are accompanied by Sangut and a servant bearing sirih The air is indicated by awon-awon ornaments (type I). A creeper with flowers, growing from a fence, is depicted on the left. On the lower half of the drawing there is a frame with ornaments which indicate stone-sculpture. A man sits kneel ing on his right knee close to the fence at the top on the left. He faces right. He makes gestures indicative of speaking and agreeing to something. He has a refined face and refined eyes, but no pupils, which indicates that he is blind. He has a chignon curled inwards with a garuda ornament on the back of his head. He wears a diadem. His skin is white. His clothes consist of short trousers with a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash hanging over his right shoulder. His jewelry is characteristic of that of a royal personage. A man sits on the right facing him. With his right hand he makes a gesture which indicates that he is arguing. His left hand, clenched into a fist, rests in his lap. He has a refined face. He has a high crown with a diadem and a garuda ornament on his head. His skin is light greyish-brown. He wears a small loincloth in the kuta Mesir pattern tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. A man sits crosslegged at the bottom on the far left. He faces right while his body is en face. He holds his right hand close to his chest and his left hand in his lap, indicating that he is agreeing to something. He has a refined face. His hair is styled in a double chignon with a garuda ornament on the back. He has a diadem on his head. His skin is light salmon-pink. He wears short trousers with a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his right shoulder. A small, fat man kneels in front of him further to the right. He faces right. His head is directed upwards. He makes gestures which indicate that he is speaking politely. He has round eyes. He wears a short loincloth tucked up between his legs, and a sash round his waist. He has a cap-like kerchief on his head with a tuft of hair on top. His skin is light brown. A man sits kneeling on his left knee at the bottom on the right. He faces left. He holds his right hand in front of his chest and his left hand, which is clenched into a fist, and which indicates firmness, is placed at his girdle. His skin is light greyish- brown. He has a refined face. His hair is styled in a double chignon with a garuda
ornament on the back. He has a diadem on his head. He wears short trousers with a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a prince. A small man sits on the far right kneeling on his left knee. He faces left. He carries a sirih-bag (kampék) of basketry over his left shoulder. He has a tuft of hair on his forehead. He holds his right arm over his head. His skin is light brown. He wears a short loincloth tucked up between his legs and a sash round his waist. A text in Balinese script in ink in the middle at the top says: drëstërasta, Drestarasta, and further to the right kresna, Kresna. At the bottom on the left is i i i i written: sanjaya, Sanjaya, and further to the right s w k rnn (siwikarna). u u u u By putting an ulu (i) above and a suku (u) below a letter (aksara panten, aksara mati) the letter is “ killed ’ ’. In this way a wrong word is eliminated in a text. Close to the small figure sitting on the left is written: satyaki, Satyaki and by the figure with the sirih-bag: parakkan, (parekan), servant. King Kresna, accompanied by Satyaki pays a visit to the blind king Drestarasta. They talk. Sanjaya sits at Drestarasta’s feet. They are both accom panied by a servant, Gulu Dawa, “the one with the long neck”, and a nickname of Sangut, and an unnamed boy-servant who carries a sirih-bag. This scene may refer to the episodes described at the beginning of the OJ Bharatayuddha VII: 1-6. Drestarasta (Dhrtarastra, OJ), king of Astina, was forced to abdicate when he went blind. His younger half-brother Pandu was his successor. When Pandu died two parties laid claim to the kingship: Pandu’s five sons, the Pandawa and Drestarasta’s hundred sons, the Korawa. Duryodana, in particular, wanted to become a king. In I: 8 king Kresna is asked for help by the Pandawa. He goes to Astina with Satyaki and asks Duryodana for half of the kingdom for the Pandawa. Should he not grant Kresna’s request, war will follow. Several meetings and audiences take place between Kresna and Drestarasta and his family. At VII: 1-6, Kresna in a meeting addresses himself to Drestarasta in particular. The latter insists on giving half of the kingdom to the Pandawa to avoid a war. Duryodana keeps silent. Heavenly seers advise that the proposal should be agreed to. Ministers, for instance Sanjaya, agree. The number of figures represented in the drawing does not correspond exactly with those men tioned in the text, but there is sufficient evidence to conclude that the scene in the drawing refers to the abovementioned episode, because a meeting between Kresna and Satyaki and Drestarasta (and a.o. Sanjaya) only occurs at the begin ning of the OJ Bharatayuddha. The servant carrying the sirih-bag is a very young boy, as can be seen from the lock of hair on his forehead. This lock of hair is called suung. The profession of sirih bearer at the court of a local prince was much sought after by small boys of
about twelve years old (Jacobs 1883: 179), at least at the end of the 19th century. These boys were held in great respect. They were even allowed to sit as high as the prince or king. This scene is called pangodal jero, the royal meeting, by the Balinese. Cod. Or. 3390-151 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, yellow, light and dark green, dark brown, light grey, grey, black, white. Artist: no. 7. Origin: Buléléng. Darmawangsa speaks to Bima A man stands in a dancing attitude on the left. He faces right. His legs are spread, his knees bent in the manner adopted by one who is coarse (kasar). He holds his left hand, clenched into a fist, to his thigh while he holds his right fist in front of his chest. His attitude indicates that he is listening. He has long, sharp thumb nails. His skin is dark brown. He has red bulging eyes, a moustache and a short beard. His hair is styled in a large double chignon (gelung buana lukar) with a diadem. He has ear-jewels with flames on the top. His armlets, bracelets and anklets have sharp triangles (bajra) which point at each other (menék, tuun). His necklace is in the form of a black and white checkered snake. There are ornaments representing a one-eyed ogre’s head (karang bintulu) on his knee. He wears a small black, grey and white checkered loincloth tucked up between his legs with long ends hanging down. Another man stands on the right. He faces left. With his right hand he makes a gesture which indicates that he is speaking. He holds his caste-cord (nabdab) with his left hand. His skin is white. His face is refined. His hair is styled in a chignon curled inwards at the back of his head (gelung kekelingan). He has a diadem on his head. He wears a short loincloth, another small one tucked up between his legs, a girdle and jewelry characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: sang bima (Sang Bima), Bima. At the bottom on the right is written: darmatannaya, Dar- matanaya, the son of the god Darma. This is an epithet of Yudistira’s. Yudistira, the eldest of the Pandawa brothers talks to Bima, the third brother. It is difficult to say whether a specific scene is depicted or not, since conversations between the brothers occur in many situations and are described in many OJ texts.
Cod. Or. 3390-152 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.4 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, yellow, light and dark green, light grey, white, black. Artist: no. 7. Origin: Buléléng. Some sketches in pencil are still visible. The paint is damaged in the centre along the fold. Abimanyu kneels in front of Gatotkaca A man, standing on the left, faces right. His legs are spread, his toes curled up wards (tampak sirang), his knees bent. He holds his left fist to his thigh and with his right hand he makes a gesture which indicates that he is granting someone to speak. He has sharp finger nails. He has round eyes, a big nose and long eye-teeth in his upper jaw. His hair is styled in a double chignon with a garuda ornament at the back. He has a diadem on his head. He wears black (velvet) trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle and a shoulder-piece. Another sash hangs over his right shoulder. He has a lot of hair on his chest. His skin is light violet. His jewelry is characteristic of that of a prince. A man crouches on the right. His legs are spread. He faces left. He makes a sembah. His skin is white. His face is refined. He has long hair on the back of his head and a coif on his forehead. He has a diadem on his head. He wears a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: gatotkaca, Gatotkaca, and on the right: bimanyu, Bimanyu. Gatotkaca, a son of the Pandawa Bima, and Bimanyu (also called Abimanyu), a son of the Pandawa Arjuna face each other. Abimanyu makes obeisance. This scene probably refers to an episode described in the OJ Gatotkacasraya 30: 4-8 and 31: 1-4 (Cod. Or. 12. 931). Abimanyu has fallen in love with Kresna’s daughter Sitisundari (Ksiti Sundari, OJ). Some problems arise because she has been promised to marry Laksmana Kumara, a son of Duryodana, for whom she feels no love. Abimanyu decides to help Sitisundari. He prays to the goddess Durga. She advises him to go to Gatotkaca. Gatotkaca does not know Abimanyu, but he recognizes him because he looks like his father Arjuna. He is glad to see him. He promises to help Abimanyu and fetch the princess for him. This scene is called Gatotkaca Sraya, Gatotkaca comes to help, by the Balinese.
Cod. Or. 3390-153 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 40.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, yellow, ochre, white, light grey, black. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible. Karna talks to Sakuni A man stands on the lefthand side. He faces right. He makes a gesture indicative of giving an order with his right hand. He has placed his left hand on his knee. His legs are slightly spread, his knees bent (agem). His head is refined. He has a diadem and a round crown with a garuda ornament at the back on his head. His skin is white. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. Another man stands on the right. He faces left. He has his right hand at his girdle and his left fist on his knee. His attitude indicates that he is listening. His legs are slightly spread, his knees bent, his toes are curled upwards (tampak sirang). He has round eyes, a small beard and a moustache. His skin is ochre. His belly is covered with hair. He has a diadem and a cap with a garuda or nament at the back on his head. His hair is long. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a sash knotted on his chest. He wears shoulder-ornaments. A text in Balinese script in ink at the bottom on the left says: sang karnna (Sang Karna), Karna, and at the bottom on the right is written: sang sakuni (Sang Sakuni), Sakuni. Karna gives Sakuni an order. The latter listens. Karna is a son of Kunti and of the god Surya. He was born before she was married to Pandu. Karna becomes the king of Awangga. He chooses the party of the Korawa in the conflict with the Pandawa. He is killed by Arjuna’s pasupati arrow in the OJ Bharatayuddha XX- XI: 25. Sakuni is Duryodana’s patih. In the OJ Bharatayuddha II: 4 he and Kar na do not receive Kresna in Astina cordially in spite of Drestarasta’s order. In IV: 5-6 Karna, Sakuni and Duryodana are opposed to the idea of giving the Pandawa half of the kingdom. In XLIII: 5 he is killed by Bima. There is no specific scene in the OJ Bharatayuddha in which a talk between Karna and Sakuni is mentioned. Is is probable that the artist merely wanted to portray them as members of the Korawa party in general.
Cod. Or. 3390-154 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, yellow, ochre, light grey, grey, white, black. Artist', no. 7. Origin'. Buléléng. Bisma points something out to Salya A man stands in a dancing attitude on the left. He faces right. He holds his hands in front of his body and makes gestures which indicate that he is speaking. His knees are bent, and the left knee is slightly raised. This attitude indicates obeisance. He has a refined face with a moustache. His headdress consists of a diadem and a cap (kekendon) with a garuda ornament at the back. His skin is ochre. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, a shoulder-piece; his jewelry is characteristic of that of a royal personage. Another man stands on the right. He faces left. He points with his right index finger at the man on the left. The palm of his hand is directed upwards. This at titude means that he is explaining something. He holds his coat with his left hand (nyaup kampuh). He has almond-shaped eyes, a moustache and a rather long beard. He has a diadem with a large turban and a garuda ornament on his head. His skin is grey. He wears long trousers, a small loincloth tucked up between his legs, a long coat with long sleeves, a sash round his waist while another sash runs over his chest and hangs down over his left shoulder. A text in Balinese script in ink at the bottom on the left says: sang salya, Salya, and at the bottom on the right: sang bisma, Bisma. Bisma points something out to Salya. They both belong to the Korawa party. The scene might refer to an episode described in the OJ Bharatayuddha XII: 8-10. A new fight in new battle-array, called Garuda, starts. Drestadyumna is the commander-in-chief of the Pandawa and Sakuni of the Korawa. The Korawa are driven back. Duryodana, Krepa, Salya, Dusasana and Sakuni ask their tutors Bisma and Drona for help. They say that they should retreat. The giving of this advice by Bisma to Salya, is probably represented in the drawing. Cod. Or. 3390-155 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.1 x 41.3 cm.
■ Cod. Or. 3390-156 239 The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, brown, yellow, grey, white, black. Artist: no. 7. Origin: Buléléng. Burisrawa and Jayadrata face each other A man stands on the left and faces right. His legs are slightly spread and his knees bent (agem). He holds his left fist akimbo, his right hand, clenched into a fist, hangs by his side (matéken). He has bulging eyes, a full moustache, whiskers and a short beard. His skin is grey. He has a diadem and a cap (kekendon) with a large garuda ornament on his head. His hair is long. His chest is covered with hair. He wears a small loincloth tucked up between his legs, the ends of which hang down, a sash round his waist, a girdle, a shoulder-piece and a sash crossed over his chest. His jewelry is characteristic of that of a royal personage. Another man stands on the right. He faces left. His legs are spread, and his knees slightly bent. His toes are curled upwards (tampak sirang). He holds his left fist akimbo and his right hand to his knee. He has red, bulging eyes, a full moustache and a small beard. He has a diadem and a cap in a brown-black Javanese batik pattern on his head (batik Rembang). His chest is covered with hair. He wears long trousers in a black and white Javanese batik pattern (batik Rembang), a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash hanging over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: burisrawah, Burisrawa, and at the bottom on the right: jayadrata, Jayadrata. Burisrawa and Jayadrata stand facing each other. Their attitudes are characteristic of the coarser type figures. Burisrawa, the son of Somadatta, belongs to the Korawa party. He is killed by Satyaki in the OJ Bharatayuddha XVI: 1-43. Jayadrata also belongs to the Korawa party. Abimanyu is attaqued by him in the OJ Bharatayuddha XIII: 26. Jayadrata is then killed by Arjuna, Abimanyu’s father in XVI: 6. There is no specific scene in the OJ Bharatayuddha in which a meeting between Burisrawa and Jayadrata takes place. It is probable that the artist wished to por tray them here merely as representatives of the Korawa party. Cod. Or. 3390-156 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.5 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink.
Colours-, red, pink, light violet, violet, light and dark green, yellow, ochre, light reddish-brown, light and dark grey, white, black. Artist: no. 7. Origin: Buléléng. The red paint of the hand of the man on the left is damaged. Sketches in pencil are still visible. The sage Krepa argues with Duryodana A man stands on the left. He faces right. He holds a rosary (aksamala) in his left hand. His right hand is held in front of his body and makes a gesture in dicative of giving an order. He has female eyes, a moustache and a long pointed beard. His hair is knotted and curled inward at the back of his head. He has a diadem on his head. He wears long black (velvet) trousers, a short loincloth tucked up between his legs, a sash, a long coat with long sleeves and a sash over his chest which hangs down over his back from his right shoulder. His skin is light reddish-brown. On the right another man stands. He faces left. He holds the sash which he wears round his waist (mapekik), which indicates that he belongs to the coarser type of figures. His legs are slightly spread, his knees bent (agem). He has red bulging eyes, a full moustache and a small beard. He has a diadem and a high crown on his head. His skin is ochre. His chest is covered with hair. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a shoulder-piece and another sash over his chest which hangs down over his back from his left shoulder. A text in Balinese script in ink at the bottom on the left says: dang yang krëpha (Dang Hyang Krepa), the sage Krepa. At the bottom on the right is written: duryyoddana, Duryodana. Krepa is the son of the brahman Drona. He wears clothes (long trousers, a long jacket), and a rosary which are characteristic of a sage. His hair is also styled in a way which is characteristic of a sage. The sage Krepa explains something to King Duryodana who has adopted a slightly belligerent attitude. This scene might refer to episodes described in the OJ Bharatayuddha VII: 6 and XVII: 7-9. In VII: 6 the sages and ministers give advice to the king Duryodana. They, and Drona in particular, try to convince Duryodana that he should agree to give half of the kingdom to the Pandawa in order to avoid war. Although Krepa is not explicitly mentioned, he might have been one of the sages. Duryodana wears a high crown (candi agung) in this drawing. This is required by the North Balinese tradition of drawing and of puppetry. In South Bali he wears a cap and a triangular ornament called candi rebah (see for instance drawing No. 3390-146). Cod. Or. 3390-157 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 41.3 cm.
The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light red, light violet, violet, light and dark green, yellow, light grey, grey, white, black. Artist: no. 7. Origin-. Buléléng. Sketches in pencil are still visible. Arjuna honours Kresna with a sembah A man stands on the left. He faces right. He makes a gesture indicative of speech with his right hand. He holds his girdle with his left hand (nyamir). His knees are bent, his right knee is slightly raised. He has a refined face. He has a diadem and a large crown with a manuk ornament on his head. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his right shoulder. Another man, standing on the right, faces left. He makes a sembah. His legs are slightly spread, his knees bent (agem). His face is refined. His hair is styl ed in a double chignon. He has a diadem on his head. He wears a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece, a girdle. His skin is white. A text in Balinese script in ink at the bottom on the left says: sang kresna, (sang Kresna), Kresna, and at the bottom on the right: sang harjuna, (sang Arjuna), Arjuna. Another text in Balinese script in pencil at the top on the left, but upside- down, says: krasna, harjuna, twalén, and: délëm, Kresna, Arjuna, Twalén, Délem. The inscription in pencil is probably a note by the artist about the subject he intended to depict. He probably decided to drop the idea and to leave the ser vants out. Arjuna listens to king Kresna humbly. This scene might refer to an episode described in the OJ Bharatayuddha XIV: 13-16. Kresna speaks to Arjuna. He orders him to fight Jayadrata and gives him his chariot and horses. This scene is called patemon Kresna ring Arjuna, the meeting of Kresna and Arjuna, by the Balinese. Cod. Or. 3390-158 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.4 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light green, dark green, yellow, ochre, light grey, grey, black.
Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible. Sanga and Drestadyumna face each other A man stands on the left. He faces right. His legs are slightly bent. He holds his left hand and his right hand which is clenched into a fist to his girdle. His attitude indicates listening. His face is refined. He has a small moustache. His hair is long. He has a diadem and a cap (kekendon) with a bintulu ornament at the back on his head. His skin is pink. He wears a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece while his jewelry is characteristic of that of a royal personage. Another man stands on the right. He faces left. He holds his right hand in front of his body, and raises his little finger a little. He touches his sash with his left hand (nyamir). His knees are slightly bent. He has a refined face with a small moustache. His hair is long. He has a diadem and a cap (kekendon) with a garuda ornament at the back on his head. His skin is ochre. He wears a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: sangasanga, Sang (A)Sanga, and at the bottom on the right: drëstadyumëna, Drestadyumna. Sanga and Drestadyumna face each other. Drestadyumna speaks to Sanga, who listens, and who is willing to follow what Drestadyumna says. Sanga is a son of Satyaki. Van der Tuuk has already pointed out in KBNWB III: 395 that Sanga is a Javanese and Balinese misinterpretation of ‘sangasanga’, ‘those who were nine’ in the OJ Bharatayuddha XVII: 1-2. This term was then turned into Sanga or Sangasanga, who was supposed to be a son of Satyaki in the wayang. In subse quent translations, however, Sanga is still rendered incorrectly (see, for example Poerbatjaraka and Hooykaas 1934). Sanga belongs to the Pandawa party. He advances upon Pratipéya, in the abovementioned passage. Drestadyumna is the son of Drupada, and the brother of Drupadi or Dropadi, the wife of the five Pandawa. He also belongs to the Pan dawa party. In the OJ Bharatayuddha XII: 5 he succeeds Swéta as a commander- in-chief. In L: 11 he is killed by Aswatama. There is no specific scene in the Bharatayuddha in which a meeting of Drestadyumna and Sanga takes place. It is probable that the artist wanted to portray them merely as representatives of the Pandawa party. Cod. Or. 3390-159 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm.
The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light violet, violet, light and dark green, yellow, ochre, light grey, grey, black, white. Artist-, no. 7. Origin-. Buléléng. The sketches in pencil are still visible. Both ends of the sash of the figure on the left are damaged. Nakula and Sadéwa with drawn krisses A man stands on the left. He faces left. In his right hand he holds a kris which points upwards. He touches his girdle with his left fist (nyamir). His legs are spread, his knees slightly bent (agem). His face is refined. His hair is styled in a double chignon (sepit urang). He has a diadem on his head. His skin is ochre. He wears a small loincloth tucked up between his legs, a sash round his waist, a gir dle, a shoulder-piece while his jewelry is characteristic of that of a prince. Another man, standing on the right, also faces left. He also holds a kris in his right hand. His clothes, hairstyle and the colour of his skin are similar to those of the figure on the left. A text in Balinese script at the bottom on the left says: nakula, Nakula and at the bottom on the right: sëdéwa, Sadéwa. The twins Nakula and Sadéwa are depicted. They have drawn their krisses and are ready for battle. Nakula and Sadéwa are the youngest of the Pandawa brothers. They play a role in the fights in the OJ Bharatayuddha and in the Hariwamsa. In the OJ Hariwamsa 37:15 they fight Baladéwa and are killed by him. This fight might be referred to in the drawing. In wayang performances they often operate together and fight together. It is also probable that the artist was inspired by this. Cod. Or. 3390-160 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light orange-red, light violet, violet, light and dark green, yellow, ochre, light grey, grey, white, black. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible.
Laksmana Kumara, and Durmajati A man stands on the left. He faces right. His legs are spread (agem). He holds his left arm in front of his stomach. His hand is clenched into a fist. He holds his sash with his other hand (nyamir). His face is refined. He has a small moustache. His hair is styled in a double chignon with a large garuda ornament at the back. His skin is ochre. His chest is covered with hair. He wears a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal per sonage. Another man, standing on the right, faces left. His legs are slightly spread (agem). He holds both hands in front of his body and makes a gesture indicating that he is speaking (ngungkab suara). He has a refined face with a small moustache. He has a diadem and a large round crown with a garuda ornament at the back on his head. His skin is light orange-red. His chest is covered with hair. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal per sonage. A text in Balinese script in ink at the bottom on the left says: laksmanakumara, Laksmana Kumara, and at the bottom on the right: sang durmajati, Sang Dur majati. Durmajati speaks to Laksmana Kumara. The latter listens. Laksmana Kumara is a son of Duryodana. He plays a role in the OJ Bharatayuddha. Durmajati is not mentioned in the Sanskrit and Old Javanese versions of the Mahabharata. He plays a role in an Old Javanese poem Darmajati (Cod. Or. 4181), in which he is mentioned as the adopted son of Duryodana. In this text he is called Darjamati instead of Durmajati. In I, 1 the crown of Darmajati is described. It is a high, round crown (agelung kurung). His appearance is like Indra’s (rupane kadi Hyang Indra), because he is an incarnation of this god. This accords with the drawing. Darmajati has heard about a beautiful princess. She lives in Dwarawati, the residency of king Kresna. Darmajati wants her as his wife. Duryodana warns him that she is destined to become Arjuna’s wife. Darmajati, however, goes to Gajah Oya. He fights there with Arjuna and Bima, but he is not killed since he is the incarnation of a god. Cod. Or. 3390-161 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, yellow, white, light grey, grey, black, light orange-red. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible.
Mredah and Sangut in dancing attitudes A man with a fat belly stands in a kind of dancing attitude on the left. He faces right. His hands are directed upwards as if he were mocking someone. His knees are bent. He has a pointed chin, a bulging nose and female eyes. He has a ker chief round his head on top of which are tufts of hair. His skin is dark green. He wears a short black, grey, and white checkered loincloth tucked up between his legs and a sash round his waist. There is an opium pipe with a round bowl in his girdle and by his side. Another man stands on the right. He also makes crazy dancing movements. He faces left, but the lower part of his body can be seen at the back. His knees are bent. His left arm is raised while his right arm points downwards. He has a protruding mouth, red bulging eyes and a small pointed beard. He has a coif on top of his head. His skin is light violet. He wears a short red, orange-red and white checkered loincloth tucked up between his legs and a sash round his waist. He has an opium pipe with an oblong bowl on his back in his girdle. A text in Balinese script in ink at the bottom on the left says: hordah, Ordah and on the right: sangut, Sangut. Ordah, a variant of Wredah, the second servant of the right party, dances. Sangut, the second servant of the left party, does so as well. The appearance and the green colour of the skin of Mredah are typical of North Bali. In wayang per formances and in live theatre, especially, Sangut dances when he enters for the first time. Such an intermezzo is called lelucon, and bebanyolan. Two types of opium pipes are shown in this drawing. The pipe of Ordah on the left is used for smoking pure opium (candu). Smoking itself is called nyandu. The pipe is made of bamboo and is called panyanduan, but may be termed also cangklong or pagegem, according to the kind of stem. It consists of a hollow pipe (korakan, cangklong) with a round bowl as big as a fist, which is mounted on it. One end of the stem is used as a mouth-piece. The bowl is called culing. It is connected to the bamboo stem by a metal ring, a cecagak. Small balls of pure opium are put into the culing. Pure opium and opium which has already been used once can be blended once or twice with several other products. The quality and the effect decrease, of course, the more the pure opium is blended with other products. A mixture of fifty percent opium and fifty percent leaves is called tampros and a mixture of twenty five percent opium and seventy five percent leaves is called katengkeng in Blahbatuh (inf. Ketut Rinda). Sadang (the leaf of a kind of low growing palmtree) and tobacco were used for blending. The smoking of the blend is called mamadat or madat. The pipe itself is called pamadatan. Such a pipe is carried by Sangut in the drawing. It is also made of bamboo. The stem often has a knot halfway along it, in which reserve leaves can be put. The compartment is closed by a deckel (tabeng). The leaves for smoking are put in a narrow bamboo pipe (tomplokan) mounted perpendicularly on the stem. In order to avoid the
smoker getting ashes of the burnt leaves or tobacco in his mouth, small pieces of the ribs of the sadang leaves (lidin sadang) are put at the bottom of the narrow pipe, close to the korakan. These ribs are called seserem. They are pulled out by a piece of thread. The top of the tomplokan, in which the small balls of pure or used opium are put, is called cupakan. A long iron needle, called petit, is used to put the balls into the bowl. Jacobs 1883: 114 tells us that there were many addicts at the end of the 19th century, in particular men from the higher classes. Opium was imported without restraint until the Opium Restrictions Act (“Regie- bepalingen”) was introduced on Bali by the Dutch in 1908 (Encyclopaedic van Nederlandsch Indië 1919, III: 163). The opium pipes are no longer generally used. Cod. Or. 3390-162 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.4 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light orange-red, light violet, violet, light and dark green, yellow, light grey, white, black. Artist: no. 7. Origin-. Buléléng. Sketches in pencil are still visible. Bagadata meets Aswatama A man stands in a dancing attitude to the left. He faces right. His knees are bent, the toes of his left foot curled upwards (tampak sirang). He holds his left hand in front of his body and his right hand to his girdle. He has red, bulging eyes, a large moustache and a small beard with whiskers. He has a diadem and a cap (kekendon) on his head, with a one-eyed ogre’s head ornament (karang bin- tulu) at the back. His hair is long. His skin is pink. His chest is covered with hair. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, and another sash crossed over his chest. Another man stands on the right. He faces left. His knees are slightly bent. He holds his right hand close to his face and his left hand in front of his stomach (ngungkab suara) indicating that he talks. His eyes are almond shaped. He has a large moustache. He wears a headdress consisting of a diadem with a cap (kekendon) with an ornament in the shape of a bird’s beak at the back. His hair is long. His chest is covered with hair. The colour of his skin is light orange-red. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, a shoulder-piece and another sash crossed over his chest.
A text in Balinese script in ink at the bottom on the left says: bagadata, Bagadata, and at the bottom on the right: bangbang swatama, Bangbang Swatama. Swatama is also called Aswatama. By bangbang is meant someone who belongs to the group of brahmans. Bang means red. Red is associated with fire and with the god Brahma. The brahmans as a class are also associated with red and Brahma, hence the epithet bangbang for a brahman. A meeting takes place between Bagadata and Swatama. Bagadata is an ally of the Korawa. He is defeated by Arjuna in the OJ Bharatayuddha XIII: 17. Aswatama is a son of the brahman Drona. He also belongs to the Korawa party. No specific meeting between Bagadata and Aswatama is mentioned in the OJ Bharatayuddha. It is probable that the artist wanted to portray them in the draw ing merely as representatives of the Korawa party. Cod. Or. 3390-163 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.6 x 41.9 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, yellow, dark brown, light grey, white, black. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible. A meeting between Pratipéya and Dusasana A man stands on the lefthand side. He faces right. His knees are bent (agem). He holds his right fist to his girdle and his left to the sash round his chest (nyamir). He has red bulging eyes, a heavy moustache and a small beard with whiskers. His hair is long. Part of it falls free, and part is knotted on top of his head. The knot has a garuda ornament at the back. He also has a diadem on his head. His skin is dark brown. He wears a short loincloth with long ends hanging down, a sash round his waist, a girdle, a shoulder-piece and another black, grey, and white checkered sash crossed over his chest. His jewelry is characteristic of that of a royal personage. On the right stands another man. He faces left. His legs are slightly spread, his knees are bent, the toes of his right foot curled upwards (tampak sirang). His left arm hangs by his side (matéken). His thumb nail is long and sharp. His hand is clenched into a fist. He holds his right arm in front of his b °dy, touching his necklace (nabdab). He has red bulging eyes, a heavy moustache and a small beard with whiskers. His hair is styled in a chignon curled inwards at the back of his head. On top of it a one-eyed ogre’s head ornament (karang bintulu) is mounted. His skin is dark green. He wears a small loincloth.
Part of it is tucked up between his legs. This is black, grey, and white checkered. The ends, which are not checkered, hang down. He also wears a sash round his waist, a girdle and a caste-cord with an ornament in the form of a one-eyed ogre’s head (karang bintulu) at the end. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: dusasanna, Dusasana, and on the right: pratipéya, Pratipéya. A meeting takes place between Dusasana and Pratipéya. Pratipéya belongs to the Korawa party. He is killed by Bima in the OJ Bharatayuddha XVII: 3. Dusasana also belongs to the Korawa. In XXIX: 2-16 he fights Bima and is killed by him. Afterwards Bima drinks his blood, plays with his corpse and finally throws it to Duryodana. The black, grey and white checkered sash and loincloth are characteristic of North Balinese iconography. There is no specific scene in the OJ Bharatayuddha in which a meeting between Dusasana and Pratipéya takes place. It is probable that the artist wanted to por tray them merely as representatives of the Korawa party in general. Cod. Or. 3390-164 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.4 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, yellow, light and dark grey, white, black. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible. Swéta talks with Utara A man stands on the left. He faces right. His knees are bent (agem). He holds his left fist to his girdle (nyamir). His right arm hangs by his side (matéken). He has a refined face with a small moustache. His hair is styled in a double chignon (sepit urang) with a garuda ornament at the back. He has a diadem on his head. His skin is light green. His chest is covered with hair. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a shoulder-piece and a caste-cord which ends with an ornament in the form of an ogre’s head (karang bintulu). His jewelry is characteristic of that of a prince. A man on the right faces left. He stands and with his right hand he makes a gesture which indicates that he is speaking. He holds his left fist, which has a sharp thumb nail, close to the sash round his waist (nyamir). His knees are
slightly bent (agem). He has a refined face with a small moustache. His hair is styled in a double chignon with a manuk ornament at the back. He has a diadem on his head. His skin is white. He has hair on his chest. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, a shoulder-piece and a caste-cord which ends with an or nament in the form of an ogre’s head (karang bintulu). His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: sangngutara, Sang Utara, and at the bottom on the right: sangswéta, Sang Swéta. Swéta talks with Utara. The latter listens. Swéta and Utara are sons of the king of Wirata. In the OJ Bharatayuddha VIII: 19 Swéta, Utara, and Sangka ( = Wirasangka), also a son of the king of Wirata, prepare to leave Astina to join the Pandawa in the war. In IX: 7 Swéta and Utara sit in the same chariot on the way back. In X: 19 Utara is killed by Salya. In XI: 1-9 Swéta is commander-in-chief. He attacks Bisma, but is killed by him. It is probable that in the drawing no specific meeting is depicted, but that the artist wanted to portray the figures merely as representatives of the Pandawa par ty- Cod. Or. 3390-165 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, light and dark green, yellow, ochre, dark brown, light grey, white, black. Artist: no. 7. Origin-. Buléléng. The sketches in pencil are still visible. The brown paint of the left hand of the figure at the front on the left has disappeared. Subadra honours Kunti with a sembah. The latter is accompanied by a female servant A woman stands on the left at the front. She faces right. She makes a gesture of approval with her left hand. Her right arm, her hand clenched into a fist, hangs by her side (matéken). Her face is refined. She wears a diadem and a turban with an ogre’s head en profil at the back of her head. Her skin is dark brown. She wears a skirt, a long loincloth with a sash round her waist, a girdle, another sash covering her breasts, a shoulder-piece and a caste-cord ornamented with an ogre’s head en profil (karang curing). A woman sits on her knees behind her to the far left. She faces right. She holds her left hand in front of her body against her sash, and her right arm to her thigh (matéken). Her face is refined. She wears a
small diadem on her head. Her hair is styled in an asymmetric chignon (tetagelan) indicating that she is of a lower class. Her skin is coloured ochre. She wears a long loincloth, a sash wrapped round her waist, another sash to cover her breasts, and a necklace made of cloth. A woman sits kneeling on the right. She faces left. She makes a sembah. She has a refined face, long hair and a diadem with a cap (kekendon) and a garuda ornament at the back on her head. Her skin is white. She wears a long loincloth with a sash round her waist, a girdle, a shoulder-piece and a caste-cord ornamented with an ogre’s head (karang curing). A text in Balinese script in ink at the bottom on the far left says: condong, (con- dong), female servant, and further to the right there is written: déwi kunti, Déwi Kunti. On the far right and at the bottom it reads: déwi subaddra, Déwi Subadra. Subadra kneels and pays homage to her mother-in-law, Kunti. The latter is ac companied by a female servant. This scene is described in the OJ Adiparwa 201-204. Subadra is the daughter of king Basudéwa. Baladéwa is her brother. She is still unmarried. Her father in tents giving a tournament to choose a husband for her. Arjuna, however, abducts her to prevent this. The members of her family are very angry. Her brother Baladéwa chases Arjuna with his army. Baladéwa then meets king Kresna and asks him why Arjuna had behaved as he did. Kresna puts things right with Baladéwa. Arjuna then marries Subadra. After the ceremony they travel to the court of the Pandawa. Subadra pays homage to Yudistira and to her mother-in- law, Kunti. Kunti has dark brown skin in the drawing. This seems to be characteristic of the older representations of Kunti in Buléléng, as I found, for example, in Alas Arum (Hinzler 1981: 59). Cod. Or. 3390-166 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light red, light violet, violet, light and dark green, yellow, ochre, light grey, grey, white, black. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible. Wirasangka and Drona stand facing each other. They have drawn their krisses A man stands on the left. He faces right. He holds a kris, which points up wards, with both hands. His legs are spread, his right knee is bent (agem). He has a refined face with a small moustache. His hair is styled in a double chignon (sepit urang) with a garuda ornament at the back. His skin is light orange-red. He
wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and a caste-cord decorated with a large garuda ornament. Another man stands on the right and faces left. He holds a kris which points upwards in his right hand. He has a rosary (aksamala) in his left hand. He has a refined face with a small moustache and a long pointed beard. His hair is styled in a chignon curled inwards in his neck. He has a diadem on his head. His skin is ochre. He wears black (velvet) trousers, a small loincloth tucked up be tween his legs, a long coat with long sleeves and a sash round his waist. Another sash hangs over his left shoulder. A text in Balinese script in ink at the bottom on the left says: wirasangngka, Wirasangka, and on the right: danghyang dronna, Dang Hyang Drona, the sage Drona. A meeting takes place between Drona and Wirasangka. They threaten each other with krisses. This scene possibly refers to an episode described in the OJ Bharatayuddha X: 19. During the first days of the war between the Pandawa and Korawa the son of the king of Wirata, Wirasangka, is killed by the brahman Drona, a member of the Korawa party. Cod. Or. 3390-167 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.7 x 41.1 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light red, light violet, violet, light and dark green, yellow, ochre, light grey, grey, white, black. Artist: no. 7. Origin: Buléléng. Sketches in pencil are still visible. Satyaki pays homage to Baladéwa A man stands on the left. He faces right. His left knee is raised (nyingjing). He makes a sembah. He has a refined face with a small moustache. His hair is styled in a double chignon (sepit urang), but he also has hair falling free down his back. There is a garuda ornament in his chignon at the back. His skin is ochre. He wears long trousers, a small loincloth with long ends, a girdle, a shoulder-piece and a caste-cord ornamented with a garuda at the end. His chest is covered with hair. His jewelry is characteristic of that of a prince. Another man, standing on the right, faces left. His left arm hangs by his side (matéken), the hand clenched into a fist. He holds his right hand close to his shoulder and makes a gesture indicating that he is granting someone leave to
speak. He has a refined face with a full moustache and a small, pointed beard and whiskers. He has a diadem and a turban with a garuda ornament at the back on his head. His skin is light orange-red. He wears long trousers, a small loincloth tucked up between his legs, a long coat with long sleeves and a sash round his waist. Another sash hangs across his chest and over his left shoulder. A text in Balinese script in ink at the bottom on the left reads: sati. This is crossed out, and is followed by satyakki, Satyaki. At the bottom on the right is written: baladéwa, Baladéwa. Satyaki pays homage to Baladéwa, who speaks to him. This scene possibly refers to an episode described in the OJ Bharatayuddha XLVI: 8-11. Duryodana and Kresna discuss who can fight Duryodana and defeat him. In Duryodana’s view Bima is the most suitable person. Baladéwa, Kresna’s elder brother, arrives. He has been living in seclusion for a very long time, but now he returns because he wants to watch the final fight. Duryodana is very pleased to see Baladéwa. He knows him very well. In former days both he and Bima were instructed by Baladéwa. Everybody, all the Wresni (to which Satyaki belongs) and all the Yadawa welcome Baladéwa. Baladéwa is dressed like an ascetic in the drawing because he has lived in seclu sion for a long time. The headdress of Satyaki is remarkable: a combination of a double chignon and long hair. In the wayang he is never depicted with such a headdress. Not even in Buléléng, where this drawing originates, is he so depicted. In live theatre, however, such headdresses occur. Cod. Or. 3390-168 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, light and dark green, yellow, dark brown, light grey, white, black. Artist: no. 7. Origin: Buléléng. The violet paint of the sash of the figure on the left and of the right foot of the figure on the right has been eaten by insects. A meeting takes place between Jayaséna and Satyasrawa A man stands on the left and faces right. His knees are bent, the toes of his left foot curled (tampak sirang). He holds his sash with his left hand (nyamir), while his right hand, clenched into a fist, hangs limp (matéken). He has red bulging eyes, a full moustache and a small pointed beard. His skin is dark brown. He has a diadem and a kerchief (kekendon), decorated with an ornament in the form of a
one-eyed ogre’s head (karang bintulu) on his head. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a sash crossed over his chest. He has shoulder ornaments. His chest is covered with hair. His jewelry is characteristic of that of a royal personage. A man, standing on the right, faces left. His knees are bent. He holds his right hand in front of his stomach while his left hand points in an upward direction indicating that he is speaking (ngungkab suara). He has red bulging eyes, a full moustache and a small beard. The colour of his skin is light violet. His hair is long. He has a diadem and a kerchief (kekendon) decorated with an ornament in the form of a one-eyed ogre’s head at the back (karang bintulu) on his head. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle and another sash crossed over his chest. He also wears shoulder ornaments. His jewelry is characteristic of that of a royal per sonage. His chest is covered with hair. A text in Balinese script in ink at the bottom on the left says: jaya—bm—which is corrected by the addition of an ulu and a suku, séna, Jayaséna, and on the right: satyasrawa, Satyasrawa. A meeting between Jayaséna and Satyasrawa is depicted. Sayasrawa says something, while Jayaséna listens to him. Jayaséna (OJ Jayatsena) belongs to the Korawa party. He is a son of Drestarasta. He helps Salya and Kretawarma against Swéta in the OJ Bharatayuddha XI: 2. Satyasrawa is also a son of Drestarasta. He is killed by Abimanyu in the OJ Bharatayuddha XIII: 27. There is no particular scene in which a meeting between these two is described in the OJ Bharatayuddha. It is probable that the artist wanted to portray them merely as representatives of the Korawa party. Cod. Or. 3390-169 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light pink, light and dark blue, green, yellow, light yellow, light grey, white, black. Artist: no. 5. Origin: Badung. Arjuna clad like a brahman shoots an arrow in the tournament for Dropadi. Dropadi is accom panied by a servant Air ornaments (awon-awon type I) are depicted all over the drawing. A man stands on the left. He faces right. His right knee is bent (agem). He holds a bow
with a string in his left hand. With his right hand he makes a gesture which in dicates that he has just shot an arrow. He has a refined face. He has a small diadem and a turban with a garuda ornament at the back on his head. His skin is light yellow. He wears a short loincloth tucked up between his legs, a sash round his waist, a chain characteristic of ascetics, a coat with long sleeves and a sash over his right shoulder. The coat has an Indian black and white pattern of flowers. There is a small open building at the top on the right. Two poles and part of the roof are visible. An arrow has been shot into the roof. A woman sits in front of the building, on a cow with a saddle in the shape of a lotus. They face left. The woman holds her right hand in front of her breast. Her left arm hangs and rests on the saddle (matéken). Her attitude indicates that she is making obeisance. Her head is askew. Her skin is light yellow. She has long hair and a diadem with a garuda ornament on her head. There is a jewel (cundang) on her forehead. She wears a loincloth in kuta Mesir pattern, a sash which covers her breast, and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. Another woman sits on her knees at the bottom on the right. Her arms and hands make the same gestures as the woman on the cow. She faces left. Her hair is long. She has a small jewel (cundang) on her forehead, and a garuda ornament at the back of her head. She wears a skirt, a loincloth, a sash covering her breasts, flat shoulder- ornaments, armlets, wristlets and a necklace. Her skin is light yellow. A text in Balinese script on the left says: sang partta, Sang Parta, which is an epithet for Arjuna. In the centre, close to the building, is written: balé lambu hagung (balé lembu agung), pavilion of the large white cow. At the top on the right close to the roof is written séwambara dropaddi (séwambara Dropadi), Dropadi’s “self-choice marriage”. At the bottom on the right is written, pajrowan, (panjroan), female servant. Dropadi sits in the balé lembu agung, which is represented as a building with a white cow. She makes obeisance. A female servant kneels at her feet. They watch Arjuna who is clad like an ascetic, and who shoots an arrow into the roof of the pavilion. This he is doing in order to win Dropadi. This scene is described in the OJ Adiparwa: 177-179. The Pandawa are in exile. They have disguised themselves as brahman ascetics. They arrive in the kingdom of Drupada. Nobody recognizes them. They have heard that the king plans to hold an audience the following day. Many people are present: the Korawa under the guidance of Duryodana, the Yadawa, and the brahmans. They all take seats according to their class: ksatriya with ksatriya, brahmans with brahmans. The Pandawa are also present among the brahmans. King Drupada announces a tournament. The winner may marry Dropadi. The trial is to bend a bow, and shoot five arrows with it. Dropadi watches from a singasana (lion-throne). All the ksatriya long for Dropadi. They all try to bend the bow, but they do not succeed. Arjuna also wants to try. The ksatriya princes object. How can a brahman bend a bow? Ar juna succeeds. Everyone is puzzled. A rain of flowers comes down from heaven.
Drestadyumna, Dropadi’s brother, and all the other ksatriya present become angry for a brahman is not allowed to bend a bow nor to marry a ksatriya girl. The king, however, must keep his promise. A balé lembu agung is, according to KBNWB III: 784 the name for a royal pavilion in the regencies of Karang Asem and of Gianyar. It is situated outside a palace in the ancak saji, the place where cock-fights are held. Cod. Or. 3390-170 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, blue-green, light blue-green, yellow, ochre, light greyish-brown, brown, white, black. Artist: no. 5. Origin: Badung. A meeting between Duryodana, accompanied by Aswatama, and Salya. Duryodana is attended by Délem and Salya by Sangut The drawing is covered with awon-awon ornaments (type I). A leafy tree stands in a high fence (bebataran) with a rock ornament on the left. A stag-horn fern (simbar) with a jewel ornament in the centre is mounted on the trunk of the tree. A man stands on the far left. He faces right. With his left hand he makes a gesture indicating that he is speaking. He holds his right hand to his sash (nyamir). His face is refined. He has a small moustache. His skin is white. He has a diadem with a garuda ornament at the back on his head. He wears long trousers, a short loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a royal personage. A small fat figure stands at his feet on the left. He faces right. He draws his kris with his right hand. He points with his left fist to the right. His kris has a black and white sheath (pepélétan). He has round eyes and a protruding mouth. His hair is held in place by a cap with a tuft of hair on the top (jambul). His skin is light ochre. He wears a short loincloth tucked up between his legs and a sash round his waist. Two men stand on the right of the tree. They face the man on the left. With his right hand the man in front makes a gesture which indicates that he is arguing. He holds his sash with his left hand (nyamir). He has round eyes, a moustache and whiskers. He has a diadem with a large garuda ornament (candi rebah) at the back on his head. His skin is light ochre. He wears short trousers, a short loincloth tucked up between his legs, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. The man behind him on the far right points with his right index finger to
the left. He holds his girdle with his left hand (nyamir). He has a refined face and a small moustache. He wears a diadem and a kerchief of Indian cloth with a floral pattern round his head. His skin is light greyish-brown. He wears short trousers, a short loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. A small fat man stands in front of him at the bottom of the drawing. He faces left. He points (nuding) with his right index finger at the small fat man on the left. He draws his kris with his left hand. He has round eyes, a round, fat face, and a cap on his head with a pony-tail on top. He wears a short loincloth tucked up between his legs and a sash round his waist. A text in Balinese script in ink on the left close to the tree says: prabu madrë (prabu Madra), the king of Madra. Close to the small man on the left is written: hi nyangut (I Nyangut). Van der Tuuk has added in ink in Latin script: of Sangut, or Sangut. Nyangut is a nasalized form of Sangut. Mangut or nyangut means to choose for the strongest party (cf. KBNWB III: 418), which is the main trait in Sangut’s character. In the centre is written in Balinese script in ink: prabu duryyodanna, (prabu Duryodana), King Duryodana, and on the far right: swattamma, (A)swatama. At the bottom on the right is written: hi délëm, I Délem. A meeting takes place between Duryodana, who is accompanied by Aswatama, and the king of Madra, Salya. Aswatama menaces Salya. The servants do the same: Délem threatens Sangut while they both draw their krisses. Délem draws his kris with his left hand, which does not usually happen “in real life”. It is clear that the artist has done this to achieve a balanced composition. This scene may refer to episodes described in the OJ Bharatayuddha XXXIV: 2-4 and XXXV: 1-13. When Karna, the commander-in-chief of the Korawa, has been killed, Duryodana asks his patih Sakuni for advice as to a new commander. The patih mentions Salya, but it is still something of a problem to decide whether he is in sympathy with the Korawa, for he is closely related to the Pandawa, being a brother of Madri. (Madri was one of the wives of Pandu). Sakuni advises that Salya be humbly besought for protection. Only then might he comply with the re quest. Duryodana goes with Aswatama to Salya. At first Duryodana is very hum ble and polite. Salya hesitates. Aswatama, Drona’s son, becomes angry. He ac cuses Salya of partiality, and also of causing Kama’s death by driving Kama’s chariot negligently during the battle with Arjuna. Then Salya flies into a passion. He promises to become the new commander-in-chief and to fight the Pandawa. Cod. Or. 3390-171 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves.
Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, blue-green, light blue-green, yellow, light brown, brown, light greyish-brown, white, grey, black. Artist: no. 5. Origin: Badung. Sketches in pencil are still visible. Kresna rides in his chariot with the sage Kanwa as charioteer. The chariot is drawn by the horses Ibrapuspa and Sénya The left side of the drawing at the top is covered with flowers. The rest of the drawing has air ornaments (awon-awon, type I). A chariot (rata) with two wheels, a back-piece and a yoke is depicted. It is drawn by two horses facing left. Two men sit in the chariot. They also face left. The man in front holds a whip in his right hand. His left hand hangs and rests on his thigh (matéken). He has refined eyes and a small moustache. His skin is light brown. He has a diadem and a kind of turban on the back of his head. He wears short trousers, a long coat with long sleeves in kuta Mesir pattern, a short loincloth tucked up between his legs, a sash round his waist, a girdle, pointed shoulder-ornaments and another sash over his left shoulder. The man behind him holds his right hand to his chest and his left hand to his caste-cord. This indicates that he is relaxed and silent. He has a re fined face with a small moustache. His skin is light greyish-brown. He has a diadem and a high crown with a garuda ornament at the back on his head. He wears short trousers, a short loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a prince. A text in Balinese script in ink on the left close to the horses says: hibrapuspa, Ibrapuspa, and: jaran hi sénya, (jaran I Sénya), the horse I Sénya. Close to the man with the whip is written: srëtti, bagawan kanwa (sarati bagawan Kanwa), charioteer Bagawan Kanwa, and further to the right: kresna, Kresna. Kresna rides in his chariot drawn by the horses Ibrapuspa and Sénya. His charioteer is the sage Kanwa. Flowers come down upon them which indicates that we are here dealing with an extraordinary figure. This scene may refer to an episode described in the OJ Bharatayuddha XI: 10. Kresna leaves the city of Astina in a golden chariot. (The name of his charioteer is not mentioned). In IX: 1-2 the exodus of the Pandawa from Astina starts. A rain of flowers falls. The names of the horses of Kresna’s chariot are mentioned in XIV: 15. Kresna offers his chariot and horses to Arjuna. The names of his horses are Abhrapuspa (OJ) and Sénya. By Ibrapuspa (Bal.), Abhrapuspa (OJ) is meant. According to VII: 5 Kanwa is a heavenly seer. It is understandable that in the drawing Kresna, being an incarnation of the god Wisnu, has a heavenly seer as a charioteer. Kanwa’s clothes and headdress are characteristic of an ascetic.
Cod. Or. 3390-172 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, light blue-green, blue-green, light yellow, yellow, light ochre, brown, light greyish-brown, light grey, white, black. Artist: no. 5. Origin: Badung. Sketches in pencil are still visible. Salya is going to cut the loincloth which binds him to his wife Satyawati. Sangut watches There is awon-awon ornamentation (type I) all over the drawing. In the centre a large building with four poles and a roof is depicted. The poles have stereobates at their bases. Halfway up the poles is a wooden floor upon which there lies a bedspread. A woman lies on her back upon it. Her head, which is to the left, rests on a pile of three bolsters (galeng matumpuk tiga). Her eyes are closed. She holds her left hand round her head. Her right hand sits in her lap. She has long hair. She has a diadem and a garuda ornament on her head. Her skin is light yellow. She wears a skirt in kuta Mesir pattern. A long loincloth is wrapped round her hips and waist as well as around the hips of the man who sits to her right and who faces her. He holds part of the cloth with his left hand, while holding a kris in his right. He is about to cut the piece of cloth. He sits on his knees. He has a refined face with a small moustache. He wears a diadem with a large garuda ornament on his head. His skin is white. He wears a sash wrapped round his waist, a small loincloth partially wrapped around him, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. A small, fat male figure sits on his knees on the far left. He faces right. He points upwards with his right index finger. With his left hand he makes a gesture indicative of speech. This at titude expresses incitement. He has round eyes and a protruding mouth. He wears a cap with a tuft of hair on top of his head. His skin is light ochre. He wears a short loincloth tucked up between his legs and a kris with a black and white sheath on his back in his girdle (pélét). A text in Balinese script in ink in the centre and in the building says: déwi, satyawatti mrëm (Déwi Satyawati merem), Déwi Satyawati is asleep. Further to the right is written: prabhü salya (Prabu Salya), king Salya. At the bottom on the left close to the fat figure is written: hi gulü, dawa (I Gulu Dawa), Sangut. While Satyawati is asleep in her couch, Salya starts cutting the loincloth wrap ped around them. Sangut, their servant, looks on. This scene is described in the OJ Bharatayuddha XXXVIII: 11-12, and in the Balinese geguritan Salya (Cod. Or. 11.164, 16.090). It is also depicted in Nos. 3390-104 and 149.
Cod. Or. 3390-173 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, light and dark blue-green, yellow, ochre, light greyish-brown, brown, light grey, white, black. Artist: no. 5. Origin: Badung. Reproduced by Nieuwenkamp 1906-1910: 60, and 1919/20: 170, pi. 5. Karna is shot. He stands in his chariot which is driven by Salya. The snake Ardawalika which serves as an arrow is also shot There are awon-awon ornaments (type I) at the top and at the bottom of the sheet. A chariot with two wheels and a yoke is drawn by two horses. The horses face right. The yoke is adorned with a snake’s head. Both horses have been struck by arrows and blood pours from their wounds. A man sits on his left knee in the front of the chariot. He looks backwards and to the left. He holds a whip in his right hand. He has placed his left hand on his leg. He wears a diadem and a large garuda ornament on his head. His skin is white. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. Another sash hangs over his right shoulder. His jewelry is characteristic of that of a royal personage. A man stands behind him on the utmost left of the chariot. He faces right. He holds a bow in his left hand and an arrow in his right hand. An ar row has struck him in the throat. Blood spouts from the wound. He has a refined face with a small moustache. He has a diadem and a round crown (candi kurung) on his head. His skin is ochre. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a royal personage. Several weapons are depicted in the air. On the far left there is a weapon which consists of a bajra with a fly-whisk on the top. It has been struck by an ordinary arrow. In the centre there is a snake which wears a crown, and it too has been struck by an arrow. At the top on the right there are a leg-ghost, a body-ghost, an arm-spoke, a head-spoke and a small naked demon. All the ghosts have been struck by arrows. All the arrows were shot from the right. The ghosts and spokes, representing weapons, all face right and have been shot from the right. A text in Balinese script on the left says: sang karnna (Sang Karna), Karna, in the centre: salya, dadi sratti, (Salya dadi sarati), Salya as a charioteer. Close to the snake is written: naga drëwëlikka, (naga Drawalika), the snake Drawalika or Ardawalika. At the top on the right is written: pupu, thigh(ghost), hangga (angga), body(ghost), tandas (tendas), head(ghost), buja, arm(ghost), and bhüta
(buta), demon (ghost). On the verso side of the sheet Juynboll has written in Latin script in ink: 173 en 174, 173 and 174, and: Karna (met wagenmenner Qalya) bestrijdt Ardjoena (Kreshna wagenmenner), Karna (with Salya as his charioteer) fights Arjuna (who has Kresna as his charioteer). Karna fights. He stands in his chariot which Salya drives. He shoots all kinds of weapons: ghosts, a snake, an ordinary arrow, but they are defeated by ordinary arrows shot from the righthand side. He and his horses are shot by arrows. This scene refers to episodes described in the OJ Bharatayuddha XXV: 2-11 and XXXI: 5-25. Kama who has become commander-in-chief, fights Arjuna. He asks Duryodana for a suitable charioteer. Salya is chosen. He hesitates but finally agrees. By means of incantations Karna summons a wind which blows Ar juna’s arrows away. Karna uses his triumphant bow (called wijaya) and shoots arrows with awful appearances at Arjuna: spokes, heads, bodies, arms, feet and other parts of the body, demons, devils. Arjuna grasps his brahmastra, a fiery ar row, to ward off Kama’s arrows and weapons. They destroy the demon arrows. Suddenly a snake appears. It is called Ardawalika. It wants to fight at Kama’s side because it is angry with Arjuna. It seats himself on Kama’s arrow, which is aimed at Arjuna’s neck. Seeing this Kresna pushes the chariot so that it goes down. The snake only manages to hit Arjuna’s headdress. Kama is angry with the snake. He sends it away. The snake flies to Arjuna. He kills it. Arjuna then aims at the chariot. He hits the legs of the horses. He then takes his pasupati ar row and aims at Kama. He is also hit. He falls down and dies. Cod. Or. 3390-174 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.5 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, light blue-green, dark blue-green, brown, yellow, light ochre, light greyish-brown, light grey, black, white. Artist: no. 5. Origin: Badung. Sketches in pencil are still visible. Arjuna shoots from his chariot which is driven by Kresna. The chariot is drawn by the horses Sénya and Ibrapuspa The air is indicated by awon-awon ornamention (type I). There is a rock orna ment at the bottom on the far left. Two men are depicted in a chariot with two wheels and a yoke, drawn by two horses. They all face left. A man sits on his left knee at the front of the chariot. He holds a whip in his right hand. He holds his caste-cord with his left hand (nabdab). He has a refined face with a small
moustache. He has a diadem and a large crown on his head. His skin is light greyish-brown. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and a sash over his left shoulder. His jewelry is characteristic of that of a royal personage. Behind him on the far right a man stands in the chariot. He faces left. He holds a bow in his left hand. His right hand is directed upwards in the air which indicates that he has been shooting arrows. He has a refined face. His hair is styled in a double chignon (sepit urang). His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. There are several weapons in the air. On the left one arrow points to the right and there is another arrow which is broken. It is close to a large fire which has a naked male demon in the centre, and the point of an arrow at the lower end, which is directed to the left. There is a small ball of fire right above it. In the centre there is a double club (bajra) which has been struck by an arrow from the left. On the far right there is a trident (trisula). A text in Balinese script in ink on the far left close to the horses says: jaran hisénya, (jaran I Sénya), the horse Sénya and further down the sheet: jaran hibrapuspa (jaran Ibrapuspa), the horse Ibrapuspa. Beneath the fire is written: hapi sangngarjuna, brahmastra (api Sang Arjuna brahmastra), Arjuna’s fiery ar row called brahmastra, at the top on the left: panah karnna wijaya, danuh (panah Karna wijaya danuh), the arrows of the triumphant bow of Karna. In the centre close to the sitting man is written: kresna, Kresna and on the right: sang danah- jaya, Sang Dananjaya, an epithet for Arjuna. Arjuna fights. He stands in his chariot which is drawn by two horses called Sénya and Ibrapuspa and which is guided by the charioteer Kresna. Arjuna is the person who has been shooting the arrows at Karna, depicted in No. 3390-173, and Karna is the man who has been shooting the weapons coming from the left in this drawing. The scene refers to an episode described in the OJ Bharatayuddha XIV: 14 and XXXI: 4-25. When Arjuna fights Karna, Kresna offers him his chariot and his horses. Kresna himself will serve as the charioteer. At a certain moment Karna and Arjuna stand close to each other, each in his chariot. They shoot all kinds of weapons at each other. Arjuna uses his brahmastra arrow to ward off Kama’s ar rows. It destroys some of them. Then Arjuna uses his pasupati arrow, consisting °f a fiery demon. Karna is hit by the arrow, and dies. As already mentioned in No. 3390, 173 Kama’s bow is called wijaya. Cod. Or. 3390-175 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.4 cm.
The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, light greenish-blue, yellow, ochre, light greyish-brown, brown, light green, white, black. Artist: no. 5. Origin: Badung. Bima fights Dusasana. Sangut and Mredah fight as well Awon-awon ornaments (type I) are depicted all over the drawing. A man sit- ting on an elephant is depicted at the top on the left. He faces right as does the elephant. He holds a double lance in his right hand. He points (nuding) with the index and middle finger of his left hand at the figure standing on the right. He sits crosslegged on a saddle on the elephant’s back. He has round eyes, a full moustache and whiskers. He has a small diadem and a kerchief (tekes) with a brown, red, and white Javanese batik floral pattern (batik Rembang) on his head. His skin is light greyish-brown. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash, a girdle, a shoulder- piece and another sash over his right shoulder. His jewelry is characteristic of that of a prince. The elephant wears a chain with a bell around its neck. On the right a man stands facing left. His legs are spread, his left knee bent. He holds the elephant’s lower jaw with his right hand. His left hand is akimbo. His thumb nails are long and pointed. He has round eyes, a full moustache and whiskers. His hair is styled in a double chignon (gelung buana lukar). He wears a small black, grey, and white checkered loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle and a snake round his neck. His wristlets and armlets have three pointed ornaments (bajra). He wears a band of jewelry round his thigh. His skin is light greyish-brown. At the bottom on the left two small fat figures are depicted facing left. The figure on the right holds his right foot to the stomach of the figure on the left. He stabs him with a short kris held in his left hand in his shoulder and presses his right hand to his mouth. He has a round face and female eyes. His headdress consists of a kerchief with a tuft of hair on top. He wears a small loincloth tucked up between his legs. His skin is light greyish-brown. The figure on the left sits on his right knee. He presses his right hand to his mouth. His left hand rests on the ground. His skin is ochre. His eyes are round. He wears a short loincloth tucked up between his legs and a cap on his head, which has a tuft of hair on top. A text in Balinese script in ink at the top on the left says: dusahsanna, Dusasana, and at the top on the right: wrëkodara, Wrekodara, which is an epithet of Bima. In the centre close to the animal is written: gajah, elephant, and on the left: nyangut, a nasalized form of Sangut. On the right is written: mredah, Mredah.
Bima holds the elephant which Dusasana, armed with a double lance, rides. Dusasana threatens Bima. Their servants fight as well. Mredah, Bima’s servant, stabs Sangut, who is a servant of Dusasana, with a kris, but with his left hand. This scene refers to an episode described in the OJ Bharatayuddha XXIX: 6-10 and 14-16, Dusasana fights Bima. Dusasana aims an arrow at Bima. He falls down onto his buttocks. He gets to his feet and shoots back. A fight develops. Bows are damaged, other bows are taken. Bima runs at Dusasana, jumps over an elephant and crushes the chariot. Dusasana tries to use his lance. Bima grasps him, and shakes him. He finally tears Dusasana’s belly open. He sucks out the blood and throws the corpse at Duryodana. The chariot is not depicted in the drawing: here Dusasana rides an elephant. This episode is called pasiat Dusasana, the fight of Dusasana, by the Balinese. Cod. Or. 3390-176 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, yellow, light salmon-pink, light greyish-brown, brown, light blue-green, blue-green, light and dark green, light grey, white, black. Artist: no. 5. Origin: Badung. Kresna honours Kunti with a sembah. His servant Mredah points at Kunti’s old servant The air is indicated by means of awon-awon ornaments (type I). A creeper with flowers is depicted on the far left. On the lefthand side stands a woman. She faces right. She holds her right hand in front of her body. She makes a gesture which in dicates that she is arguing with her left hand. Her head is askew. She has a small diadem and a turban on her head. Her skin is white. She wears a skirt, a loincloth with a black and white Indian floral pattern, a sash round her waist, and a girdle. She wears pointed shoulder ornaments. Her jewelry is that of a royal personage. A woman sits on her knees in front of her. She makes gestures indicating that she is speaking in the direction of the small figure sitting on the right. She wears a loincloth with a sash round her waist. Another sash (anteng-anteng) hangs round her neck. Her face is wrinkled. Her hair is knotted at the back of her head. There is a flower behind her ear. Her skin is light salmon-pink. On the right a man sits on his left knee. He faces left. He makes a sembah. He has a refined face with a small moustache. He has a diadem and a high crown with a garuda ornament at the back on his head. His skin is light greyish-brown. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece while another sash hangs over his left shoulder. His jewelry is that of a royal personage.
A small fat man sits on his knees in the foreground on the far right. He points with his right index finger at the woman sitting on the left. His left hand hangs by his side (matéken). He has a round face, a cap on his head with a tuft of hair on top. He wears a short loincloth tucked up between his legs and a sash round his waist. His skin is light salmon-pink. A text in Balinese script in ink in the centre says: batari kunti, (Batari Kunti), Kunti, and at the bottom close to the kneeling woman is written: panjrowan (panjroan), female servant. On the right close to the man is written: sang kresna (Sang Kresna), Kresna, and on the far right at the bottom: wredah, Wredah. Kresna kneels before Kunti. He honours her with a sembah. His servant Wredah or Mredah points at Kunti’s old servant. Kunti wears a turban characteristic of ascetics. This is because she has undergone a particular initiation rite after the death of her husband Pandu. As a result she lives like a “nun”. The scene refers to an episode described in the OJ Bharatayuddha III: 6. Kresna goes to Astina at the request of the Pandawa to discuss the question of the division of the kingdom with Duryodana. He visits Kunti, the mother of the Pan dawa. He kneels in front of her and honours her with a sembah. In IV: 1-3 Kunti speaks to her nephew Kresna. She is very sad about the situation. Kresna ad monishes her to have confidence in him. This scene is called patemon sang Kresna ring sang Kunti, the meeting of Kresna and Kunti, by the Balinese. Cod. Or. 3390-177 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.8 x 41.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, yellow, light blue, sky-blue, light brown, light yellowish- brown, brown, light grey, white, black. Artist: no. 5. Origin'. Badung. The sheet has been glued onto transparent textile and mounted in a passe partout. Kresna, changed into an angry appearance, has a conflict with Duryodana. Satyaki sits close to Kresna’s feet. Swikarna faints The sheet is covered with awon-awon ornaments (type I). A tall male figure stands on the right. His body is en face. The upper part of his body is inclined slightly to the left. His left knee is bent and raised. He has four hands. He holds a discus in his upper left hand. With his other left hand he holds his sash (nyamir). His upper right hand is raised, and makes a gesture which indicates that he is
arguing. He holds a flower-arrow in his other right hand in front of his body. His skin is light yellowish-brown. He has a large head en face and two smaller heads en profil on the sides. They all have three round eyes, sharp teeth and fangs, a fang on their cheeks and a short beard. Flames emerge from the mouths of the heads on the sides. The head in the centre wears a diadem and a round crown, the heads on the sides just diadems. The figure wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash round his waist, a girdle, a shoulder-piece and another sash hanging over his left shoulder. His jewelry is that of a royal personage. A man sits on his left knee at his feet on the left. He faces left. He holds a kris in his right hand. He holds his left hand to his girdle. He has a refined face with a small moustache. His hair is styled in a double chignon with a garuda ornament at the back. He wears a diadem, short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece. His skin is light yellowish-brown. On the left there stands a tall man. His body is turned to the left, but he faces right. He holds a double lance in his left hand. His right arm hangs by his side. He has bulging eyes, a moustache, a diadem on his head with a large garuda ornament at the back (candi rebah). His skin is light brown. He wears short trousers, a loincloth tucked up between his legs with long ends hanging down, a small sash round his waist, a girdle, a shoulder-piece and a sash over his left shoulder. His jewelry is that of a royal personage. A man sits on his left knee at the feet of the other man. He faces left. His right leg is stretched forward. He covers his eyes with his hands to express that he is frightened. His skin is light brown. He wears a batik cap (batik Betawi) on his head and a small diadem. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the right says: sang krësna, dadi wisnu, murtti (Sang Kresna dadi Wisnumurti), Kresna changes into Wisnu. In the centre is written: satyaki, Satyaki, close to the sitting man on the left: swikarnna, Swikarna, and at the top on the left: duryyodanna, Duryodana. Kresna has changed into a form of the god Wisnu with an angry appearance. He gets into a fight with Duryodana. The latter is frightened. Satyaki who sits at Kresna’s feet draws his kris. Swikarna, from Duryodana’s party, covers his eyes in fear. This scene refers to an episode from the OJ Bharatayuddha. In VII: 1-9 Kresna claims part of the kingdom for the Pandawa. Duryodana does not agree with Kresna’s claim. He keeps silent in spite of the advise he is given by his ministers and by the host of sages. Duryodana leaves the assembly in an angry mood. Kama, Sakuni and Dusasana decide to kill Kresna. Duryodana thinks that this is the right thing to do. Satyaki tells Kresna what they intend doing to him. In VIII: 1-7 Kresna gets very angry, and adopts his real appearance as an incarnation of the god Wisnu. He changes into a large demon which looks like the god of Death which has four arms and three heads each with three eyes. When he
walks he makes the ground tremble. All the Korawa are afraid. Wikarna ( = Siwikarna, or Swikarna in Balinese) faints. The sages, and Bisma in particular, try to calm Kresna down, They succeed and Kresna changes back into his normal appearance. This episode is called Kresna kroda, Kresna is angry, by the Balinese. Cod. Or. 3390-178 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark green, light blue, blue, yellow, light yellow, light ochre, light brown, light greyish-green, light greyish-brown, light grey, white, black. Artist: no. 5. Origin: Badung. Laksmana Kumara shoots arrows at Abimanyu, and Burisrawa aims at him with a discus. Mredah fights Sangut The air is covered with awon-awon ornamentation (type I). A man stands on the left at the top. He faces right. He holds a discus in his right hand. His left arm points to the right, his hand is clenched into a fist. His legs are spread. He has bulging eyes, a full moustache and whiskers. He wears a diadem and a kerchief (tekes) on his head. His skin is light greyish-brown. He wears short trousers, a loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder- piece and another sash over his right shoulder. His jewelry is characteristic of that of a prince. Another man stands on the left at the bottom. He faces right. He holds a bow in his left hand. His right hand makes a gesture which indicates that he has just shot an arrow. He has refined eyes and a moustache. His hair is long and is dressed in a coif on his forehead. He has a diadem on his head. His skin is light ochre. His legs are spread, his right knee bent. He wears short trousers, a loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a prince. On the far right a man stands facing left. He holds a kris in his right hand. His left fist is close to his waist. He has a refined face. He has long hair with a coif on his forehead. His skin is light yellow. He wears a diadem. His body and arms are covered with arrows. His legs are spread, his right knee raised. He wears short trousers, a loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is that of a prince. Two small, fat figures sit in the foreground at the bot tom on the right. They face left as well. The figure on the left sits on his right knee. He presses his right hand to his protruding lips to express his awe. He holds
his left hand to his stomach. He has bulging eyes, a cap on his head and a tuft of hair on top. He wears a short loincloth tucked up between his legs and a sash round his waist. His skin is light greyish-green. Another small man sits on the back of the first man. He holds his left shoulder. He presses his right hand against the lips of the other man. His skin is light bronze. He has a round face, female eyes, a cap on his head with a tuft of hair on top. He wears a short loincloth tucked up between his legs. A text in Balinese script in ink at the top on the left says: burisrawa, Burisrawa, and close to the man with the bow is written: laksannakümara, Laksmana Kumara. In the centre at the bottom is written: gulu, dawa, Gulu Dawa, a nickname of Sangut, and close to the man on his back: wrëdah, Wredah. On the right is written bhimanyu krabut (Bimanyu karebut), Bimanyu is attacked by many men. Bimanyu, or Abimanyu, has been riddled with arrows from the bow of Laksmana Kumara, while Burisrawa is about to throw a discus at him. The ser vants imitate the fight of their lords: Mredah, Abimanyu’s servant, tries to kill Sangut, the servant from the lefthand party. This scene refers to an episode described in the OJ Bharatayuddha XIII: 24-28. Yudistira has ordered that the army form up a new battle-array, called makara order. Abimanyu is part of it. He is surrounded by many Korawa who shoot arrows at him. He, however, manages to keep his foes, for instance Laksmana, at bay but he is finally killed, riddled with arrows. Burisrawa is not explicitly mentioned in this text, it is the Korawa in general who are mentioned. This scene is called karebut Bimanyu, Bimanyu is attacked by many men, by the Balinese. Cod. Or. 3390-179 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, blue, light blue-green, blue-green, yellow, light salmon-pink, light ochre, light greyish-brown, light grey, white, black. Artist: no. 5. Origin: Badung. Sketches in pencil are still visible. Gatotkaca, heavily wounded, threatens Karna who has destroyed his chariot and killed his charioteer The air is indicated by awon-awon ornamentation (type I). A man stands on the right on the remains of a chariot. He faces left. He points with his right index
and middle finger (nuding) at a man to the left. His left hand is held to his sash (nyamir). A double lance has gone right through his body. Blood pours from the wound. He has round eyes, a full moustache and whiskers. His hair is styled in a double chignon with a garuda ornament at the back (gelung buana lukar). His skin is light greyish-brown. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece, and a sash over his left shoulder. His jewelry is that of a royal personage. One wheel of the chariot is under his right foot. The other wheel is at the bottom on the right. The back-piece of the chariot stands upright in the centre. On the right at the bottom a man lies on his back. His head rests on the wheel of the chariot in the centre, his legs are on the second wheel on the right. His eyes, which are of the refined type, are closed. He holds his left hand to the top of his head. He holds his right hand to his thigh (matéken). His hair is styled in a chignon of the Panji-type. His skin is light ochre. He wears short trousers, a small loincloth, a sash, a girdle and a flat shoulder ornament. His jewelry is that of a prince. On the left a man creeps towards the left. His face is turned backwards and to the right. He has refined eyes and a small moustache. He has a diadem on his head and a round crown (candi kurung). His right arm is on the ground, his left akimbo, touching his sash (nyamir). His skin is light salmon-pink. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. A text in Balinese script in ink in the centre says: gathtotgaca, Gatotkaca, and at the bottom on the right: srëttimati, (sarati mati), the charioteer is dead. On the left close to the man with the crown is written: karnna, Karna. Gatotkaca, severely wounded in the chest, threatens Karna who crouches near the ground. Gatotkaca’s chariot has been damaged. His charioteer is dead. This scene refers to an episode described in the OJ Bharatayuddha XVIII: 15-18 and XIX: 5-6. Gatotkaca fights Karna. Karna destroys his chariot, and kills the charioteer and the horses. Gatotkaca flies into the air. He renders himself invisible. Kama shoots randomly. He finally hits Gatotkaca in the chest. As soon as this happens Karna runs away. Gatotkaca falls down onto the chariot and dies. A scene like this is also depicted in Nos. 3390-31 and 32. This scene is called pasiat Gatotkaca, Gatotkaca’s fight, by the Balinese. Cod. Or. 3390-180 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light magenta, magenta, light and dark green, light blue, sky- blue, yellow, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja.
The sheet is damaged in the centre at the bottom. Corrections have been made in white paint to remove black blots of ink on the right of the sheet and at the top of the sheet on the left. IncLra, disguised as Arjuna and Déwi Prinasi talk with each other The air on the right is indicated by awon-awon ornaments (type II). There are rock ornaments at the bottom on the left and in the centre. The floor on the right is indicated by red paint. On the left half of the sheet there is a stone ornament. A pavilion with four poles resting in stereobates and supporting a tiled roof is depicted on the left of the floor. A water-pot (jun inem) covered with a deckel (saab) stands inside the pavilion on a large plate decorated with stag-horn fern leaves (simbar). A perch hangs from the roof in the centre. A parrot sits on it. Two more perches with parrots sitting on them are mounted through a beam in the roof of the pavilion on the right. The parrots have chains round their legs. A woman sits on her right knee in the pavilion. She faces right. She makes a gesture with her right hand as though she were warding off some danger. She holds her left hand close to her knee. Her head is askew. She has long hair, a diadem and a garuda ornament on the back of her head. Her skin is white. She wears a long loincloth, a sash round her waist, another sash covering her breasts, a shoulder- piece while her jewelry is characteristic of that of a princess. Two men stand to the right and face her. The smaller of them, who stands in front, makes gestures which indicate that he is speaking. He has a refined face. His hair is styled in a double chignon with a garuda ornament at the back. His skin is light salmon- pink. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and jewelry characteristic of that of a royal personage. The taller of the two men stands to the back and with his right hand makes a gesture which indicates that he is speaking. His left arm hangs by his side (matéken). He has a refined face with a moustache. He wears a diadem and a tur ban with a garuda ornament on his head. He wears long trousers, a small loincloth tucked up between his legs, a long coat with long sleeves, a sash, shoulder ornaments and another sash over his left shoulder. His skin is light magenta. A text in Balinese script in ink in the centre says: btara hindra, malingsé, rupa rëjunna (Batara Indra malingsé rupa Arjuna), the god Indra changes his form in to that of Arjuna. On the left close to the woman is written: déwi prinassi, Déwi Prinasi, and close to the bird: kdis, (kedis), bird. Above the two birds is written: brëkutud, but this is crossed out, and underneath is written: brëkutut, (brekutut), turtledove. At the top on the left Van der Tuuk has written in Latin script in ink: Ardjuna Pralabda (Arjuna Pralabdha, OJ). A man clad like an ascetic represents the god Indra. He changes his form and becomes Arjuna. He talks to a woman called Déwi Prinasi. She sits in a sub-
missive attitude in a pavilion and makes a movement which expresses that she is afraid. According to Van der Tuuk’s note this scene is derived from the OJ Ar- juna Pralabdha. In Canto I (Cod. Or. 4061 and 13.835) king Anggadipati reigns in Mayapuri. He looks like a demon, but his wife is very beautiful. She is called Déwi Asih Prana, or Pranasih (Prinasi in Balinese). The god Siwa likes her very much. He comes down from heaven and changes his appearance into that of Ar- juna. This change of form is depicted on the right of the drawing. However, ac cording to the artist, it is the god Indra and not the god Siwa who changes his ap pearance. The waterpot in the house serves for drinking water. Such pots are still in use. They are made of red earthenware. Cod. Or. 3390-181 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light red, magenta, light blue, sky-blue, light and dark green, yellow, light salmon-pink, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Blots of ink have been erased by being covered with white paint. King Anggadipa menaces Indra who is disguised as Arjuna, and Déwi Prinasi The air is indicated by awon-awon ornamention (type II). The ground on the right is indicated by light orange-red with horizontal lines in ink. A male demon stands on the left. He faces right. He holds a sword in his right hand. He touches his diadem (nabdab) with his left hand. His left knee is raised. He has red bulging eyes, long, sharp eye-teeth, a tooth on his cheek, a full moustache and a small beard. He has curly hair and he wears a diadem and a high crown on his head. His skin is light magenta. He wears long trousers, a loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is that of a royal per sonage. A man stands on the right, holding a woman in front of him. They both face left. The man has his arm round her shoulders (ngelut) and touches her right breast with his right hand. He uncovers her left thigh with his left hand. He has his right leg round the lower part of her body (ngilid). He has a refined face. His hair is styled in a double chignon curled upward (sepit urang) with a garuda orna ment at the back. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder- piece and another sash over his left shoulder. The woman holds the man’s right arm. She has her left arm over his left shoulder, and with her left hand she holds
his left elbow. She has a diadem with a garuda ornament on her head. Her skin is white. She wears a skirt, a long loincloth, a sash round her waist, a shoulder-piece and a caste-cord. There are two rock ornaments with an ogre’s head en profil and with legs as a base at the bottom in the centre. In No. 3390-46 similar rock ornaments are depicted. A text in Balinese script in ink at the top on the left says: sang hanggëdipa, ngunus kadga, (Sang Anggadipa ngunus kadga), Anggadipa draws his sword. At the top on the right is written: harjunna, prinasi, Arjuna and Prinasi. While ‘Arjuna’ holds Déwi Prinasi tenderly, Anggadipa menaces them with his sword. This scene refers to an episode described in the OJ Arjuna Pralabdha II: 1-6, (Cod. Or. 4061 and 13.835). Siwa comes down to Anggadipati’s palace disguised as Arjuna. He is in love with Anggadipati’s beautiful wife, Déwi Prinasi. She believes that she is dealing with Arjuna. He seduces her. Anggadipati discovers that this has happened. He gets very angry. He draws his sword and kills his wife. He then chases Arjuna. Boiling with rage he runs through his palace. The god Sada Siwa, a manifestation of Siwa, appears. He suggests that Anggadipati does not kill Arjuna and explains to Anggadipati how he has deceived him. According to the artist it is not the god Siwa, but Indra who has seduced Déwi Prinasi. Anggadipati is called Anggadipa by the artist. Cod. Or. 3390-182 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42 x 34.2 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, brown, light blue, light and dark green, light grey, white, black. Artist and origin: the sheet is signed at the back: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hina kaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. The red paint on the right and on the left of the frame is damaged. Surada, the palm-wine maker, sits in a tree. He annoys a tiger while another man, called Walacit, watches The drawing is surrounded by a frame drawn in ink, and filled in with orange and salmon-pink colouring and stripes in ink. The air is indicated by light blue and the ground by brown and light salmon-pink with black dots. A jaka palm-tree
stands in the centre. Fruit hang at the top of the tree. One of the branches which bears fruit has been covered by a brown sack (klukuh). A bamboo ladder (bangul), made of one pole and with small cross-laths, leans against the stem. A man sits in the tree. He faces right. He points at a tiger sitting on the ground to the right with his right index and middle fingers (nuding). The animal pays atten tion only to the man. Its mouth is half open. The man has female eyes, whiskers and a hat (capil) on his head. He wears a short loincloth tucked up between his legs. His skin is light salmon-pink. He has a knife (pangiris) in his girdle on his back. Another man sits on the ground on the left. His body faces left, but his head is turned to the right. He watches the tiger. He has round eyes, a moustache, a small pointed beard and whiskers. He is clad in the same way as the man in the tree, but he has a kris instead of a knife in the girdle on his back. His skin is also light salmon-pink. A text in Balinese script in ink at the top on the left says: surada, Surada and at the bottom on the right is written: késari, Késari. By Késari tigers in general are probably meant as well as the tiger named Késari, although in fact kesarin (Skt) means lion. At the bottom on the left is written: walacit, Walacit. In the frame at the top of the drawing is written in Balinese script in pencil: puniki, nga, tantri, kala surada lwas mangirisin ringngagamya wana, (puniki nga. Tantri, kala Surada luas mangirisin ring Agamya wana), this is the story from the Tantri of the time Surada went to the Agamya forest to tap palm-wine. The palm-wine tapper Surada sits in a jaka tree and threatens a tiger. Walacit watches the scene. As has already been mentioned in the Introduction, the Tantri refers to an enormous collection of fables, for the most part based on the Indian Pahcatantra. The oldest Tantri fable-collections are written in Old Javanese. They are called Tantri Kamandaka, or Nandaka Prakarana, which is written in prose, or kidung Tantri, which is written in verse, and they are also called the Mandüka, Paksi and Pisaca Prakarana. These are written in verse. There also exist versions in Balinese. In the kidung Tantri VI: 59-60 (Cod. Or. 16.303) the story of Walacit and Surada is told. It runs as follows. There were two brothers, Walacit the elder one and Surada the younger one. They always went together to the forest (Agapya or Agamya) to tap palm-wine (tuak). Once they were asked to intervene in a conflict between a black monkey (lutung) and a grey monkey. The monkey which lost the conflict would offer itself to be slaughtered and eaten. Surada was talked into making the wrong decision by the grey monkey. Although the black monkey was right, he says it was in the wrong. It was killed, but it received a beautiful seat in heaven as a consolation. Walacit and Surada were punished. Walacit died after being bitten by a snake in the forest and Surada fell dead from the tree when he was tapping it.
In the Mandüka Prakarana IX: 79-95 (Cod. Or. 12.687) there is a story which has elements resembling the story depicted in the drawing. A tiger meets an elephant who is panic stricken. The tiger asks the elephant why it is in this state. The elephant replies that he is fearful of a bad man. The tiger promises to look for the man. He chases him and challenges him. The man climbs a tree, because he is afraid. He then considers the situation. He thinks of a trick. He tells the tiger about his strong brother who is a heroic fighter. He assumes that the tiger will not dare to await the arrival of the man’s brother. The tiger however promises to sit and wait. He is even prepared to be bound to the tree in order to prove that he will not run away. Once the tiger is tied up, the man threatens it and finally kills it. It is probable that the elements in the drawing in which a tiger chases a man and a man threatens a tiger were derived from this story by the artist and combined with the story of Surada the palm-wine tapper. Cod. Or. 3390-183 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet has been folded vertically into two halves. There is a drawing on the right side and on the left of the fold. Polychrome, watercolours and ink. Colours-, red, magenta, light blue, sky-blue, light and dark green, light salmon- pink, light greyish-blue, light grey, grey, light greyish-green, white, black. Artist: I Ketut Gedé. Origin-. Singaraja. Left: Papaka roasts the two children of the monkey Wanari The ground is indicated by light green and grey, and the earth by grey and light grey. A leafy tree stands on the left. Leaves are indicated by dark green V-shaped ornaments and by light green dots. At the foot of the tree there is a pile of flaming wood. A man sits on his left knee to the right of the wood. His body is directed towards the fire, but his head is turned to the right. The man holds a large V-shaped stick (panusukan) in his right hand. Two small dead monkeys are skewered onto it. They are being roasted over the fire. The man holds another, smaller, V-shaped stick in his left hand over the fire. The man has a round face with almond-shaped eyes and short curly hair. He has a hat (capil) on his head. He wears a short coat with long sleeves, a short loincloth tucked up between his legs and a kris in his girdle. His skin is light salmon-pink. The monkeys are greyish-blue and greyish-green. A text in Balinese script in ink in the centre says: pëpakë, nunu bojog cnik, (Papaka nunu bojog cenik), Papaka roasts small monkeys.
A man called Papaka roasts two small monkeys on a stick over a fire. This scene refers to a story described in the OJ Tantri Kamandaka: 130, 152-158. The wicked Papaka is chased by a tiger, because he had been chasing an elephant. The female monkey Wanari helps him to escape from the tiger. She takes him on to her back and carries him high up into a tree. Papaka rests there. He chases the tiger away by shooting at him. Papaka then asks the monkey to take him to the road. He wants to return to home, but he pretends not to know the way. The monkey again carries him on her back, but she takes him to her own house first so that he can rest. She is welcomed by her children, a boy called Mardawa and a girl called Mardawi. The children ask her for the fruit she has promised them. The mother excuses herself. She has not been able to collect fruit because of Papaka. She asks Papaka to take care of the children when she goes to the moun tains to collect fruit for them. Papaka feels hungry. As soon as the mother has gone, he makes a fire. He decides to roast the children and eat them. When the monkey comes back he decides to tell her that her house caught fire and that the children were burnt to death. That happens, but the mother does not believe Papaka’s story. She knows that he is a hunter and that hunters like to eat wild animals. She regards it as her duty, however, to help friends. Right: the monkey collects fruit. Papaka is carried home by the monkey The ground is indicated by light greyish-green. A landscape with hills indicated by greyish-green, light green dots and traditional rock ornaments is depicted on the left. A female monkey walks with a stick across her shoulders at the top on the left. She walks to the right. Fruit (manggistan, bananas, durian and rambutan) hang from the pole. A man is carried by a female monkey at the bottom on the right. He sits on her back. The monkey walks to the left, but she looks at the man on her back over her shoulder. He has a round face with almond-shaped eyes and short curly hair. He has a hat (capil) on his head. He holds the monkey’s head with his right hand and her neck with his left, as though he intended to trottle her. He wears a short loincloth tucked up between his legs, a sash, a kris in the girdle on his back and a short coat with long sleeves. His skin is light salmon-pink. The monkey is light greyish-blue. A text in Balinese script in ink at the top in the centre says: i wandarri tka huli ngalih woh kayu, (I Wanari teka uli ngalih woh kayu), the monkey Wanari comes back from searching for tree-fruit. At the top on the left is written: gunung, mountains, and at the bottom on the right: pëpakë, mgandong mantuk, kahumahé, (Papaka magandong mantuk ka umahé), Papaka is carried home on the monkey’s back. A female monkey collects fruit and carries them on a pole. This scene has already been explained above. In the foreground Wanari carries a man called Papaka on her back.
The scene of the monkey carrying Papaka might be a little problematical. She carries him several times. The Balinese text in the drawing which says that she is carrying him home, may refer to her own home as well as to Papaka’s home. Because Papaka is holding her by her neck and because the monkey looks back at him, frightened, it is probable that her last trip through the forest is depicted in the drawing. This scene refers to a part of the story described in the OJ Tantri Kamandaka: 154-158. The monkey puts her ideas of friendship into practice; even though she is almost certain that Papaka has killed her children, she gives him fruit. When he has finished eating Papaka asks the monkey to carry him through the forest because he is afraid of the tiger. The monkey agrees to do so. It is a long trip. Papaka gets hungry. He decides to kill the monkey and eat her. He therefore holds her neck tight. The monkey complains, but he finally strangles her. Her soul goes to heaven after her death. Cod. Or. 3390-184 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: red, magenta, light magenta, light blue, sky-blue, light and dark green, yellow, light salmon-pink, white, light grey, light bluish-grey, light greyish- pink, black. Artist: I Ketut Gedé. Origin: Singaraja. Right: two women pray in a domestic sanctuary. Offerings have been put in front of a shrine. A monkey steals fruit and eats a banana The ground is indicated by stone ornamentation. A stone building consisting of a basement, a body with an open door, two storeyed roofs and a little tower with three storeys on the right is depicted in the background. There are trays of fruit and trays with burning incense and fragrant wood (pangasepan) on both sides of the doorway. A monkey sits in the doorway. It faces right. It steals some fruit from a tray with its left hand and eats a banana with its right hand. Two women make a sembah, kneeling on the floor. They face each other. They wear long loincloths, sashes round their waists and sashes covering their breasts. The sash of the woman on the right has a black and white Javanese batik pattern (batik Betawi). The women have light greyish-pink coloured skin. Their hair is styled in an asymmetric chignon (tetagelan). A text in Balinese script at the top on the right says: pamrajan, gdong, i lutung jroning gdong, panjrowan ngaturang cannang, (pamrajan, gedong, i lutung jero
É ning gedong, panjroan ngaturang canang), house-temple with a small shrine for the gods, a monkey is in the shrine and servants present offerings. Two women kneel down and pray in front of a shrine in a domestic sanctuary. They have placed fruit offerings to the god and burning incense close to the shrine. A monkey steals some fruit and eats a banana. This scene can only be explained in combination with the scene on the left of the fold. Left: a snake and a tiger sit to each side of the entrance to the domestic sanctuary The ground is indicated by stone ornaments. A temple-gateway is depicted. It has a door, a tiered roof with five floors and turrets on the corners with three storeyed roofs (paduraksa). An ogre’s head with arms and hands sits above the doorway on the lintel. There are five more ogre’s heads of various types in the centre of the storeys of the large roof. There are curled ornaments (patra punggel) and top-pieces on the tiered roofs of the turrets. Similar ornaments and top-pieces are depicted in Nos. 3390-3, 26. A tiger sits to the right of the entrance, looking left. A large snake sits to the left facing it. A small boy standing in the entrance looks at them. His skin is light salmon-pink. He has a coif on top of his head. He wears a small loincloth tucked up between his legs. A text in Balinese script in ink at the top on the left says: gopura, gateway. These scenes refer to episodes from the story of the brahman (often called Dar- maswami) and the goldsmith. It is described in the OJ Tantri Kamandaka 140-144, and at greater length in the kidung Tantri Demung 4: 76-78, 5: 3-30 (Cod. Or. 13.019). The monkey, the tiger and the snake have found out that the brahman has been captured. They decide to help him, since he had once saved their lives. The snake enters the palace-garden stealthily. He bites the crown-prince when he gets off his horse. The prince falls to the ground. Nobody can help the prince. The king sum mons the brahmans in his realm to make medicine. They advise the king to hold a snake-sacrifice and to burn a fire offering (homa) to ask the gods for help. Many offerings are prepared. Everybody, including people from outside the palace, brings offerings (canang). The snake-sacrifice is carried out under the guidance of a brahman. The snake who has bitten the prince arrives. He enters from the fire. He is asked by the brahman why he killed the prince. The snake explains that it was his purpose to help the brahman Darmaswami. It says that the king should be told that nobody except the prisoner will be able to bring the prince to life again. The king agrees to set the brahman free. The brahman brings the crown-prince to life. In the drawing the snake, the tiger and the monkey are depicted. The child peeping round the corner is an invention of the artist’s derived from the daily life on Bali. The setting—a domestic sanctuary with a gateway—portrays North Balinese architecture from the end of the 19th century.
In the scene on the right side of the fold the ordinary people bringing offerings are represented. Cod. Or. 3390-185 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.4 x 41.8 cm. The sheet is folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: red, magenta, light magenta, light and dark green, light blue, sky-blue, yellow, ochre, light salmon-pink, light grey, grey, black, white. Artist and origin: the drawing on the left of the fold is reproduced in Nieuwenkamp 1906-10: 111, and discussed in ibid.: 231-232. He ascribes the drawing to I Ketut Gedé in Singaraja. It is also reproduced in Nieuwenkamp 1929: 74. Left: a tiger tries to attack Papaka the palm-wine tapper. He hides in a tree A jaka-palm bearing fruit is depicted on the left. A man sits in the top of the tree. He faces right. He looks down at an angry tiger, which tries to climb the tree. The man has almond-shaped eyes and short, curly hair. He has a hat (capil) on his head. His skin is light salmon-pink. He wears a short loincloth, tucked up between his legs and a jacket with long sleeves. He has a knife in a sheath in his girdle on his back. A little sack for tapping palm-wine hangs from his girdle. A text in Balinese script in ink in the centre says: pëpakë mangiris, (Papaka mangiris), Papaka cuts. Close to the tree is written: puhan jakë, (punyan jaka), jaka-tree. Close to the tiger is written: i macan, the tiger. Papaka, clad like an ordinary Balinese, has climbed a jaka-tree to cut the stalk of the fruit of the tree to tap liquid from it which will be used in the preparation of palm-wine (tuak). An angry tiger attempts to attack the man and tries to climb the tree. Right: Papaka shows his knife to the tiger, which is bound to the jaka-tree A jaka-palm bearing fruit is depicted on the left. A ladder made of one bamboo pole with small horizonal rungs is placed against the tree. A sack is mounted on the stem. A small deckel hangs above it. Drops of liquid fall into the sack from the stalk of the fruit of the tree. A tiger is tied to the trunk of the tree with two lianes. It looks backwards to a man who stands behind it to the right. The man faces left. He holds a large chop per in his right hand. He is clad in the same way as the man in drawing No 3390-184.
A text in Balinese script in ink on the left says: jakka, jaka-tree. Close to the sack is written: klukuh (klukuh). This was a small sack used for keeping palm- wine in. It was made from the sheath of the leaf-stalk of the pinang-tree. These days plastic buckets are used. Close to the ladder is written: bangul, bamboo ladder, and close to the tiger: macan, matëgul (macan mategul), a bound tiger. On the right is written: pëpaka, nggawë pangiris (Papaka ngaba pangiris), Papaka carries a tapping knife. Papaka had made a groove in the stalk of the fruit of the tree with his knife, and has mounted a deckel and a sack on the trunk of the tree to collect the liquid, which drips from the groove. The tiger has been bound to the tree. Papaka stands behind the animal, ready to use his tapping knife. Both this scene and the scene in No. 3390-196 refer to a story already described in Nieuwenkamp 1906-10: 231-232, and 1929: 73-75, although he does not mention the source from which the story is derived. In the Balinese geguritan Gunawati: 1-45 (Cod. Or. 9319) a tiger meets a bull and wants to devour it because it is hungry. The bull tells the tiger that he has no power in comparison to man. Man is wise and mighty. The tiger wants to meet such a man. The bull suggests that he go to a palm-wine maker called Gunawati. The tiger reaches the tree in which Gunawati is cutting. The animal roars and orders the man to come down and demonstrate his knowledge. Gunawati is frightened. He does not dare to come down for fear of be ing devoured by the tiger. He says that his knowledge is at home. He offers to go home to collect it, but he pretends to be afraid that the tiger will have left by the time he returns. The tiger suggests that Gunawati bind him to the tree. At first the man binds the tiger with a thin liane. The tiger tests the strength of the creeper. It breaks. The tiger laughs and says that the man should use another, stronger liane. The man again binds the tiger to the tree, but this time so tightly that it hurts the animal. Gunawati then sits down on a stone and looks at the tiger. The tiger asks the man why he does not go home, for the liane is already hurting it a lot. Gunawati lectures the tiger. Here, the knife is termed sudira, firmness, and the stone guna, virtue, the liane lewih, superiority, while to work hard means darma, the law. Gunawati continues his work. He takes the sack with the tuak home. The tiger knows that it has been defeated. In the drawing the palm-wine tapper is called Papaka, the Wicked One, instead of Gunawati. Tuak, palm-wine, can be made from the stalks of the fruit and the flowers of various trees. These are the jaka-tree (sugar palm), the coconut-tree (nyuh), and the lontar-tree (ental; cf. Sukawati 1941: 37). The quality of the tuak from the lontar-tree is the finest, that of the jaka-tree is the lowest according to the Balinese. Cod. Or. 3390-186 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 41.8 cm.
The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, magenta, light and dark green, light blue, sky-blue, yellow, light salmon-pink, light brown, light grey, grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Papaka, the hunter, shoots arrows at an elephant A man standing on the left faces right. He holds a bow in his left hand and an arrow in his right hand. Its point runs through a hole in the centre of the bow which is drawn. The man’s right knee is bent. He has a round face, short curly hair and round eyes. He has a hat (capil) on his head. His skin is light salmon- pink. He wears a short loincloth tucked up between his legs, a sash with long ends and a short jacket with long sleeves. A tube with arrows (kantong panah) hangs from the girdle at his stomach. A rock ornament is depicted on the far left at the bottom. There is a leafy tree in the centre. Leaves are indicated by green dots. There is a palm-tree in the background on the right. The ground is indicated by grey curving lines and green dots. An elephant stands in the foreground. It walks to the right, but its head is turned backwards to the left. It looks at the man on the left. An arrow has pierced its right ear and has buried itself in the elephant’s forehead. A text in Balinese script in ink on the far left says: pëpakë, nggawë ru, maboros (Papaka ngaba ru, maboros), Papaka hunts carrying an arrow. On the right is written: gajah, (gajah), elephant, and ru, arrow. Papaka has shot an elephant with an arrow which has pierced its ear. He aims at the animal for a second time. This scene is described in the OJ Tantri Kamandaka: 130, the Mandüka Prakarana IX: 79 (Cod. Or. 12.687), and in the Tantri Demung 4: 53 (Cod. Or. 13.019). The evil hunter Papaka chases an elephant. The elephant succeeds in running away. It cannot match the hunter. It starts weeping. A tiger finds the elephant in this state. It should be noticed that the elephant has claws more resembling those of a tiger than those of an elephant. In No. 3390-183 the story is continued. Cod. Or. 3390-187 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, blue-green, yellow, light salmon-pink, light ochre, light brown, brown, light greyish-brown, white, black. Artist: no. 5. Origin: Badung. Sketches in pencil are still visible.
The sage Darmaswami caught by the patih of Madura and his men (Nang Coték, Nang Senén, Nang Gludir, Ketut Kamanirak). Nang Goblég holds a kind of lasso The air is indicated by awon-awon ornaments (type I). Two men stand on the right. They face left. The man in front holds his hands in front of his body. They are bound with a rope. The man has almond-shaped eyes and a small moustache. His hair is knotted at the back of his head. He has a diadem on his head. His skin is light ochre. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, and a long coat with sleeves. The coat has kuta hlesir pat tern. He wears a sash over his left shoulder. The man behind him on the far right holds a rope and a stick (kléték). He has round eyes, a beard and a moustache. His skin is light salmon-pink. He has a checkered kerchief (tekes) round his head. He wears a short loincloth tucked up between his legs and a sash round his waist. A dog lies on the ground facing left. There are four poles bearing weapons, flags and fly-whisks in the background on the left. A group of five men stand to the left. The man on the far left faces left. His hands are clenched into fists. He has round eyes, and a full moustache. His hair is long and curly. He has two coifs on his forehead. He wears a diadem on his head, a short loincloth, a sash, a girdle and a kris in a sheath of black and white wood on his back in his girdle. Another sash hangs crossed over his chest. He wears flat shoulder-ornaments. His skin is light brown. Behind him, further to the right there stands a man. He looks back at the man on the right. He holds the rope bound round the wrists of the man on the right with his left hand and he is about to draw his own kris with his right hand. He has bulging eyes, a moustache and short hair. There is a flower placed on top of his ear. His skin is light greyish-brown. He wears a small loincloth tucked up between his legs. A small man stands in a dancing attitude at the bottom on the left. He faces left. He holds a kris in his right hand which is raised. His left arm is bent. His left leg is raised. It is held by a small man who stands behind him. He has almond shaped eyes, a bald forehead and some hair on the back of his head. He wears a short loincloth tucked up between his legs and a sash round his waist. His skin is light ochre. The small man behind him faces left. He has round eyes, a long moustache and short hair. He wears a small loincloth tucked up between his legs. His skin is light brown. His right arm hangs by his side. He holds the leg of the man on the left with his left hand, as mentioned before. Another small man stands in the centre. He faces right. He points with his right index finger at the man with the long coat. His right eye is closed which indicates that he is blind. His left eye is large and round. He has a long moustache and short hair. He wears a small loincloth tucked up between his legs, a girdle and a short jacket with long sleeves. His skin is light salmon-pink. A text in Balinese script on the far right says: nang goblég, Nang Goblég. Van der Tuuk has also written this in pencil and in ink in Latin script. Close to the man with the coat is written in Balinese script in ink: bhagawanpu darmmaswam-
mi, (bagawan mpu Darmaswami), the sage Darmaswami, and in pencil Van der Tuuk has added in Latin script: mpu darmaswami. Close to the dog at the bottom is written in Balinese script in ink: i sélog drëwén pu darmmaswammi, (I Sélog druén mpu Darmaswami), Sélog, which belongs to the sage Darmaswami. In pencil in Latin script has been added by Van der Tuuk: selog, Sélog, and in ink: i selog dréwen mpu Darmaswami (I Sélog druén Darmaswami). On the left side, close to the four poles, is written in Balinese script in ink: nang coték, Nang Coték. In pencil in Latin script Van der Tuuk has added: tjotek, Coték. Close to the man on the far left is written in Balinese script in ink: patih tumgung, sakin madura (patih tumenggung saking Madura), the patih tumenggung from Madura. In the centre, left, is written in Balinese script in ink: nanang snén, Nanang Senén, and in pencil in Latin script Van der Tuuk has added: snen, Senén. At the bottom on the left is written in Balinese script in ink: nang gludir, Nang Gludir and in Latin script in ink Van der Tuuk has added: Nang gludir. On top of the man with the blind eye is written in Balinese script in ink: hi ktut kamannirak, I Ketut Kamanirak. The sage Darmaswami is pushed by a man of the lowest class called Nang Goblég and bound by Nang Coték. Nang Senén, another Balinese of the lowest class, dances brandishing his kris. His leg is held by Nang Gludir. The half-blind I Ketut Kamanirak points at the sage. The patih tumenggung of the king of Madura walks in front. He is carrying out an order to capture the sage. This scene refers to an episode described in the OJ Tantri Kamandaka: 136-138 and more elaborately in the Tantri Demung 4: 70-74 (Cod. Or. 13.019). The brahman Darmaswami meets the wife and the man he once rescued from a well. The man is a goldsmith. The brahman wants to take a ritual bath. He is directed to a bathing place. Before going off to bathe he offers the goldsmith some jewelry which had been given to him by the tiger which he had also rescued from the well. The tiger had taken the jewelry from the son of the king of Madura who was killed in the forest long before. The goldsmith and his wife recognize the jewelry: it is that of their late crown-prince. They think that the brahman has robbed and killed the prince and stolen the jewelry. The man wants to go to the king to report this to him. The wife does not want him to go, but the man goes all the same. The king orders his patih to capture the brahman. He is brought to a crossroads and bound by a ratan rope (walatung), and a lasso (binanda pasa, OJ). The dog Sélog is not mentioned in any text. It is merely an invention of the artist. According to KBNWB II: 166 sélog is a general term for dirty white dogs with yellow mouths. Goblég, Coték, Senén, Gludir and Kamanirak are names for servants used in the theatre in Badung (see KBNWB II: 21, IV: 753). Cod. Or. 3390-188 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 41.8 x 34 cm.
The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, blue-green, yellow, light brown, brown, greyish-brown, white, black. Artist: no. 5. Origin-. Badung. Bottom: a tiger kills a tortoise and carries it for a monkey There are rock ornaments at the bottom and awon-awon ornaments (type I) at the top and on the left. A tiger stands on the right. It faces left. It holds a tortoise with its front paws and bites it so that blood pours onto the ground. A male monkey stands on the far left. Its body is turned to the left, but its head is turned backwards to the right. It looks at the tortoise, the head of which it touches with its left hand. A text in Balinese script in ink at the bottom on the right says: sa(ng) mong, the tiger. In the centre, close to the tortoise, is written: hi pnu (ng, which is crossed out in pencil) patungngannga (i penyu patunganga), the meat of the tortoise is divided. Close to the monkey is written: ring hi prëgusa, (ring i Pragusa), by Pragusa. A tiger kills a tortoise and carries it for the monkey Pragusa. The monkey will prepare its meat for both of them. Top: the monkey prepares tortoise-saté. The tiger holds a fan and keeps the fire burning with it There are rock ornaments at the bottom and awon-awon ornaments (type I) at the top and on the left and on the right. A leafy tree is depicted to the right. A bundle of sticks with saté in a flat basket has been bound to a large branch of the tree. A male monkey sits on a rock at the foot of the tree. It faces left. It holds a chopping knife in its right hand and some sticks with saté in its left. A chest holding a round object and a rectangular object is depicted in front of it. Further to the left a saté-grill with sticks on it stands on the ground. A fire burns under it. A tiger sits on the left. It faces right. It holds a fan in its left paw and keeps the fire burning with it. A text in Latin script in ink by Van der Tuuk at the top on the left says: uit de Tantri, from the Tantri. Close to the tiger is written in Balinese script in ink: sa(ng)mong, the tiger, and close to the grill: sësaté (sesaté), saté. To the right of it: bé pnu, (bé penyu), tortoise meat. In the rectangular object on the chest on the left is written in Balinese script in ink: talënnan (talenan), and in Latin script in pencil has been added by Van der Tuuk: talenan (talenan), wooden chopping- block. In the object to the right is written in Balinese script in ink: panné (pané), vase. In Latin script Van der Tuuk has added: pane, vase. Close to the chest is
written in Balinese script in ink: panné talënnan, manaktak panu, (pané talenan manektek penyu), vase and chopping-block for chopping tortoise meat. In Latin script in pencil Van der Tuuk has added: pane manëktëk penju (pané manektek penyu), vase for chopping tortoise meat. Close to the back of the monkey is writ ten in Balinese script in ink: hi bojog pragusa (i bojog Pragusa), the monkey Pragusa. Close to the tree is written: taru hagung (taru agung), a large tree. In the tree close to the saté is written: sësaté mwadah krënjang (sesaté mawadah kranjang), saté-sticks in a basket. A male monkey called Pragusa, sits at the foot of a large tree. It prepares tortoise-saté. A chopping-block and a vase to hold the chopped meat and herbs are placed on a chest in front of the monkey. The monkey holds a chopping-knife and some sticks of saté. A grill is placed on the ground. The saté are being roasted on it. Some sticks, which have already been roasted, are put in a basket and bound to a branch of the tree. A tiger sits on the ground, facing the monkey. It holds a fan (ilih) in its left paw and waves it over the fire. The drawings refer to a story described in the OJ Mandüka Prakarana V: 6-40 (Cod. Or. 12.687). The story is about an ungrateful monkey. In the beginning it is rescued by a sea-tortoise when it is sitting on a rock in the middle of the sea. As soon as they have reached the beach, the monkey turns the tortoise upside-down and places rocks on its feet, so that it cannot move. The monkey meets a hungry tiger eating grasshoppers. The monkey ridicules the tiger. It says that it knows of a tortoise they could eat. It proposes killing it and eating it together. The tiger carries the monkey to the tortoise on its back. The monkey says that it is tired and wants to sleep. While it sleeps the tiger kills the tortoise and takes the flesh out of the shell. The tiger then wakes the monkey up. The latter prepares the saté. The tiger asks when they will be ready. The monkey says that part of the sate should first be of fered to the spirit living high up in the tree. It brings the saté to the tree, and seats itself high up in the tree. The tiger asks when it can have some saté. Tomorrow, answers the monkey, when I have urinated over it. The tiger is furious. It finally goes away. This story is told to children, but in a slightly different way. At the end of the story the monkey throws the empty sticks down to the tiger sitting on the ground close to the tree. In the drawing the tiger kills the tortoise while it is walking with the monkey. The same story is also depicted in wood sculpture on an ash-tray given to H. T. Damsté in 1922. It was made in Singaraja. Damsté 1939: 4-6 describes the sculpture, but he says that the story of the monkey, the tortoise and the tiger is not mentioned in the Tantri literature known at that time. Cod. Or. 3390-189 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34x41.3 cm.
The sheet has been foiled vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light brown, brown, yellow, light ochre, light blue, blue, blue- green, light blue-green, white, black. Artist: no. 5. Origin: Badung. The tiger Késari speaks to the monkey Wanari who has rescued Papaka There is a continuous rock ornament at the bottom. It has holes on the right. A snake creeps through the holes and looks upward on the right. There are awon- awon ornaments (type I) all over the drawing. A leafy tree is depicted on the far left. Leaves are indicated by dots. A man sits on a branch of the tree. His body is turned to the right, but his head is turned to the left. The upper part of his body is bound to a branch of the tree. He covers his eyes with his right hand and holds a branch with his left. He has a small moustache and whiskers, a kerchief round his head and he wears a short loincloth tucked up between his legs. A monkey sits in the tree in front of him. It faces right and looks down at a tiger, lying on the rocks on the right. The tiger looks up to the figures in the tree. At the top two birds fly away to the right. Another bird sits on a branch of the tree on the right. It faces left. A text in Balinese script in ink at the top on the left says: sang pëpaka, (sang Papaka), Papaka. On top of the monkey is written: sang wanari (sang Wanari), Wanari. Close to the flying birds is written: paksi clepuk tunu lwana (paksi clepuk tunu luané), the female owl, and: clapuk tunu mwani (clepuk tunu muani), male owl. In Latin script in ink and in pencil Van der Tuuk has added: tjlëpuk tunu (clepuk tunu). Close to the bird sitting in the tree is written in Balinese script in ink: manuk puttar (manuk puter), and in Latin script in ink Van der Tuuk has added: manuk puter, wood-pigeon. Close to the tiger is written in Balinese script in ink: sang késari, Késari. Close to the tree on the lefthand side is written: tarü piling (taru piling), a piling-tree. Papaka has been tied to a piling-tree. He covers his eyes with his hand wich ex presses that he is frightened. The monkey Wanari sits on a branch of the tree. She talks to the tiger lying at the foot of the tree. Two owls, one male and one female fly away, while a wood-pigeon sits in the tree. This scene refers to an episode described in the Tantri Kamandaka 130-132 and in the kidung Tantri Cod. Or. 13.207: 24. The monkey helps Papaka to climb the tree. Meanwhile the tiger warns the monkey. Papaka is so afraid and upset after being chased by the tiger that he weeps. It is not mentioned in the stories written about Papaka that he binds himself to a branch of the tree. This might be an invention of the artist, based on oral ver sions of the story. The reason why Papaka binds himself might be that he is afraid of falling out of the tree and into the clutches of the tiger. The owls and the dove are also inventions of the artist, based on oral versions of the story.
Cod. Or. 3390-190 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8x41.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, blue, light blue-green, blue-green, yellow, ochre, light ochre, light brown, brown, light greyish-brown, ligth grey, grey, white, black. Artist: no. 5. Origin: Badung. A tiger disturbs some men and women who make offerings at a shrine (Nang Kején, Dadong Tamlingan, Patih Bramita, Pan Sléndor and Nanang Cubék) There is a rock ornament on the ground. There are awon-awon ornaments (type I) at the top. A stone building with a five storeyed roof (méru) is depicted on the left. A crow sits on the third storey to the right. A monkey sits in front of the opening of the building. An ornament in the shape of the head of a bird en profil is depicted at the bottom on the right of the building (karang manuk). A man sits crosslegged in front of the building. He holds a flower (kewangén) in his right hand. He holds his left hand to his feet. He has round eyes, a moustache, and a kerchief round his head. He wears a short jacket with long sleeves and a short loincloth tucked up between his legs. His skin is light greyish-brown. Above him an old woman kneels facing left. She holds an incense burner (pangasepan) in her right hand. Her left hand supports her right elbow, which indicates that she offers the incense to the shrine. She has a knot of hair on the back of her head. She wears a long loincloth and a sash round her waist. Her skin is light brown. A man stands behind her in the centre. His body is directed to the left, but his head is turned backwards to the right. He holds his right arm above his his head, his left arm backwards. His attitude indicates that he is upset. He has a refined face, his hair is styled in a chignon of the Panji-type. He wears a long loincloth, a sash, a girdle, a kris on his back and a short jacket without sleeves (sesimping). His skin is light salmon-pink. There are two small, fat men at his feet at the bottom on the right. Their bodies are directed to the left. The man on the right sits on his knees, his left hand on the ground. He covers his eyes with his right hand from awe. He wears a hairband and a short loincloth tucked up between his legs. There is a kris on his back in his girdle. His skin is light ochre. The man in front of him holds his left arm round his neck. His right hand points in an upward direction, which ex presses that he is frightened. His head is turned backwards to the right. He has almond-shaped eyes. He wears a hairband and a short loincloth tucked up be tween his legs. There is a sheath on his back in his girdle. His kris is lying on the stone floor in front of him. His skin is ochre. A tiger is depicted on the far right. It is depicted vertically, probably because of lack of space. Its right foreleg is extend ed towards the two men in the foreground on the right.
A text in Balinese script in ink on the left close to the building says: méru pani- wyan (méru panyiwyan), holy méru. In the first roof is written: bojopragusa, (bo- jog Pragusa), the monkey Pragusa. Close to the bird is written: gwak, (goak), crow. Close to the man with the flower is written: nang kjén, Nang Kején. Close to the woman with the burner: dadong tamlingngan, Dadong Tamlingan, grand mother of Tamlingan. Van der Tuuk has added in Latin script in ink: dadong Tamlingan de pamangku, grandmother of Tamlingan, the temple-priest. Close to the man standing in the centre is written in Balinese script in ink: pitih, bremitta, Patih Bramita. At the bottom in the centre is written: pan sléndor, Pan Sléndor, the father of Sléndor. Van der Tuuk has added in Latin script in ink. P. Slendo. At the bottom on the right is written in Balinese script in ink: nanang cubék, Nanang Cubék, the father of Cubék. In Latin script in ink Van der Tuuk, however, has added: N. Tjotek, Nang Cotek, father of Cotek. Close to the tiger is written: sang mong, késari, the tiger Kesari. At the top in the centre has been written in Latin script in ink by Van der Tuuk: uit de Tantri, from the Tantri. A man and a woman, belonging to the lower class according to their clothes and according to their names, sit close to a shrine with a tiered roof. According to Van der Tuuk’s notes one of them is the pamangku, temple-priest. 1 his is usually a man. It is probable, however, that the term pamangku refers to the woman, who is the wife of a deceased pamangku and who now acts as a temple-priest. The man in the drawing cannot be the husband of the woman, since he is not called “grandfather of Tamlingan”. The shrine is called panyiwyan, which refers to the fact that it is honoured. The man offers a flower and the pamangku offers incense to bring down the god of the shrine. A monkey, called Pragusa, sits in front of the opening of the shrine and there is a crow on the third tier of the roof. A man of higher class, called Patih Bramita, looks backwards. He is frightened by a tiger which enters the temple. Two servants lie prone on the ground. One of them, Nang Cubék, covers his eye to indicate that he thinks that something terrible is going to happen. The other man, Pan Sléndor, puts his arm around the shoulders of the frightened man. He has lost his kris because he was alarmed by the tiger, which menaces the men with its paw. This scene might refer to an episode from the story of the brahman and the goldsmith as mentioned in the OJ Kamandaka 140-144 and the Tantri Demung 4: 76-78, 5: 3-13 (Cod. Or. 13.019). The people in the palace of the king of Madura and people from outside the palace make offerings to the gods in order to obtain medicine to cure the crown-prince who has been bitten by a snake. In the Tantri Kamandaka 140 and the Tantri Kadiri 37 (Cod. Or. 13.340) it is men tioned that the tiger runs amok when it hears that the brahman has been cap tured. It is possible that this is expressed in the drawing. It seems that Késari (Skt kesarin, with manes, a lion) is regarded by the artist from Badung as a personal name for a tiger in a fable and Pragusa (Skt praghasa, devourer, a name for a monkey) as a name for a monkey. I have come across the word Késari used to
refer to a lion and Pragusa used to refer to a monkey in the texts of the Tantri Kamandaka (Cod. Or. 13.207), the Tantri Demung (Cod. Or. 13.019), the Tan tri Kadiri (Cod. Or. 13.340), the Mandüka Prakarana (Cod. Or. 12.687) and the Pisaca Prakarana (Cod. Or. 12.688, 14.801). Cod. Or. 3390-191 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.5 x 41.8 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, light and dark green, light blue, sky-blue, light greyish-blue, light brown, brown, grey, white, light salmon-pink, black. Artist: I Ketut Gedé. Origin: Singaraja. Mentioned by Juynboll 1903: 86. Left: the monkey Wanari helps Papaka to climb a tree The ground is indicated by light green dots. A leafy tree stands in the centre. Leaves are indicated by dark green stripes and light green dots. A light greyish- blue monkey hangs with its belly over a large branch of the tree. It pulls a man who tries to climb the tree. The man faces left. He has almond-shaped eyes, short curly hair and a moustache. He wears a short loincloth tucked up between his legs, a kris on his back in his girdle, a short jacket with long sleeves and a hat (capil). His skin is light magenta. A text in Balinese script in ink on the left says: pëpaka, këkëdëngin, hantuk i wandari, (Papaka kakedengin antuk i Wanari), Papaka is pulled up by Wanari. A monkey, hanging over a branch of a tree, tries to pull up a man called Papaka. This scene refers to a story which is described in the Tantri Kamandaka 130-132. There is also another version of it in Cod. Or. 13.207: 24. Papaka the wicked hunter has been chasing an elephant. The elephant complains to the tiger who promises to take revenge against the man on the elephant s behalf. It chases the hunter. The monkey Wanari has pity on Papaka. She helps him to climb the tree. Right: Papaka sits in the tree. Wanari’s two children pick fruit from the tree while their mother is caught by a tiger The ground is indicated by light green dots. There are two rock ornaments in ink at the bottom on the right. A leafy tree stands in the centre. It resembles the Tee on the left A man sits on a branch on the left. His appearance is similar to
that of the man in the drawing on the left. He faces right and looks down. Two small, light greyish-blue monkeys sit on a branch on the right. They face each other. The monkey on the right picks fruit with its right hand and offers some fruit to the monkey on the left with its left hand. A pale light greyish-blue monkey tries to climb the tree, but it is attacked by a tiger from the back. The tiger puts its claws in the monkey’s back and bites the monkey. A text in Balinese script in ink at the top on the right says: bojog panakë, (bojog panaké), small monkeys. At the top on the left is written: pëpaka, Papaka. In the centre is written wandari, Wanari, and close to the tiger: macan, tiger. Papaka sits at ease in the tree with the two small children of Wanari. The monkey Wanari tries to climb the tree, but she is attacked by a tiger. The scene at the top refers to the prose versions and to the kidung versions of the story of Papaka and the monkey (Tantri Kamandaka 130-132, Cod. Or. 13.207: 24; kidung Tantri 338-349, 509-526, Cod. Or. 16.587). The monkey takes Papaka to her home on the way to the road. They are welcomed by her two children who are hungry. The monkey asks Papaka to stay at her house and look after the children while she searches for food. The episode of the tiger attacking the monkey is described in the kidung Tantri versions onl\ (Cod. Or. 16.587: 338-349). The tiger chases the wicked man. He climbs into a tree with the help of a monkey. The tiger is angry with the monkey because she helps the wicked man. It tries to eat her, but the monkey manages to trick the tiger. ‘My life is in the tip of my tail. Put that into your mouth . The tiger believes it. It stops biting the monkey in its back and tries to get hold of the tail, which it cannot do. The monkey escapes. Cod. Or. 3390-192 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.4 x 41.6 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: light red, light magenta, light blue, sky-blue, light green, dark green, light salmon-pink, yellow, light brown, grey, white, black. Artist-. I Ketut Gedé. Origin: Singaraja. The sheet has been glued onto a piece of transparent cloth and has been mounted in a passe-partout. Mentioned by Juynboll 1903: 86. Right: the sage Darmaswami caught by men of the king of Madura A man stands in the centre. He faces left. The upper part of his body is bent forward. He has a refined face, and a small moustache. His skin is light salmon-
pink. His hair is knotted on the top of his head and a leaf and a petal are secured in the knot (kalpika). He has a very small diadem on his head. He wears a long loincloth held by a sash under his armpits and a short jacket with long sleeves. He has a yellow ring round his neck. A piece of rope is attached to the ring and a thick piece of bamboo is attached to both. His arms are stretched out wide. His right arm is held forcibly by a fat man standing on the left, facing him. This man has large round eyes, a moustache, a small beard and whiskers and a kerchief round his head. He wears a small loincloth tucked up between his legs and a sash with long ends round his waist. A man on the far right in the background holds the left arm of the man in the centre. He has one large round eye and one small, female eye, a moustache, a bald forehead, and some locks of hair at the sides of his head. His skin is light salmon-pink. He wears a loincloth and a sash. In the foreground on the right a man stands and faces the man in the centre. He holds the rope con nected to the ring around the neck with his left hand and the bamboo tube with his right hand. He has female eyes, a moustache, whiskers, and short hair with bald patches on the top of his head. His skin is white. He wears long trousers in kuta Mesir pattern, a girdle, a short kris in a sheath, and a tail-coat. He does not look Balinese. A text in Balinese script in ink at the top on the left says: bhagawan mpu dar maswami, sinikëp (bagawan Mpu Darmaswami sinikep), the sage Darmaswami is run in. Two men take the sage Darmaswami by force. Someone who is not Balinese holds a ring with a rope round his neck. The equipment is called kletek. This scene refers to the story of the brahman and the goldsmith as described in the Tantri Kamandaka 136-138 and Tantri Demung 4: 70-74 (Cod. Or. 13.019). This scene is also depicted in No. 3390-187. Left: the sage Darmaswami is tortured A man lies on his back on the ground. His face is directed to the right. His feet are mounted into two blocks of wood, which are kept together by means of bam boo pins inserted into holes and fastened into the ground. His arms are kept stretched above his head by means of a tall horizontal bamboo pole to which they are tied. Two poles covered with thorns are tied horizontally round his chest and fastened into the ground by pins. He has a ring round his neck which is connected to a piece of rope which runs through a hollow bamboo pole on the right (kleték). The end of the rope is wound round a piece of wood which is also made fast into ‘he ground. The appearance of the man and of his clothes are similar to those of the man in the centre of the drawing on the right of the fold. A text in Balinese script in ink in the centre at the top says: bagawan mpu darmaswami, makléték tuhjang, majepit, mablagbag, (bagawan Mpu Dar maswami makléték tunjang, majepit, mablagbag), the sage Darmaswami is tied
up straight, jammed between two poles and put into a kind of pillory. The pillory is called blagbag in Balinese. The sage is captured. The reason why this happens is recounted in the OJ Tan- tri Kamandaka 136-138 and in the Tantri Demung 4: 70-74 (Cod. Or. 13.019). In these texts it is mentioned only that he is captured at a cross-roads; how he was captured is not mentioned. The artist has depicted one of the ways in which criminals were secured in those days: by means of a kind of pillory and a rope around the neck. The piece of bamboo is put round the rope in order to prevent the prisoner from biting it through. This is usually done with animals which have a rope secured round their necks. The blagbag was used until the nineteen thirties on lunatics to keep them at home and it was also used as a punishment for criminals. The latter is described by Jacobs 1883: 208. The murderer of the missionary De Vroom was held in 1881 like this and was surrounded by many guards, armed with lances. The man who is not a Balinese may represent a Dutchman or an Armenian. He cannot be a Muslim (a Mandarese, a Buginese or an Arab), because he does not wear a headdress. Muslims are always represented with a kerchief, a skullcap or a hat by the artists in the drawings (cf. Nos. 3390-240A, 256). Cod. Or. 3390-193 Two drawings on Dutch paper, watermark concordia, countermark VdL. 33.7 x 41.8 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours', red, light magenta, magenta, light and dark green, blue-green, light blue, sky-blue, yellow, light salmon-pink, light red, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Mentioned by Juynboll 1903: 86. Right: the sage Darmaswami rescues a monkey and a tiger from a well There are stone ornaments on the ground. In the centre there is a round object decorated with parallel grey curving lines. It represents a well with a stone base. A man stands to the right. He faces left. He has almond-shaped eyes, a moustache and a knot on the top of his head. He wears a loincloth which com pletely covers his right leg but which only partly covers his left leg, a sash and a short jacket with long sleeves. He has a kris on his back in his girdle. His skin is light magenta. He looks into the well while holding a basket with a rope. A tiger lies in the basket. Its body is directed to the left, but its head is turned backwards
so that it faces the man. A grey monkey kneels on the left on the ground. It faces right. It makes a sembah to the man. A text in Balinese script in ink at the top on the left says: mpu darmaswami nirnbe, (Mpu Darmaswami nimba), the sage Darmaswami uses a bucket made from upih. (Upih is the sheath of the leaf of the pinang-palm). Above the tiger on the left is written: macan, tiger and: sémér, misi yéh, (sémér misi yéh), a well with water. At the bottom on the left is written: lutung, monkey. A brahman called Darmaswami rescues a tiger from a well. A monkey looks at it and honours the man with a sembah. This scene refers to the story of the brahman and the goldsmith described in the OJ Tantri Kamandaka 132, and in the Tantri Demung. In the Tantri Kaman- daka the sage is called Sajnyadarma, but in the Tantri Demung 4 (Cod. Or. 13.019) Darmaswami. The brahman is on the way to a holy bathing place. He is thirsty. He looks for water and comes across a well. He lets down a gourd to bring up some water. When he takes the gourd out of the well there is a monkey in it. The brahman asks how it fell into the well. The monkey says that it was because of a stormwind. He tells the brahman that more creatures have fallen into the well: a tiger, a snake and a man. He advises the brahman to rescue the animals but to leave the man, for he is wicked. The brahman then takes the tiger out of the well. It also advises the sage not to rescue the man. In the drawing the monkey thanks the brahman for rescuing him. Meanwhile Darmaswami takes the tiger out of the well. It speaks to him. Left: the sage Darmaswami after rescuing the tiger, the snake and also the man is given a head- band, a ring and a kris The ground is indicated by green dots. A man stands on the right. He faces left. He holds a kris and a sheath of black and white wood in his right hand and leans on a priest’s stick which he holds in his right hand. He has the same appearance as the man on the right. A tiger lies at his feet, and looks back at him. A snake, depicted on te left, also looks at him. A man, standing on the far left, faces him. He has almond-shaped eyes and a small moustache. He wears a loincloth, a sash and a kerchief round his head. His skin is light salmon-pink. He holds a finger ring set with three jewels in his right hand and a headband in his left. A text in Balinese script in ink on the left reads, pande, ngaturang kris, balëngkër, bungkung, saking pgahen hi macan, (pandé ngaturang kris, belengker, bungkung saking pagaén i macan), a pandé (smith) offers a kris, a headband and a ring on behalf of the tiger. Above the snake is written, nipi, snake, and at the bottom in the centre: macan, tiger. A smith offers a kris and jewelry to the sage Darmaswami on behalf of the tiger. The snake, curling around the smith’s feet, and the tiger look at the sage.
This scene refers to an episode described in the OJ Tantri Kamandaka 132-136. The brahman also rescues the snake. It gives the same advise as the other animals: “don’t take the man out of the well”. The brahman however thinks that he should rescue the man. He gets him out. The man honours the brahman with a sembah. He tells him that he is a goldsmith from Madura-Kling. He invites the brahman to his home whenever he passes by. The brahman con tinues his journey. He later meets the monkey again who offers him fruit, and the tiger, who offers him the jewelry which he had taken long ago from a prince who was hunting in the forests and who died there. They all regard these gifts as a reward for their rescue. According to the artist it is the goldsmith who offers the jewelry of the prince to the sage on behalf of the tiger. This differs from what is mentioned in the text. Cod. Or. 3390-194 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.5 x 41.7 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: red, magenta, light and dark green, blue-green, yellow, light salmon- pink, light blue, sky-blue, light grey, grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Mentioned by Juynboll 1903: 86. Right: The sage Darmaswami rescues a crab by taking it to water The ground is indicated by blue-green stripes and by light green dots. At the bottom on the left there is a rock ornament with a bird’s head en profil (karang curing) as a base. There is a leafy tree with a rock ornament at its foot and a stag horn fern (simbar) at the trunk on the left. A man stands on the right. He faces left. He holds a priest’s stick (teken) in his left hand and a crab in his right. He has almond-shaped eyes, a small moustache and a knot on the top of his head. He wears a loincloth which covers his right leg entirely but which leaves his left leg bare, a sash and a short coat with long sleeves. He has a kris on his back in his gir dle. The sheath is black and white. His skin is light salmon-pink. A text in Balinese script in ink in the centre says: mpu darmaswami makte yuyu, (Mpu Darmaswami makta yuyu), the sage Darmaswami carries a crab. Darmaswami, wearing the clothes, the top-knot and the cane which are characteristic of a padanda or a brahman ascetic, holds a crab. This scene refers to a story described in the OJ Tantri Kamandaka: 147. A brahman (called Dwijéswara in this text) wanders through the mountains. He
finds a crab on dry land. It is almost dead. The brahman feels pity for the crab and takes it to water. It should be noticed that in all drawings illustrating a story of a brahman, the man is called Darmaswami (Skt Dharmasvamin, Lord of the Law), which seems to be a general personal name for a brahman. Left', a crow and a snake discuss their plan to kill the brahman; the crab, hearing this, rescues the brahman by biting through the necks of the crow and of the snake The ground is indicated by light green dots. A tree, similar to the tree in the drawing on the right, stands to the left. There are three rock ornaments in the background. A rock ornament with a bird’s head en profil is depicted at the bot tom on the left. A black bird sits in the tree on the right. Its body is directed to the left. It looks down. A snake, curled in the branches of the same tree but on the left, faces right. It also looks down. A couch is depicted on the bottom left. It is covered with a mat. A man lies prone upon it. His head rests on three bolsters. The man looks like the man in the drawing on the right. His eyes are closed. The crab sits at the bottom on the left close to the couch. It holds the loincloth of the brahman with its left claw as if awakening him. A decapitated bird and a decapitated snake lie in front of the crab. A text in Balinese script in ink in the centre says: bgawan mpu darmaswami, sirep, (bagawan Mpu Darmaswami sirep), the sage Darmaswami sleeps. At the bottom on the left is written: yuyu, crab, and close to the bird: gwak kapit yuyu, (goak kapit yuyu), a crow decapitated by a crab. Close to the snake is written nanipi (nenipi), snake. At the top on the right is written: gwak ring kayu, sarëng nanipi (goak ring kayu sareng nenipi), a crow and a snake in a tree. A crow and a snake look down from a tree. The sage Darmaswami is asleep on his couch. The crow and the snake lie down, decapitated by the crab. The crab Ties to wake Darmaswami up. This scene refers to the following episode from the story of the brahman and the crab as told in the OJ Tantri Kamandaka: 146-148. The brahman is tired. He takes a nap close to the place where he left the crab in the water. Meanwhile a snake and a crow who live in the forest, discuss ways to collect food easily. They decide to help each other: the snake will kill some prey and the crow may eat it as w ell. They regard the sleeping brahman as good prey. They discuss the division of the work: the snake will poison the man and the crow will pick out the eyes. The crab hears them talking. He decides to rescue the brahman to demonstrate how grateful he is to the brahman for saving his life. He decides to behave as though he w ere trying to make friends with the snake and the crow. He offers to make their necks longer, so that they can bite and grasp things more easily. They extend their necks eagerly. The crab decapitates them. Three scenes are depicted in the same drawing: the crow and the snake talking, looking at the sleeping Darmaswami, and being decapitated by the crab and the cra b itself trying to wake the sage up after it has killed the snake and the crow.
Cod. Or. 3390-195 Two drawings on Dutch paper, watermark concordia, countermark VdL. 33.8x41.9 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: red, magenta, light green, green, light blue, light greyish-blue, sky-blue, light salmon-pink, light grey, grey, black, white. Artist: I Ketut Gedé. Origin: Singaraja. The blue paint on the rocks at the bottom on the left is damaged. Mentioned by Juynboll 1903: 86. Reproduced by Nieuwenkamp 1906-1910: 98, 99, and 1922: 226, 227. Right: a crane takes fish from of a pool and carries them off through the air The sky is indicated by light greyish-blue and light blue. There are light grey curving parallel lines halfway up the sheet indicating the sea. There are some rock ornaments at the bottom. A crane stands on the rock ornament in the centre. It faces left. It holds a lobster in its right claw and an eel in its beak. Various fishes, lélé, a crab, bejulit, deleg, boso and another lobster are depicted in the water. A large crab is depicted on the right. A frog sits on a rock. The same crane flies through the air at the top on the left. It faces left. It holds a fish in its beak and an eel in its claw. A text in Balinese script in ink on the left says: tibwan mahisi bé, hudang bjulit, dleg boso, btok, gadagan, mngarat, lindung, being, (tibuan misi bé, udang, be julit, deleg, boso, betok, gadagan, mengarat, linding, becing), a deep spot in a river containing fishes, shrimps, ales, pikes, a kind of lélé, flounders, large frogs, flatfish, eels and tadpoles. Close to the crane is written: sang cangak, the crane, and close to the bird fly ing in the air: cangak makbër ngabë bé, (cangak makeber ngaba bé), the flying crane carries fishes. A crane takes an eel out of a deep spot in a river. It then flies away through the air with the eel and another fish. This scene is described in the OJ Tantri Kamandaka: 120-126. Many fish live in a lake. A wicked crane wants to eat them all, but without going to a lot of bother to do so. It decides upon a trick: it behaves as though it were an ascetic and a sage for some time. It pretends not to eat fishes to gain confidence. Then it sits still and cries. It is asked by the fish why it is behaving like this. It says that terrible things are going to happen to the lake: fishermen will come to catch the fish, and poison the water. It tells them that it feels very sorry about what is going to happen to the fish. They ask it for help. It says that he should take
them to a lake away. It offers to carry them all. Thus the crane takes up the fishes in its claws and in its beak. It goes to the top of a mountain. It eats them off a flat stone. Left: the crab has just cut the neck of the wicked crane The ground is indicated by light green parallel curving lines and dots. There are rock ornaments at the bottom. There is a leafy tree on the left. There is a large, flat rock in the centre surrounded by other rocks. The rock at the bottom in the centre has a bird’s head en profil (karang curing) at the base. Fish scales and bones, the skeleton of a frog, the claws of lobsters and crabs are scattered on the ground. The crane stands on a platform. Its body is directed to the left. The crab hangs from the crane’s neck which holds it with its left claw. It has just cut the head of the bird with its right claw. Blood spouts from the crane’s neck. A text in Balinese script in ink to the right says: sang bakë, pgat bahéngngé, kapit yuyu, (sang baka pegat baongé kapit yuyu), the crane s neck is severed, pinched by the crab. Close to the platform is written: tulang bé, fish scales and bones. The crab has severed the head of the crane which stands on a platform sur rounded by fish scales and bones. This scene is described in the OJ Tantri Kamandaka 124-126. The crane has already eaten all the fish, but there is one crab left. It does not trust the crane. When it is brought to a platform it sees all the remains. The crab tells the crane to take him back to the lake or else it will kill the crane. The crane takes the crab back but it kills the crane anyway. The version depicted in the drawing is a little different, the crane is killed on the platform on the mountain, instead of at the lake. Cod. Or. 3390-196 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5x41.9 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours: red, light red, light salmon-pink, magenta, yellow, greyish-blue, light grey, grey, white, black. Artist-. I Ketut Gedé. Origin: Singaraja. The sheet is torn in the centre along the fold. The paint is slightly damaged. The drawing is reproduced in Nieuwenkamp 1906-1910: Contents I, and dis cussed in ibid.: 231-232. It is also reproduced in Nieuwenkamp 1929: 75 and discussed in ibid.: 73-76. It is mentioned by Juynboll 1903: 86.
A bull with a bell round its neck sits and talks with a tiger which faces it The ground is indicated by light green dots. A bull sits on its hindlegs on the left. It faces right. It wears a bell round its neck. Its left foot is stretched upwards. It has two large horns on the top of its head. A tiger sits on the right. It faces the bull. Its right paw is also stretched upwards. A text in Balinese script in ink at the top on the left says: sampi, mgantung gëntë, (sampi magantung genta), a bull with a bell round its neck. A text in Balinese script in ink at the top on the right says: samong, tiger. A domestic bull, characterized by the bell round its neck, sits and talks with a tiger. It is clear that the scene refers to a fable. Nieuwenkamp 1906-10: 231-232 men tions a story about a tiger, a bull and a palm-wine maker in which this scene and the scene depicted in Cod. Or. 3390-185 occur, but he does not refer to a par ticular source. In geguritan Gunawati (Cod. Or. 9313, I: 1-45) reference is made to the scene depicted in this drawing. A hungry tiger unable to find prey in the forest finds a bull called Guna in a stall. The tiger, called Gunawati in this text, boasts that it is of a higher rank than the bull, because it has no fear and because it eats men and animals. The bull is of low rank according to the tiger, which therefore pretends to have the right of devouring the bull. The latter says that man is the highest being and that man can easily kill a tiger, and that therefore the tiger has no right to kill the bull and eat it. To illustrate his point the bull speaks about the wisdom and the abilities of men. The bull wears an iron bell (genta) round its neck in the drawing. On Bali, however, bulls ususally wear wooden bells, called okokan, round their necks. Cod. Or. 3390-197 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.8 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, blue, blue-green, yellow, light yellow, light brown, white, black. Artist: no. 5. Origin: Badung. Sketches in pencil are still visible. Mentioned byjuynboll 1903: 86. Patih Bandéswarya and his daughter Dyah Tantri talk in a rest-pavilion. The servant Madukara watches Part of a building is depicted. There is a doorway on the left. It has a doorstep with stone ornamentation and meanders. It has double doors which are closed.
There is a curved lintel above the entrance decorated with floral ornaments. Two poles rest in stereobates on the right. They support a roof. Halfway up the poles there is a floor, which is usually made of wood. There is a checkered bedspread covering the floor. A pile of nine bolsters (galeng matumpuk sanga) lies on the bedspread on the right. There is a pile of three boxes in the background. A woman stands on the right and faces left. She makes a gesture which indicates that she is speaking with her right hand. Her left arm hangs by her side (matéken). Her face is refined. She has long hair and a diadem with a garuda or nament on her head. Her skin is light brown. She wears a skirt, a long loincloth, a sash wrapped round her breasts, a girdle round her waist and flat shoulder or naments. Her jewelry is characteristic of that of a princess. A woman sits on her knees behind her on the far right. Her right arm is bent in front of her breasts, her hand is limp. Her left hand rests on the ground. She has a refined face, long hair, and a small diadem with a garuda ornament. She wears a skirt, a long loincloth in kuta Mesir pattern and a sash wrapped round her breasts. Her jewelry consists of earrings and a necklace. Her skin is light brown. A man stands on the left. He faces right. He holds his loincloth with his left hand (nyaup kampuh) and makes a gesture which indicates that he is speaking with his right hand. He has a refined face with a small moustache. He has a diadem on his head. His hair is styled in a chignon curled inwards at the back of his head. There is a garuda ornament at the back. He wears a long loincloth in kuta Mesir pattern which does not cover his left leg, a sash with long ends, a small girdle, and shoulder ornaments. His jewelry is that of a royal personage. His skin is light yellow. He has a large kris on his back in his girdle. A text in Balinese script in ink in the centre says: dyah tantrëi, Dyah Tantri, and further to the left: sri bandéswa (ra, which is crossed out and followed by) ryya, Sri Bandéswarya. At the bottom on the right is written: hi madükara, I Madukara and in Latin script in pencil Van der Tuuk has added: Madukara. This scene may refer to an episode described in the OJ Tantri Kamandaka, 32-42. A meeting between Tantri and her father Patih Nïtibaddheswarya (OJ), or Bandéswarya as he is called in Balinese, is described. He serves king Éswaryapala of Jambudwipa, who is a very fortunate and powerful king. However he has a lust for young girls. He has the privilege of marrying all the virgins in his country. Finally no beautiful or noble girls are left. The patih is very unhappy about the situation. He retires to his rest-pavilion in his domestic temple. The pavilion is very beautifully decorated with cushions and expensive fabrics. He falls asleep. His daughter Tantri, a wise girl, is sent to him by her mother. She wakes him up. He tells her about his sorrow for her. She reassures him and convinces him that it is high time that she will be offered to the king. Being gifted in telling stories and fables and in recounting learned texts, she will be able to captivate the king’s thoughts for such a long time that he will forget his lust for virgins. Her father agrees and gives her advice in how to behave towards the king.
The presence of a servant Madukara is not mentioned in the text, but it is always the case that a noble girl is accompanied by a servant. It is probable that Madukara is a general name for female servants. Nawang Rum’s servant, for in stance, (No. 3390-136) bears this name. The boxes in the pavilion are from the bottom to the top, two kotak and a sokasi from basketery. The latter may contain sirih utensils, while the two kotak may contain clothes and lengths of cloth. Cod. Or. 3390-198 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.2 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light magenta, magenta, light violet, violet, yellow, light and dark green, light yellow, light brown, brown, light grey, white, black. Artist: Probably I Ketut Gedé. Origin: Singaraja. Mentioned by Juynboll 1903: 86. The god Indra talks to the god Kama who is embracing his beloved wife Ratih The ground on the left is indicated by horizontal stripes. On the far left there is a bush of leaves and stalks. There is a rock ornament with a bird’s head en profil (karang curing) at the top in the centre and there are ordinary rocks with stalks at the top in the centre and on the right. The ground on the right is indicated by a stone ornament with a meander motif and by horizontal stripes. A man stands on the left. He faces right. He makes gestures which indicate that he is speaking. His face is refined. He has a moustache. He wears a high, round crown (candi kurung) with a garuda ornament on the back of his head. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs, a sash with long ends, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A man stands on the right. He embraces a woman (ngelut). They both face left. The man, stan ding on the far right, holds his right leg around the woman’s hip (ngilid). He has placed his right arm round her shoulder. He touches her breast. He holds her left arm with his left hand. He has a refined face. His hair is styled in a double chignon (sepit urang) with a garuda ornament at the back. His skin is white. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The woman has a refined face and a diadem with a garuda ornament on her head. Her skin is light yellow. She wears a skirt, a long loincloth, a sash wrapped round her waist and a shoulder-piece. Her jewelry is characteristic of that of a princess.
A text in Balinese script in ink at the top on the left says: bhathtar indra, (Batara Indra), the god Indra, and at the top on the right: smara, rathtih, Smara, Ratih. The god Indra talks with the god Smara. Smara stands close to his beloved wife Ratih. Smara, love, or Kama (OJ, Skt kama), desire, are names for the god of Love. The scene may refer to an episode described in the OJ Smaradahana II: 1-3. The god Siwa has been meditating for a long time. He does not have any interest in his wife nor in any other women. A problem arises when the enemies of the gods, the demons, attack the Himalaya, the mountain of the gods. Brahma and Wisnu have already retreated, because they are frightened. Siwa cannot be disturbed, and anyway he will not fight. A trick has to be devised. It is decided that the god Kama should shoot one of his love-arrows at Siwa, so that he longs for his wife. She will become pregnant and give birth to a child with an elephant’s head. This child will defeat the demons. Indra goes to Kama’s residence. He asks him to shoot his arrows at Siwa. Kama agrees but only reluctantly for he is afraid that he will be killed. In the text Indra speaks to Kama alone (Ratih is in her pavilion). In the draw ing they are depicted close together in a posture which indicates a great love. Cod. Or. 3390-199 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.6 x 41.9 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light violet, light magenta, brown, light green, green, yellow, light grey, grey, white, black. Artist: Probably I Ketut Gedé. Origin. Singaraja. The sketches in pencil are still visible. Stains at the top on the left have been covered with white paint. Mentioned by Juynboll 1903: 86. Kama shoots love-arrows at the god Siwa who meditates There is a stone ornament halfway up the page to the right of the fold, and at the bottom to the left of the fold. A lontar-palm is depicted almost in the centre. A creeper (bun tan pa wit) winds itself round the trunk of the palm. Plants grow from the stones on the right. There are two pennants further to the centre on both sides of the sitting figure. There are three rock ornaments at the bottom on the right. The rock in the centre has a one-eyed ogre’s head (karang bintulu) with legs as a base (cf. No. 3390-46); the rocks on the sides are similar, but more stylized. A
man sits in lotus-seat in the centre of the stone ornament. His head and body are en face. He has four hands. He holds a rosary in his first right hand and a fly- whisk in his first left hand. He makes a gesture which is indicative of meditation (mamusti) with his other hands. He has three eyes of the refined type and a small moustache. His skin is white. He has a diadem with a garuda ornament on his head and a turban. He wears long trousers, a short loincloth, a sash, a girdle, a shoulder-piece and another sash crossed over his chest. There are two arrows with flowers at the top just above his head. They have been shot from the left. His tur ban and ear-jewels are surrounded by flowers. A man stands on the lefthand side. He faces right. He holds a bow in his left hand and an arrow with a flower at the top in his right. He aims at the figure to the right. He has a refined face. His skin is white. His hair is styled in a double chignon (sepit urang) with a garuda orna ment at the back. He wears long trousers, a short loincloth, a small one tucked up between his legs, a sash with long ends, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the left reads: sangyang puspacapa, (Sang Hyang Puspacapa), the god with the flower-bow. This is an epithet for Smara or Kama. He is supposed to have flower arrows and bow with which he shoots at people. They then fall in love. At the top in the centre is written: taru lontar, a lontar-palm. Further to the right: dwajë, (dwaja), standard, and: ru puspa, flower-arrows; at the top on the right is written: tünggul (tunggul), a standard, but the pennants are broader than umbul-umbul. A little lower, in the centre, is written: bathara siwwa, Batara Siwa. The god Smara aims at the god Siwa who meditates, with a flower-arrow. He has already shot several arrows. Siwa’s head is surrounded by flowers. This scene refers to episodes described in the OJ Smaradahana VI: 15-19 and VII: 1-14. Kama goes to Siwa. He sits and makes a gesture indicative of meditation. Kama honours the god who, of course, does not notice him. All kinds of flower-weapons appear. Kama takes his bow and starts shooting the weapons. The arrows miss the god. They become ordinary flowers and attach themselves to his headdress and to his earrings. The flowers surrounding the god’s head in the drawing represent arrows which have turned into flowers. The meaning of the term dwaja written close to the ban ner is not entirely clear. The object depicted does not look like a standard (dwaja) at all. Banners of the type depicted are called umbul-umbul or reronték in South Bali. Tunggul is the old Javanese word for such banners. Cod. Or. 3390-200 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.7 cm.
The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light blue, light green, green, yellow, brown, light greyish- brown, light salmon-pink, light yellow, light grey, white, black. Artist: no. 5. Origin: Badung. The sketches in pencil are still visible. Mentioned byjuynboll 1903: 86. The god Siwa and goddess Ginndraputn ride upon their mount , the bull. They are stopped by their son Kala The ground is indicated by a continuous rock ornament. There are awon-awon ornaments in the air (type I). A man and a woman ride a white bull on the right. They are surrounded by a nimbus. They face left. The man sits in front. He has his left arm round the shoulders of the woman (ngelut). He makes a gesture in dicating that he is speaking with his right hand. His face is refined. He has a small moustache. His skin is light salmon-pink. He has a diadem and a turban with a garuda ornament at the back on his head. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle and a white jacket with long sleeves, in a black kuta Mesir pattern. The woman holds her right arm close to her breast, the hand pointing down. Her head is askew. Her left arm hangs by her side. She has a refined face with long hair and a diadem with a high crown on her head. Her skin is light yellow. She wears a skirt, a long checkered loincloth, a sash wrapped round her waist which covers her breasts and a shoulder-piece. Both figures wear jewelry characteristic of that of royal personages. A male demon stands on the left. His body and head are en face. He touches the bull with his left hand. He holds a sword in his right hand. His legs are spread, his knees bent. He has a large face with bulging eyes, a large mouth with sharp eye-teeth and teeth on his cheeks. His skin is light greyish-brown. He wears a diadem on his head. He has tufts of curly hair on the top of his head. He wears short trousers, a short loincloth tucked up between his legs, a sash with long ends hanging down, a gir dle, a shoulder-piece and another sash over his right shoulder. A text in Balinese script in ink at the top on the left reads: batara kala (Batara Kala), the god Kala. In the centre in the nimbus is written: hyang siwa manung- gangngi lëmbu, (Hyang Siwa manunggang i lembu), the god Siwa rides a bull. At the top on the right is written: bata girindraputri (Bata(ri) Girindraputri), the goddess Girindraputri. At the bottom in the centre Van der Tuuk has written in Latin script in ink: lëmbu (lembu), bull. Siwa rides his bull with his wife Girindraputri, the daughter of the Lord of the Mountains. They meet their son Kala. He stops them. This scene refers to an episode described in various Old Javanese and Balinese texts. They are called
Kalapurana and Capakala in Old Javanese. Many of them have been edited by Hooykaas 1973 (1). Kala is the demonic son of Siwa. He is always hungry and thirsty. His father gives him a favour: he is allowed to eat people at midday and midnight and at cross-roads. He sends his son down to earth. A lot of people fall victim to him when he posts himself at a cross-roads. Some people complain to the god Siwa. He comes down to earth with his wife on his bull. They are stopped by their son at a cross-roads at noon. He says that he has the right to devour them, but Siwa foils him by a trick: Kala has to solve a riddle. When he solves it, he may devour them. Kala of course is not able to solve the riddle. His father then sug gests some changes in the eating habits of his son which will be operative in the future. Cod. Or. 3390-201 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, green, light blue-green, yellow, light blue, blue, light brown, brown, white, black. Artist: no. 5. Origin: Badung. The sketches in pencil are still visible. The sheet is torn at the top and at the bottom of the fold. Part of the drawing has been left uncoloured. Reproduced in Juynboll 1926: pi. 6. Garuda holds the elephant Bawasu and the tortoise Supratika in his claws. The sages Walikilya talk together at the foot of a tree. Garuda has a branch of the tree in his beak There is a continuous rock ornament at the bottom on the right. There is a blue-green stripe with three layers of continuous rock ornaments on the left at the bottom. There are awon-awon ornaments (type I) in the air. A large green winged figure stands or flies on the right. He has a human body, arms and hands, and legs, but for feet he has bird’s claws and his skin is like that of a bird. He has a head with a pointed beak, round eyes and curly hair. He wears a diadem. His wings point upwards on both sides of his body. His tail-feathers are directed up and over his head. He faces left. His knees are bent. He holds a tortoise in his left claw and an elephant in his right. They stand on the ground, facing each other. The tortoise has a fiery head. The elephant touches the tortoise’s head with its trunk. The bird wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece, and another sash crossed over his chest. His jewelry is that of a royal personage. The bird holds his left fist on his girdle and he makes a gesture indicating that he is speaking with his right hand. He holds a
leafy branch in his beak. A leafy tree is depicted on the far left. A creeper winds itself round the trunk. A small man stands at the foot of the tree. He looks right and faces a group of four other small men, two of which sit on their knees. They all wear turbans, short trousers, small loincloths tucked up between their legs, sashes, jackets with long sleeves and sashes over their shoulders. No paint has been applied to these small figures, except for the turban of one of the standing figures. The two men in the right foreground make gestures which indicate that they are speaking while the two men behind make obeisance and listen. The man on the left makes gestures indicating that he is listening. A monkey walks on all fours at the bottom on the left. Its body is directed to the left, but its head is turned to the right. It holds a fruit in its right front paw. A text in Balinese script in ink at the top on the right says: sang hyang garudda, (Sang Hyang Garuda), the holy Garuda. At the bottom close to the elephant is written: gajah kacapa (gajah kacapa), elephant and tortoise, and more to the left: gajah bawasu, (gajah Bawasu), the elephant Bawasu. On the far right is written: kacapa suppratika (kacapa Supratika), the tortoise Supratika. At the top on the left is written: hana tarü garodda (ana taru groda), this is a waringin-tree. The leaves on the tree in the drawing however do not resemble those of a waringin. Above the small men is written: bagawan sahasre, walikilya, (bagawan sahasra Walikilya), the thousand Walikilya. At the bottom on the left is written: sang wanari (sang wanari), a female monkey. Garuda holds the elephant Bawasu and the tortoise Supratika. In his beak he has a branch of a waringin”-tree, which stands to the left. He looks at a scene depicted on the left. This is a group of four small men clad like ascetics who stand at the foot of the tree. Two of them talk to another ascetic who leans against the trunk of the tree. A small monkey walks away with a banana. It looks backwards at the bird. This scene refers to an episode described in the OJ Adiparwa. 39-41 and in the geguritan Garuda Nebus Biang (Cod. Or. 15.421 and 14.487). Garuda has asked his father, the sage Kasyapa, what he is allowed to eat. Kasyapa advises him to go and find the two quarreling princes called Wibhawasu and Supratika in OJ. Since the death of their father they have been fighting each other because each of them wants to inherit his property. Wibawasu or Bawasu (Bal.) curses his younger brother so that he will change into an elephant. This happens. Supratika curses his brother so that he will change into a tortoise, and this also happens. In these guises they continue fighting each other. Garuda goes to the mountain Himawan, to find them. He picks them up and flies away with them. Close to the Lawana- ocean there is a large tree. At the foot of the tree there is the dwelling place of the very small, sixty thousand Walikilya, or Walakilya. Garuda wants to rest in the tree and to eat the elephant and the tortoise. When he perches on a branch, it breaks off. The Walikilya are frightened. Garuda picks the branch up in his beak so that the sages will not be crushed by the branch. He then flies off. His father Kasyapa goes to the sages and asks them to forgive his son.
The sixty thousand Walikilya are reduced to five in the drawing, and to thou sand in the text in the drawing. The sage depicted on the left does not represent Kasyapa, for he is always depicted as a tall man. The episode of Garuda and the elephant and the tortoise is still often depicted in cloth paintings, on cremation towers and in carved reliefs on Bali. It probably refers to, or perhaps it is linked with, problems of daily life. Korn 1924: 296 men tions that gajah kacapa is used as a term in Balinese Adat to indicate the se questration of land in disputes between two parties. According to KBNWB I: 648 gajah kacapa is kind of proverb. “Two persons fight to obtain something, but they are defeated by a third man”. Cod. Or. 3390-202 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.9 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, sky-blue, yellow, light blue-green, blue-green, light brown, brown, white, grey, black. Artist: no. 5. Origin: Badung. The sketches in pencil are still visible. The sheet is torn in the centre of the sheet along the fold. Reproduced in Juynboll 1903: pi. VII and described ibid.: 82-83. The princes Bawasu and Supratika fight each other. They change into a fighting elephant and a tortoise There is a floor ornament on the right of the fold at the bottom. There are discs representing waves above it. There are awon-awon ornaments (type I) in the cen tre and at the bottom on the right. On the left the ground is indicated by con tinuous rock ornamentation. There is a creeper with flowers on the far left. There are awon-awon ornaments (type I) at the top and in the centre. At the top on the left a bird flies to the left, but looks back to the right. A tortoise is depicted to the right. It faces left. It bites the back of the elephant standing on the left. The body of the tortoise is only partly visible because a man stands in front of it. He also faces left. In his right hand he holds a club with a ball of fire round the top. His left hand is akimbo (nyamir). He has round eyes and a moustache. His skin is light brown. His hair is styled in a double chignon (sepit urang) with a garuda or nament at the back. He has a diadem on his head. His legs are spread, his knees bent (agem). He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The elephant on the left
which bites the tortoise is also only partly visible because a man stands in front of it.The man faces right. In his right hand he holds a club with a fireball at the top. His left hand is akimbo (nyamir). His legs are spread, his knees bent (agem). He has a refined face with a moustache. His hair is styled in a double chignon with a garuda ornament at the back. His skin is light brown. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his right shoulder. A text in Balinese script in ink at the top on the right says: prabhü, suprëtikka, dadi, kcappa, (prabu Supratika dadi kacapa), King Supratika changes into a tor toise. At the top on the left is written: paksi pütar, (paksi puter), a wood-pigeon. Close to the man on the left is written: prabhü, bhawasü, dadi gajah (prabu Bawasu dadi gajah), King Bawasu becomes an elephant. Two kings, Bawasu and Suptratika, fight each other. They change into a fighting elephant and a tortoise. A bird watches. The picture refers to an episode described in the OJ Adiparwa: 39-40 and in the geguritan Garuda Nebus Biang (Cod. Or. 15.421 and 15.487). The episode has already been described in No. 3390-201. The men are called prabu, king, in the drawing, but according to the text they have not yet become kings. Cod. Or. 3390-203 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42.1 x 34 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, light green, light blue, light brown, light salmon-pink, brown, grey, black, white. Artist and origin: the sheet has been signed at the back: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. Garuda holds the elephant Bawasu and the tortoise Supratika in his claws The drawing is surrounded by a frame of ink stripes and a band of orange and salmon-pink. The sky is indicated by light blue, the ground by salmon-pink with grey and black dots. There is a leafy tree on the lefthand side. Leaves are in dicated by green and black dots. A winged figure holds an elephant and a tortoise in its claws. It faces left. The winged figure has a human body, a bird’s beak, bulging eyes, sharp teeth and fangs. It has long hair, while some of its hair is curled upwards at the back into a chignon. It has arms and legs, but its feet are like those of a bird of prey, with claws and spurs. It holds its hands close to its gir-
die. Its legs are placed wide apart, knees bent. It wears short trousers, a small loincloth tucked up between its legs, a sash, a girdle and a shoulder-piece. Its jewelry is characteristic of that of a royal personage. Its wings and tail point up ward. Its skin is light salmon-pink with green stripes and dots. The elephant on the left and the tortoise on the right face each other. A text in Balinese script in ink at the top on the right says: gajah kacapa (gajah kacapa), elephant and tortoise. At the bottom on the left is written: bawasü, Bawasu, and at the bottom on the right: suprathika, Supratika. A text in Balinese script in pencil in the frame at the top says: gajah kacapa, hadiparwwa, nga, (ga jah kacapa, Adiparwa nga.), elephant and tortoise from the Adiparwa. Garuda has caught the elephant and tortoise and flies away with them. This scene refers to an episode described in the OJ Adiparwa: 39-41 and in the geguritan Garuda Nebus Biang (Cod. Or. 15.421 and 14.487). The episode has already been described in No. 3390-201. Cod. Or. 3390-204 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.1 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours', red, pink, blue, light blue-green, blue-green, yellow, light salmon-pink, brown, light greyish-green, white, light grey, white, black. Artist: no. 5. Origin: Badung Garuda carries snakes to take them close to the sun There are awon-awon ornaments at the top and at the bottom (type I). There is an oval surrounded by triangles at the top left. This represents the sun. A winged figure stands to the right. He faces left. He has a beak like a bird’s, bulging eyes, sharp teeth and fangs, a coif on his forehead and locks of long hair at the back of his head and a diadem on its head too. His body is human. He holds three snakes in his hands. He has claws and spurs like a bird’s instead of feet. His left leg is bent and raised. The legs have skin like a bird’s. It is coloured greyish-green. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. The wings and tail point upwards. The snake held in his left hand is light grey. It has a round crown on its head. The snake in the centre is light brown with flames on its head. The third snake held in his right hand is green. It does not wear a crown. There are two more snakes at the bottom on the left. The bird stands with its right claw placed at the tail of one of the snakes. It looks at him. The snake wears a round crown with a garuda ornament on its
head. The other snake wears a diadem, a kekendon and a garuda ornament. It faces the first snake. Both snakes have curly hair. A text in Balinese script in ink at the top in the centre says: sang garüddë (Sang Garuda), Garuda. Garuda holds three snakes and carries them to the sun. He places one of its claws on one of the two snakes on the ground. Four of the snakes wear crowns or a diadem and have curly hair. This scene refers to an episode described in the OJ Adiparwa. 37-38 and in the geguritan Garuda Nebus Biang (Cod. Or. 15.421 and 15.487). Garuda’s mother Winata takes care of the difficult snake-children of her sister Kadru. She has to do what the children want. Garuda is embarrased and asks his mother why she behaves as she does. Winata answers that she has become her sister s slave because she lost a bet. Garuda blames the snakes for their attitude towards his mother. He chases them. He eats them when they go too far away and he takes them close to the sun to torture them. (They cannot endure the heat). Kadru feels pity for them. She asks the god Indra for help. He makes it rain to cool off the snakes. After this, the snakes disappear. Cod. Or. 3390-205 A drawing on Dutch paper, watermark concordia, countermark VdL. 42.3 x 34 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours', light red, light green, green, light brown, light salmon-pink, grey, light blue, white, black. Artist and origin: the sheet is signed at the back: gambar pakaryyan hida made tlagha, saking sanür griya tlagha, nirguna, hinakaya, puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Made Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. The sheet has been glued to a piece of thin, transparent cloth and is mounted in a passe-partout. Reproduced in Juynboll 1926: pi. 5. Garuda asks his father Kasyapa for food and takes his leave The drawing is surrounded by a frame drawn in ink with vertical stripes and orange and salmon-pink colouring. The air is indicated by light blue and blue and the ground by light brown with grey and black dots. A leafy tree with branches and leaves indicated by green and black dots is depicted on the right. There is the top of a similar tree at the top on the left. On the left stands a man. He faces right. He has his left hand on the shoulder of a figure kneeling in front of him. He holds
his right hand in front of his body. He makes a gesture which indicates that he is speaking. He has bulging eyes, a large pointed nose, a moustache, a long pointed beard and whiskers. He wears a diadem with a garuda ornament and a priest’s hat (ketu) on his head. His clothes consist of short trousers, a small loincloth tucked up between his legs and with long ends hanging down, a long coat with long sleeves, laces of bead around the shoulders, which are characteristic of a priest when he is officiating, and a sash over his right shoulder. His skin is light salmon-pink. A winged figure sits leaning on his left knee. He faces left. He has a head like a bird’s with a pointed beak, bulging eyes, a coif on his forehead and long hair at the back, and a diadem with a garuda ornament on his head. He makes a sembah. He has the claws and spurs of a bird. His skin is light salmon- pink. Black dots and stripes indicate that the skin is like a bird’s. His wings and tail-feathers point upwards. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a shoulder-piece while his jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top in the centre says: bagawan byasa, mica sangü, (bagawan Biasa mica sangu), the sage Biasa grants food. Above the bird on the right is written: ring sa garüda (ring Sang Garuda), to Garuda. In the frame at the top is written in Balinese script in pencil: hadiparwwa, papamit garudané, nunasangü ring bagawan kasyapa, gajah kacapa, nga, (Adiparwa, papamit Garudané nunas sangu ring bagawan Kasyapa, gajah kacapa nga.), from the Adiparwa, Garuda takes his leave and asks bagawan Kasyapa for food, the episode of the elephant and the tortoise. Garuda kneels down and makes a sembah to a man clad like a priest who is of ficiating, that is, he wears a mitre and beads (ganitri). Garuda is allowed to eat the elephant and the tortoise. The scene refers to an episode mentioned in the OJ Adiparwa: 38-39 and in the geguritan Garuda Nebus Biang (Cod. Or. 14.487). It has already been described in No. 3390-201. The sage is called Biasa in the drawing and Kasyapa in the text in the frame. The sage depicted in the drawing also represents bagawan Biasa, for he has round, bulging eyes. Kasyapa, who should have been depicted, has almond-shaped eyes. According to the OJ text, it is his father Kasyapa, whom Garuda asks for food. Cod. Or. 3390-206 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42.3 x 34 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours', red, light green, green, light blue, blue, light salmon-pink, light brown, brown, grey, black, white.
Artist and origin: the sheet is signed at the back: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. Garuda asks his mother for food The drawing is surrounded by a frame drawn in ink with stripes in ink and orange and salmon-pink colouring. The air is indicated by light blue and blue, the ground by light brown, and grey and black dots. There is a leafy tree on the righthand side. Leaves are indicated by light green, and by green and black dots. A winged figure crouches on the righthand side. He faces left. He has a beak like a bird’s with bulging eyes, sharp teeth and fangs, a coif on his forehead, long hair at the back and a diadem with a garuda ornament on his head. He makes a sembah. His legs have feet like claws with spurs. His skin is light salmon-pink and light brown with black stripes. His wings and tail point upwards. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is that of a royal personage. A woman stands on the left. She faces right. She is surrounded by a nimbus, which indicates that she is a divine figure. She touches the bird’s arm with her left hand. Her right hand she holds close to her waist. She has a diadem and a high crown on her head. Her hair is long. Her face is refined. Her skin is light salmon-pink. She wears a skirt, a long loincloth, a sash, a girdle and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the left says: winatha hibun sang garuda (Winata ibun sang Garuda), Winata, Garuda’s mother. Above the bird on the right is written: sang garüda, nünasangü (Sang Garuda nunas sangu), Garuda asks for food. In the frame at the top in the centre is written in Balinese script in pencil: papamit garüdane, ring hibünira kirang pasangü, kahicen desa candala, nga, makapasangü, (papamit Garudane ring ibu nira, kirang pasangu, kaicén désa Candala nga. makapasangü), Garuda takes leave of his mother, he does not have enough food, and so he is given the region in which the Candala live so that he may eat them. Garuda kneels and honours his mother, Winata, with a sembah. He asks her permission to leave after she has granted him a boon. He is allowed to eat the Candala. The scene refers to an episode described in the OJ Adiparwa. 38 and in the Balinese geguritan Garuda Nebus Biang (Cod. Or. 15.421 and 14.487). Garuda plans to free his mother from slavery. He asks the snakes how to free her. They say that he should search for amreta, the elixir of life. Garuda asks his mother’s permission to leave but before he wants to be sure that he will have enough to eat. She says that he should go to the island where the
C and al a (a group belonging to the lowest people of the lowest class) live and eat them. He may eat all the Candala, but he may not eat the few brahmans living there, for it is a great sin to kill a brahman. When his mouth gets as hot as a fire, it is a sign that he is eating a brahman, so he should spit him out. Cod. Or. 3390-207 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 41.9 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours: bordeaux-red, light red, magenta, light magenta, light green, green, light violet, violet, yellow, light yellow, light salmon-pink, brown, light grey, black, white. Artist: probably I Ketut Gedé. Origin-. Singaraja. The sheet is torn in the centre at the bottom. It is also damaged on the left at the bottom. The god Gana honours his mother Girindraputri with a sembah The ground is indicated by stone ornaments. There is also a meander orna ment to the right of the fold and there are panels with floral ornaments on the left. There are curved rock ornaments with leaves and creepers in the centre at the top. A leafy tree with flowers and a plant at the base is depicted on the right. There is another plant in the centre close to the fold. A woman stands on the left. She faces right. She makes gestures which indicate that she is speaking. She has a refined face, long hair, a kerchief (kekendon) with a garuda ornament round her head and a diadem on her head. Her skin is light salmon-pink. She wears a skirt, a long loincloth, a sash wrapped round her waist and breast, a girdle, a long sash with long ends over her breasts and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. A male figure sits on his right knee on the right. He faces left. He has a small trunk. He has bulging eyes, fangs, long curly hair, a ker chief (kekendon) with a garuda ornament round his head and a diadem on his head. He has a tail with a large jewel in the top. He makes a sembah. His skin is light magenta with white spots. He wears long trousers, a loincloth tucked up be tween his legs, a sash, a girdle, and a shoulder-piece. His jewelry is that of a royal personage. A text in Balinese script in ink at the top on the left says: batari giriputri, Batan Giriputri, the goddess Giriputri, or Girindraputri and on the right: battara ghganna, Batara Gana, the god Gana. Gana kneels before his mother Giriputri. The god has a human body, but a head like an elephant’s, characterized by the trunk, and a tail. The tail is a rather
exceptional addition. In drawings by other artists and in sculpture Gana is never represented with a tail. The scene may refer to episodes described in the OJ Smaradahana XXVIII and XXXVII: 5. The ferocious demon Nilangga attacks the gods. Meanwhile the god Siwa is full of love for his wife. She gets pregnant. The gods have discussed another trick to give Siwa’s child an elephant s head, because it has been decided that only such a son will be able to kill the demon. Indra frightens Uma or Giriputri with his elephant. As a result her child is born with a head like an elephant’s. When the demons under the command of Nilangga are about to defeat the gods, Siwa bestows a boon upon his son: he immediately becomes an adult man. He goes to the battle-field. He defeats the demon Nilangga. After the battle Gana returns to his mother’s palace. Everybody is glad to see him again. It might be Gana, who, returning home and making obeisance to his mother, is represented in the drawing. Another possibility is that it is his leave taking before going to the battle which is depicted. Such an episode, however, is not explicitly mentioned in the text. Cod. Or. 3390-208 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 40.9 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours', red, magenta, light magenta, bordeaux-red, light salmon-pink, salmon- pink, light green, green, light violet, violet, light grey, white, black. Artist: probably I Ketut Gedé. Origin: Singaraja. The burning of the god Smara by Siwa There are awon-awon ornaments (type II) at the top of the sheet. A five headed figure of a demon stands en face on the left. He has six hands on his right side and four on his left Some of the hands are empty, some hold different objects, so that the hands from top to bottom on the left bear: nothing, a sword, a double club (bajra), a flaming noose (pasa), a flaming discus (cakra) and a club with a three pointed ornament (bajra) on the top. On the right from top to bottom the hands bear: a sword, a flaming shell (sangka), a flaming discus (cakra); the lowest hand on the right makes a gesture (mudra). The heads are placed in three rows one above the other. There are three heads in the first row, one in the centre and two at the sides They have bulging eyes, fangs also on the cheeks, diadems while the head at the top wears a high crown. Flames surround the figure. His skin is light salmon-pink His legs are spread wide apart, his knees bent. His toes are curled upwards (tampak sirang). He wears long trousers, a short loincloth tucked up be-
tween his legs, a girdle, a sash, a shoulder-piece and his jewelry is characteristic of that of a royal personage. A man sits on his right knee on the righthand side. He faces left. He makes a sembah. He is surrounded by flames. There are also flames at the bottom. He has a refined face and a double chignon (sepit urang) and a diadem on his head. His skin is white. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece while his jewelry is characteristic of that of a prince. A text in Balinese script in ink at the top on the left reads: siwwamurthti, Siwamurti, a manifestation of the god Siwa as angry. At the top on the right is written: smara gsëng, (Smara geseng), Smara is burnt to death. In Latin script in ink has been added by Van der Tuuk: Smara gsëng. A fiery manifestation of Siwa with many heads, arms and weapons stands on the left. He menaces the god Smara who kneels in front of him. Smara is sur rounded by fire. This scene is described in the OJ Smaradahana VIII: 7-17. Finally Kama’s ar rows have an effect upon the god Siwa. As soon as he discovers Kama, he becomes very angry. He rises and changes into a giant. He has five heads, a lot of hair, and a thousand arms which bear weapons. A devastating fire emanates from his third eye. It surrounds Kama and burns him to death very slowly. Kama is in agony and invokes the other gods and his wife. After a long time he dies. The figure with many heads is called Siwamurti. Murti or pamurtian designates a metamorphosis of a god (Siwa, Brahma, Wisnu), or sometimes of a hero from the Mahabarata (Kresna, Gatotkaca) in the demonic, furious form. Such pamurtian are described in texts and depicted in drawings and in wayang figures. There exist various types of pamurtian. The manifestation of the god Siwa as furious has five heads and usually ten (twice five) hands which carry weapons. These weapons can be those of the Nine Gods of the Compass (Déwata Nawasanga) (Hooykaas 1971: 3). All of them are depicted by conscientious artists and sometimes an extra weapon is added, which is held in the tenth hand. The murti in the drawing has five heads, and six and four hands and carries a discus in a left hand as well as in a right hand. A Wisnumurti has three heads and four hands, as is shown in drawing No. 3390-177. Although it is explicitly mentioned in texts that Siwa has three eyes, and although the god is usually depicted with three eyes in drawings (see No. 3390-199), this is not the case in this drawing. Cod. Or. 3390-209 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 41.8 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, bordeaux-red, light magenta, magenta, light pink, light blue, light green, dark green, light salmon-pink, light grey, yellow, white, black.
Artist: I Ketut Gedé. Origin'. Singaraja. Reproduced in Prijono 1938: pi. IV. Klika honours Durga with a sembah There are awon-awon ornaments (type II) at the top and on the left. On the right a female demon stands in a dancing attitude which.is characteristic of demons. She faces left. Her elbows point upwards, her hands point downwards and are held close to her armpits (nyiku). Her legs are wide apart, knees bent (agem). She has bulging eyes, fangs, and fangs on her cheeks. She has long hair, a kerchief (kekendon) with a garuda ornament and a diadem on her head. Her skin is light salmon-pink with blue and white spots. Her breasts are large and wrin kled. She wears a skirt, a loincloth which leaves her left leg uncovered, a sash round her waist, a girdle and another sash over her right shoulder. Her jewelry is characteristic of that of a royal personage. Another female demon stands on the left. She faces right. She makes a sembah. Her knees are bent. She has large female eyes, fangs and long straight hair. Her breasts are large and wrinkled. Her skin is light pink with large blue and white spots. She wears a short loincloth, a sash round her waist with long ends hanging down and another sash round her neck. Her jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the right reads: btari durga, (Batari Durga), the goddess Durga, and at the top on the left: klika, Klika. A female demon, called Klika, makes obeisance to another, the goddess Durga. Durga is the demonic manifestation of the goddess Uma or Parwati, Siwa’s wife. Durga and Klika play an important role in the OJ Calon Arang and in the OJ Sudamala. In the OJ Sudamala I: 6-10 it is accounted how Siwa punished his wife Uma for adultery. She was cursed to become a demon and live in grave yards until she was exorcised by the youngest of the Pandawa brothers. In II: 56-70 Kunti, the mother and stepmother of the Pandawa approaches Durga. She asks her to allow the two giants Kalantaka and Kalanjaya to be killed for they wish to kill the Pandawa in the war between them and the Korawa. Durga answers that she will only agree to the death of the giants if Sadéwa is offered to her. Although Sadéwa is not her own child, Kunti can not go along with this. She leaves. In II: 71-75 Durga summons her servant Kalika (OJ) to Kunti. Possessed by Kalika (OJ) she will offer Sadéwa and he will redeem Durga. At first Kalika (OJ) refuses, but Durga manages to convince her. It seems probable that the discussion between Durga and Kalika (OJ, Klika (Bal.)) is represented in this drawing. KBNWB II: 428 refers to the goddess in the following way: “in the drawings Durga is represented as a man with large and pendulous breasts .
Cod. Or. 3390-210 Two drawings on Dutch paper, watermark concordia, countermark VdL. 42.2 x 34.5 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. The drawing on the bottom half is upside-down. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, light violet, violet, light and dark green, yellow, light grey, white, light salmon-pink, light brown, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet is torn in the centre along the fold. The paint at the bottom ol the sheet is damaged. Top-, the king of Wanokling sends his patih, Demang Ampuhan and his tumenggung, Gagak Baning to search for Durma A leafy tree bearing flowers stands at the top in the centre. Leaves are indicated by vertical stripes. The ground is indicated by light grey. A man sits on his right knee on the left. He faces right. He makes gestures which indicate that he is speaking. He has the face of a demon with bulging eyes, a full moustache, whiskers, and long curly hair. He has a diadem and a round crown (candi kurung) on his head. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a royal personage. Two men sit on their left knees on the righthand side. They face left. They make gestures which indicate that they are speaking. They look almost exactly alike: both have bulging eyes, full moustaches, chignons curled upwards, long hair at the back of their heads and diadems. Their skin is light salmon-pink. They wear long trousers, small loincloths tucked up between their legs, sashes and shoulder-pieces. The figure on the far right also has a sash crossed over his chest. A text in Balinese script in ink at the top on the left says: pum lalampahhan durma, prabu wanokling, ngutus hi patih, roro ngruruh hidurma, ka gunung, bapané mangun srama, haran rajapala, (puni(ki) lelampahan Durma, prabu Wanokling ngutus i patih roro ngruruh I Durma ka gunung bapanné mangun srama aran Rajapala), this is the story of Durma; the king of Wanokling sends the two patih to search for Durma who went to the mountains where his father Ra japala had founded a hermitage. At the top on the right is written: ngaran dmang hampuhan, tumënggung gagak banning, (ngaran Demang Ampuhan, Tumeng gung Gagak Baning), called Demang Ampuhan and Tumenggung Gagak Ban ing.
A discussion takes place between the king of Wanokling and his demang and tumenggung. They are to search for Durma. This scene refers to an episode described in the Balinese geguritan Rajapala (Cod. Or. 13.701). Durma is the son of Rajapala and the nymph Sulasih. They live in the country, Singapanjara, ruled by the king of Wanokling. After the birth of her son the nymph returns to heaven. Rajapala is very distressed. He retires from life. He lives like an ascetic in the forests on the mountains. His son Durma searches for him (Cod. Or. 13.701, II- 61) The king of Wanokling gives an audience, and waits and waits for Dur ma, but he does not appear (II: 72-76). He sends for his demung and tumeng gung. He orders them to go to the forest to find Durma (II: 77). Bottom-. Durma has killed the demons Kala Dremba, Kala Muka and Durgadém A couch seen from above is depicted. A grey and white checkered bedspread and a pile of three bolsters cover the couch. Three demons he prone upon it. Their heads are on the left. The pupils of their eyes are raised close to the upper part of their eyelids. This is a sign that the demons are dead. The demon lying at the top is female. She has large, wrinkled breasts. Her skin is light magenta with light grey spots. She has large, sharp teeth and fangs. Blood spouts from her half opened mouth and from her breast which has been stabbed by a man on the nght She wears a diadem on her head. Her clothes consist of a long loincloth and a sash round her waist. The figure lying in the centre is male. His skin is light brown. Blood streams from his nose, from his eyes, and from a wound m his chest. He has sharp teeth and fangs. He wears a coif on his forehead and a diadem on his head. His clothes consist of long trousers, a sash and a shoulder-piece. His jewelry is that of a royal personage. The figure at the bottom is also male. His skims light salmon-pink with light blue spots. He has sharp teeth and fangs, a coif on his forehead and a diadem on his head. He wears long trousers, a sash round his waist and a shoulder-piece. Another sash crosses his chest and hangs over his right shoulder. A man stands to the right. He faces leR His legs are spread apart He is stabbing the figure in the centre with his sword He holds his caste-cord with his left hand. His skin is white. His face is refined. His hair is styled m a double chignon (sepit urang). He has a diadem on his head. He wears long rousers, a small loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is that of a royal personage. , , * , A text in Balinese script in ink written vertically on the left says; kale dremba; kalamuki, huruju his.ri, „garan dnrgëdéning. sirep jron.ng grya, ,P»bwanoklmg wus kapilayu; hi durma, kutus hamjahhana, pjab kang detya tige, (Kala D e ba, Kala Muka, uruju istr, ngaran Durgadenmg strep jero mng gnya, prabu Wanokling wus kapilayu, I Durma kutus amejah^a, pejah kang de,y a , lg a) Kala Dremba, Kala Muka and the youngest called Durgadem a leep m the house. After the king of Wanokling runs away, Durma is sent to kill them.
three demons are killed. At the top on the left is written: hi durma, sdëk wngi, ngamuk (I Durma sedek wengi ngamuk), Durma kills them during the night. Durma stabs Durgandéni who is lying on a couch. He has already killed the other two demons, Kala Dremba and Kala Muka. This scene refers to the following episode in the geguritan Rajapala II (Cod. Or. 13.701). Durma has gone to the forest to search for his father. He meets three demons who perform ascetism. The two brothers are called Kala Dremba and Kala Muka. The third is a female demon, but she has the appearance of a beautiful girl. Durma falls in love with her. He wants to marry Durgandéni. The king of Wanokling wants Durma to come back. He forbids Durma to marry Durgandéni. She gets angry and changes into her demonic form. She abducts Durma. The king himself goes to the forest with his army. He hopes to defeat the demons, but they are very strong. He is chased by them. One night Durma goes stealthily to the king (II: 142-143). The king orders Durma to kill the demons (II: 148), for it turns out that only one person is able to do so, namely the son of a human being and a nymph (II: 161-162). This of course is Durma. At night, when the demons are asleep, Durma comes. He first stabs Durgandéni to death. Her brothers wake up. They fight with Durma, but they are defeated. They are then killed too (II: 168-171). In the drawing the order of killing is reversed. Durma has killed the brothers first. Cod. Or. 3390-211 Two drawings on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Polychrome, watercolours and ink. Colours-, red, light magenta, magenta, light and dark green, light violet, violet, yellow, light salmon-pink, light grey, white, black. Artist: I Ketut Gedé. Origin'. Singaraja. Left-. Durgandéni fights the envoys of the king of Wanokling, Demang Ampuhan and Tumenggung Gagak Baning There are two rock ornaments at the bottom. A female demon stands in the centre. She faces right. She fights two men. The woman’s legs are spread wide apart. Her loincloth is tucked up so that her pudenda are visible. She has a demonic face with bulging eyes, a large mouth, sharp teeth and fangs and a fang on her cheek. Her hair is long. She has a diadem on her head and a kerchief (kekendon) round it. Her skin is light salmon-pink with magenta coloured spots.
She wears a loincloth, a sash and a shoulder-piece. Her breasts are large. She stretches her left arm into the air and holds a man at the top on the right. She stabs him in the chest with her sword. The end of the sword is bent double. The man has round eyes, a full moustache, long hair, a diadem on his head while his skin is white. He wears long trousers, a small loincloth tucked up between his legs, a sash, a shoulder-piece and another sash crossed over his chest. His jewelry is that of a royal personage. He holds a kris in his right hand with which he stabs at the demoness’s shoulder. The end of his kris is also bent double. He holds his left hand close to his head. At the top on the left another man is depicted. He holds the woman’s kerchief with his right hand and pulls it. He leans with his left hand against her shoulder. His eyes are round. He has a full moustache, long cur ly hair and a diadem on his head. He wears long trousers, a sash round his waist and a shoulder-piece. His skin is light magenta. A text in Balinese script in ink vertically at the top on the left says: durgadé- ning, rnayude lawan patih roro, ngaran, dmang hampuhan, tumenggung gagak banning, (Durgandéni mayuda lawan patih roro, ngaran Demang Ampuhan Tumenggung Gagak Baning), Durgandem fights the two court functionaries call ed Demang Ampuhan and Tumenggung Gagak Baning. A demon called Durgandem, fights two functionaries of the king of Wanokling. They stab each other with krisses, but they do not wound each other, as the kris- ses bent double. This scene refers to an episode described in the geguritan Rajapala II: 87-96 (Cod. Or. 13.701). The king of Wanokling waits for Durma. He has sent the demang and the tumenggung to the forest to search for Durma. They meet Dur ma in the forest, but he wants to marry Durgandéni and refuses to return to the king. The functionaries object that Durma should fulfill his duty towards the king. Durgandéni gets so angry that she changes into a female demon. She chases the envoys. They draw their krisses and fight each other. Right'. Durgandéni takes Durma away after the fight There are awon-awon ornaments (type II) at the top. There are three rock or naments at the bottom. A female demon stands on the left. She faces right. She holds a man who faces left in her arms. She has a demonic face with bulging eyes, a large mouth with sharp teeth and fangs, and fangs on her cheeks. She has a diadem and a kerchief (kekendon) with a garuda ornament at the back on her head. Her skin is light magenta with magenta coloured spots. She wears a long loincloth a sash round her waist, and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. The man in her arms holds the left arm of the demon His left arm is held under her breast, his hand to the front of his body He has a refined face. His skin is white. His hair is styled in a double chignon He has a diadem on his head. He wears long trousers, a small loincloth
tucked up between his legs, a sash and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script on the right says: hi durma, ginamël déning détya, dénning wus kapilayu hi patih roro, tan pawisesa, (I Durma ginamel déning Détya Déning wus kapilayu i patih roro tan pawisésa), Durma is taken by force by the demon Déning after the two worthless functionaries have been put to flight. (By Déning Durgadéni is meant). This scene refers to an episode described in the geguritan Rajapala II: 97 (Cod. Or. 13.701). Durgandéni puts the demang and the tumenggung to flight. She takes Durma and goes off with him. Cod. Or. 3390-212 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, blue-green, light brown, brown, greyish- brown, light ochre, white, black, light grey. The sheet is torn in the centre along the fold. Artist: no. 5. Origin: Badung. Rangga Lawé who is seated on his horse Nilamara fights Nabrang The air is indicated by awon-awon ornaments (type I). At the bottom there is a continuous rock ornament. On the right a man sits on a white saddled horse. His feet are in the stirrups. He faces left. The man holds a lance with both hands. He stabs a figure on the left. He has a refined face. His hair is styled in a chignon of the Panji-type. His skin is light ochre. He wears short trousers, a small loincloth, a sash round his waist, a short sleeveless jacket (kuaca) and shoulder-ornaments. He has a kris on his back in his girdle. A pink horse lies at the bottom on the right. A man stands on the left. He faces the man on the right. His legs are wide apart. His right knee is bent. He has his left arm raised and with it he holds a round shield above his head. He has a kris in his right hand. He has round eyes, a full moustache, sharp eye-teeth, whiskers, and a cap on his head with a tuft of hair on top of it. His skin is light brown. He wears short trousers, a short loincloth tucked up between his legs, a sash round his waist, a short sleeveless jacket (kuaca) and another sash crossed over his chest. A peacock flies through the air at the top on the left and looks back at the scene. A text in Balinese script in ink on the right says: hi rangga wnang (I Rangga Wenang), Rangga Wenang. This is another name for Rangga Lawé. In the cen tre at the bottom is written: jaran hi lawé hinilëmamara (the second ma is crossed
out) (jaran I Lawé I Nilamara), Lawé’s horse, called Nilamara, or Nllambara (OJ). On the left is written: i nabbhrang (I Nabrang), Nabrang, or Kebo Anabhrang (OJ). At the bottom on the left is written: jaran hi nabbhrang (jaran I Nabrang), Nabrang’s horse. In the centre at the top Van der Tuuk has written in Latin script in ink: R. Lawe, Rangga Lawé. A man called Rangga Wenang or Rangga Lawé who is seated on a horse called Nilamara fights a man clad like a kebo who is called Nabrang. Nabrang s horse has already been killed; it lies on the ground on the right. This scene refers to an episode described in the OJ Rangga Lawe. In VIII Rangga Lawé who is the son of king Wiraraja of Madura is in the service of the king of the newly founded kingdom of Majapahit. This king is the former prince Wijaya and a cousin of Krtanagara the former king of Tumapel. Nambi, Sora, Kebo Anabhrang and Lawé are among the most important of the functionaries of Wijaya, who is now called Krtarajasa (OJ). Lawé is disappointed when Nambi becomes the highest court official (amangkubhümi) instead of himself or Sora. He starts sulking. A conflict arises. Although his father Wiraraja tries to avoid a bat tle, there seems to be no other solution. Lawe leaves Majapahit (X). In XI numerous fights take place between Lawe and the troups of Majapahit. In XI, 222-234 the crucial fight takes place between Lawé and Kebo Anabhrang. At first it seems that Kebo Anabhrang will lose. His horse is killed and it falls down. The kebo falls as well. He tries to stab Lawé’s horse Nllambara (OJ), but he does not succeed. The kebo withdraws for a while. The fight is resumed on the bank of a river and the fighters later move into the river itself. Kebo Anabhrang kills Lawé. Sora arrives and kills Anabhrang. Anabhrang is called Nabrang in the drawing and Rangga Lawé’s horse Nilamara and not Nllambara. In KBNWB I: 547 this discrepancy has already been noted- “Nllambara, name of a wondrous black horse; in the drawings Nilamara”. However, the horse depicted in the drawing is white and not black. According to KBNWB IV: 612 Rangga Lawé had another horse that was white. This was named Méga Lamat. Van der Tuuk adds that it occurs “also in the drawings; killed by him (Rangga Lawé) because it refused to move on the day of departure to the battlefield, because it was an inauspicious day . In VI 7 Wijaya meets the son of Wiraraja. He does not have a proper name, but he is’so strong (wenang) that Wijaya calls him Wenang. He also confers the ti tle of rangga upon Wenang. From now on he will be called Rangga Lawé or Rangga Wenang. . . . , . , The cock depicted at the top on the left of the drawing is frightened by the fierceness of the fight. It does not figure in the story. Cod. Or. 3390-213 A drawing on Dutch paper, watermark pro patna, countermark VdL. 41.7 x 34 cm.
The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light brown, brown, light green, green, light blue, grey, black. Artist and origin: the sheet is signed at the back: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Made Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Made Tlaga of the Griya Tlaga, Sanur, worthless, weak; paid five. Tua Daya and Panas Ati make obeisance to Cupak who has become crownprince The drawing is surrounded by a frame of ink stripes and a band of orange and salmon-pink. The sky is indicated by light blue at the top on the right, the ground by brown, grey and black dots. A leafy tree is depicted at the top on the left. Leaves are indicated by green and black dots. A man sits on a seat with legs (dedampar) at the top on the right. He faces left. He holds his sash with his left hand (nyamir) and with his right hand makes a gesture which indicates that he is listening. He has round eyes, a moustache and a small beard. His mouth is open. His hair is short and bristly. He wears a kerchief round his head. His skin is light brown. He wears a checkered loincloth and a sash round his waist. There is a kris at his back in his girdle. It has a brown and white sheath (pélét). On the bottom right a man sits leaning on his left knee. He faces left. He holds a vessel (lelan- cang) in his left hand. The ends of a pinang-cutter (caket) are just visible in the vessel. He holds his right hand on his knee. He has round eyes, a small moustache, a pointed beard and whiskers. A sash is bound round his head. He wears long trousers and another sash round his waist. There is a sirih pounder (pangratengan) on his back in his girdle. His skin is light brown. On the left a man sits leaning on his right knee. He faces the man on the seat. With his right hand he makes a gesture which indicates that he is speaking humbly (matur). His left arm rests on his knee. He has female eyes, a small moustache, whiskers and a kerchief round his head. His skin is light brown. He wears long trousers, a sash and a kris on his back in his girdle. The sheath for the kris is made from black and white wood (pélét). A text in Balinese script in ink at the top on the right reads: cüpakkagüng (Cupak agung), Cupak as crownprince. At the bottom on the left is written: panasati, Panas Ati. In the frame at the top is written in Balinese script in pencil: kaparëk hantuk twadaya, manasati, rong siki carakanya, (kaparek antuk Tua Daya, Panas Ati, rong siki caraka nia), giving audience to both his servants Tua Daya and Panas Ati. In the frame at the bottom is written in Balinese script in pencil: punika, nga, cupak lalakwané di hagung cupaké, kadama putra, hantuk prabu gëglang, réh ngangkën jayasatru, raksasa, (punika nga. Cupak lelakuané di agung Cupaké kadama putra antuk prabu Gegelang réh ngangken jayasatru
raksasa), this is the story called Cupak, when he was adopted as crownprince by the king of Gegelang, because he pretended that he had defeated a foe who was a demon. A man with coarse face sits like a king on a seat. His servant, Panas Ati, makes obeisance. He speaks to him. Another servant, Tua Daya, sits at his feet, and holds a vessel containing utensils for chewing betel. This scene refers to an episode from the Cupak story. Many versions of this story exist in both sekar madya and in sekar alit metres (Cod. Or. 16.175 kidung Cupak; Cod. Or. 15.597 and 16.253, geguritan Cupak). The story is also per formed in dance and in wayang (Cod. Or. 14.835, 17.546 and 17.553). The main theme is the abduction of the daughter of the king of Daha. Ac cording to the artist of the drawing she is the daughter of the king of Gegelang. The princess lives with a demon (called Liman Braru in the kidung version and Mandaru in the geguritan) in a forest. Two brothers go to rescue her. The elder one is called Cupak. He is lazy and overfond of eating. Moreover he is ugly and fat. The younger one is called Grantang. He is handsome and of noble character. It is Grantang who fights the demon and Cupak who hides himself because he is afraid. Grantang manages to avert her from the demon. While Grantang is hav ing a short nap, the demon takes the princess back home. Grantang now enters the house of the demon, which is deep down in a grotto. He kills the demon, releases the princess and sends her up. When he makes to follow, Cupak cuts the rope. Grantang remains in the grotto. Cupak goes to the king of Daha. He pretends that he is the one who has rescued his daughter. As a reward he is made crownprince. He is given a palace with many servants, who are kept busy all day finding animals for him to prepare to eat. This, and that he treats his servants in a very arrogant way makes him very impopular. In the geguritan Cupak IV: 7 (Cod. Or. 15.597) the scene depicted in the drawing is described as “Cupak madeg agung”, Cupak appointed as crownprince. His servants make obeisance to him and he gives orders about his food. As is rather common in written literature, the names of the servants are not mentioned. In live theatre and in the wayang, Cupak has two main servants, an elder and a younger one (panasar gedé and panasar alit). The elder one is called Tua Daya, and the younger one Panas Ati. The latter is often beaten by Cupak. Cod. Or. 3390-214 A drawing on Dutch paper, watermark pro patna, countermark VdL. 33.8 x 41.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, blue, blue-green, yellow, light brown, light ochre, light greyish-brown, light grey, black. Artist: no. 5. Origin: Badung.
Bragedab has shot an arrow at a garuda-like bird. Her servant Mén Nyempéng watches The air is indicated by awon-awon ornamentation (type I). A winged male figure stands on the left facing right. He has a bird’s beak, round eyes, curly hair with a coif on his forehead, and a diadem on his head. His wings and tail point upwards. His legs are spread, his knees bent. The lower half of his legs and his feet are those of a bird with claws and spurs. He has a human body and arms. He holds his caste-cord with his right hand. He makes a gesture which indicates that he is parrying with his left hand. An arrow has been shot into his chest. Blood pours from the wound. His skin is light greyish-brown. He wears short trousers, a short loincloth tucked up between his legs, a sash with long ends, a shoulder-piece and a sash over his right shoulder. His jewelry is that of a royal personage. A woman stands on the right. She faces left. She holds a bow with her left hand. Her right hand points upwards which indicates that she has just shot an arrow. She has a refined face, long hair and a diadem with a garuda ornament on her head. Her skin is light ochre. She wears a skirt, a long loincloth, a sash wrapped round her waist and covering her breasts, a shoulder-piece and a caste-cord. Her jewelry is that of a royal personage. A small woman stands in the centre. She faces left. Her arms hang by her sides, holding a sash (anteng-anteng) which hangs round her neck. It has a black and white Indian floral pattern. She wears a knot of hair on the back of her head. She wears a loincloth which reaches her knees. Her skin is light brown. A text in Balinese script in ink at the top on the right says: histri bragdab, Istn Bragedab, and in pencil and ink in Latin script Van der Tuuk has added: Bragedab, a woman called Bragedab. In the centre at the top is written in Balinese script in ink: sang garudda (Sang Garuda), Garuda. At the bottom in the centre is written: ménnëmpéng, Mén Nyempéng, and in pencil and ink in Latin script Van der Tuuk has added: Men njëmpéng, Mén Nyempéng. At the top on the right Van der Tuuk has written in Latin script in pencil: Amad, and in ink: uit de Amad, from the Amad. A woman, called Bragedab has shot an arrow at a garuda-like bird. Her ser vant, a woman called Mén Nyempéng, stands in the centre in front of her. This scene refers to an episode described in the Balinese kidung Amad XIV: 1-4 (Cod. Or. 13.973). Amad is the son of a poor widow. He has eaten the head of a particular bird. This gives him magical powers, which enable him to become a minister once. Amad is carried away by a white elephant of Siti Bagedab, the queen of Egypt. She has sent the animal to search for a suitable husband to be her king. Amad falls in love with the queen. When she discovers (IX: 23) Amad’s magical powers she makes him vomit. He brings up the head of the bird. Siti Bagedab eats it herself. Amad flees to the forest when he discovers that he has lost his powers. He meets (IX: 44-45) two jin. They offer him a magic bow, a wishing bag and a pair of
shoes with which he can fly through the air. Amad goes back to the palace of the queen. He has a quarrel with Siti Bagedab. A reconciliation takes place. Together they go to the island of Manceti (XIII). Amad is tired and goes to sleep. The queen stealthily takes his wonderful objects (XII: 44). She flies away through the air. She meets a garuda bird with an iron beak (XIV: 1). It tries to attack her, but she shoots an arrow at the bird’s breast and it falls from the air, dead (XIV: 3). In the drawing the queen is called Istri Bragedab instead of Siti Bagedab. She is also not wearing the shoes, nor the wishing bag, which according to the text she has stolen. She only holds the magic bow. Cod. Or. 3390-215 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.9 x 41.4 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light salmon-pink, light blue, dark blue, light blue-green, light yellow, light grey, white, black. Artist: no. 5. Origin: Badung. The sheet has been glued onto transparent textile and mounted into a passepar tout. The paint of Amad’s face is damaged. ..... Mentioned by Juynboll 1903: 83 and reproduced in ibid.: pi. VIII. Amad or, his horse Sambranifaces a kastuba tree. Two birds, a male and a female beofly away The sheet is covered with awon-awon ornamentation (type I). A leafy tree stands on a group of three rooks on the left. The rooks on the sides have a one- eyed ogre's head at the base. The rock in the centre has a flower ornament at the base. A creeper with flowers winds itself round the tru^ of the tree. A. the top on the right two birds with human heads fly to the right. The head of the bird on the left is like that of a woman and the head of that on the right like that of a man. She has a refined face. He has a headdress of the Panj.-type. Their skin «light salmon-pink. A man rides a white saddled horse on the right at the bottom^They face left The horse looks up into the tree. The man holds the reins with his left hand and holds a whip in his right. He has put his feet ,n he st.mips^ He has a refined face. His hair is styled in a chignon of the Pan,, type. Hls skin s light yellow. He wears short trousers, a short loincloth tucked up between his legs, a girdle, a sash round his waist, a sash over his left shoulder, a short jacket (kuaea) and a band over his chest. His jewelry is that of a royal Personage A text in Balinese script in ink at the top on the right over the left bud says: paks, bayan Iwana, (paks, bayan luana), a female beo and: paks. bayan mwanma ratuné bayan pu.ih (paksi bayan muaniné ra.une bayan pu.ih), male beo, the husband of the white beo.
On the left is written in Balinese script in ink: tarü kastuba, kastuba-tree, and in ink in Latin script Van der Tuuk has added: kastuba. Close to the horse is writ ten in Balinese script in ink: kudda, sambrënni sakintaru, psuné, (kuda Sambrani saking taru pesuné), the horse Sambrani comes from a kastuba-tree. Van der Tuuk has added in Latin script in ink: kuda Sambrani saking taru psuna. Close to the man on the horse is written in Balinese script in ink: hiyamad ring pulo manti (I Amad ring pulo Manyeti), Amad on the island Manyeti, or Manjeti. Van der Tuuk has added in Latin script in ink: amad ring pulo mandjéti. Between the horse’s legs Van der Tuuk has written in Latin script in pencil: uit de Amad, from the Amad, and close to his head in ink: Amad. Close to his left shoulder Van der Tuuk has added in Latin script in pencil: pulo mandjeti (pulo Manjeti). A man called Amad sits on his horse Sambrani and faces a kastuba-tree. Two birds, a male and a female beo, fly away. This scene refers to the following episode described in the kidung Amad XIV 6-16 (Cod. Or. 13.973). In XIV: 6-7 Amad wakes up. He discovers that his wonderful objects have been stolen. He is desperate. Two birds, a male and a female beo, arrive. The\ perch in a kastuba-tree for a while. They discuss why it has magical powers and in what they consist. Since the kastuba is a tree of heaven, it has magical powers: take a large branch from it and it turns into a horse; take a piece of bark and it turns into a saddle, while a small branch turns into a whip (XIV: 12-13). The birds fly away. Amad goes to the tree (XIV: 16). He breaks off a branch, which does indeed turn into a horse. It is called Sambarani. He also obtains a saddle and a whip in this way. Amad mounts the horse and rides off. In the drawing two episodes are depicted: the birds flying away, and Amad who sits mounted on the saddled horse close to the kastuba tree. He holds a whip in his hand. The horse is called Sambrani in the drawing instead of Sambarani. Sambarani might be derived from Skt sambharana, bearing together. The island can be called Manyeti, Manjeti or Manceti. Cod. Or. 3390-216 A drawing on paper, no marks. 34.5 x 43 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, light green, green, yellow, light yellow, light greyish-brown, light brown, brown, white, black. Artist: no. 5. Origin: Badung.
Détya Orta grasps at the god Indra. He tries to devour the god. Citranggada watches The air is indicated by awon-awon ornaments (type I). A demonic figure stands on the left. He faces right. He holds a man with both hands and bites him in the waist. His legs are spread, his right knee bent. He has bulging eyes, sharp teeth and eye-teeth, a fang on his cheek and a crown with a garuda ornament at the back on his head. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. His skin is light greyish-brown. The man who is being bitten faces left. In his right hand he holds a club with a bajra on the top. His left arm is bent (nyiku). His skin is light yellow. He has three eyes, a diadem and a round crown with a garuda or nament at the back on his head. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. Another sash hangs over his left shoulder. His jewelry is characteristic of that of a royal personage. Another man stands on the right and faces left. His legs are spread. His left knee is raised. He holds a weapon in his right hand. It looks like a snake tied into a knot with a bajra on the top. He holds his girdle with his left hand (nyamir). He has round eyes, a moustache, a double chignon (gelung buana lukar) with a garuda ornament at the back and a diadem on his head. His skin is light brown. He wears short trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal personage. A text in Balinese script in ink on the left says: détya hortta, (Détya Orta), the demon Orta; in the centre is written: sang hyangngindra (Sang Hyang Indra), the god Indra At the top on the right is written: critta, wuddyyoggaparwwa, (crita Udyogaparwa), story from the Udyogaparwa. On the right m the centre is written: sang hyang citrënggadda (Sang Hyang Citranggada), the god Citrang gada. A demon, called Orta, tries to devour the god Indra. He holds him in his hands. A man on the right, called the god Citranggada, watches. He holds a nagapasa, a “snake-loop”. TT , , c , This scene refers to an episode described in the OJ Udyogaparwa 4-6 (Cod. Or 13 239) The Creator, called Sang Hyang Twasta Prajapati, has made a three-headed demon. His job is to kill Indra. Indra, however, cuts off the heads of the demon. Birds fly from them. The Creator gets angry. He causes another demon called Si Orta (OJ Wrtta) to appear. His job is to try to kill Indra. The demon goes to Indra’s heaven to fight the god. There is no winner or loser however. Orta does manage to tear Indra open though. The other gods are told about the fight The god Wisnu tries to mediate. The demon who seems to be in vincible explains his secret to Wisnu. He cannot be killed by anything which is dry or wet nor by anything which is stone, nor by a weapon or by lightning
(bajra). He cannot moreover be killed in the hills or in the forests, nor can he be killed during the day and during the night. Indra continues the fight. He chases the demon. They arrive at the sea shore. Indra thinks of Wisnu and hopes for his help. The god comes up out of the sea. He represents the scum which floats on the sea as a weapon. At dawn, which is neither night nor day, Orta is killed. Citranggada watches the scene. He is not mentioned as an eyewitness in the Udyogaparwa. He is regarded as a servant of Indra in the wayang, in the live theatre and in cloth-paintings from Kamasan. In the OJ Arjunawiwaha XXI: 5, 7 Citranggada is one of the celestials of Indra’s heaven. In XXIII: 4, he rides in a chariot in front of Indra. He is probably depicted by the artist in this drawing as belonging to the suite of Indra. Cod. Or. 3390-217 Two drawings on Dutch paper, watermark concordia, countermark VdL. 41.5 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half. The drawing on the top is upside-down. Polychrome, watercolours and ink. Colours: light red, light violet, light green, green, yellow, light salmon-pink, brown, light grey, white, black. Artist: I Ketut Gedé. Origin-. Singaraja. Bottom-, the fiery tortoise, bedawang nala, is entwined by two snakes There are two rock ornaments with pointed leaves on the left. A tortoise is depicted on the right. It faces left. It is seen from the back, and from above. It has fiery hair. Two snakes are curled round its legs, its tail and its head. They have a large jewel at the tip of their tails. Their heads face each other and are above the tortoise. They both have one round eye, sharp teeth, fangs, long curly hair and diadems with high crowns on their heads. A text in Balinese script in ink at the bottom in the centre says: bad- dawangnala, kawilët hantuk hantabogga (bedawang nala kawilet antuk An- taboga), the Fiery Tortoise is entwined by Antaboga. A text in pencil in Latin script by Van der Tuuk on the left says: badawangnala, (bedawang nala), the Fiery Tortoise. The meaning and the application of the bedawang nala have already been described in No. 3390-8. It is to be noticed that while the tortoise is entwined by two snakes, only the name of one snake, Antaboga, is mentioned in the text. Antaboga who resides in the netherworld is described in No. 3390-40. Top-, a winged lion, singa barwang There are groups of pointed leaves at the bottom. A plant with long pointed leaves is depicted on the left. A winged lion stands in the centre. It faces left. Its
right paw is raised. Its mouth is wide-open. It has long, sharp teeth and long fangs. There are fiery manes on its head. A text in Balinese script in ink at the bottom left says: singnghabara (singa a(m)bara), winged lion. On the right has been written in Latin script in pencil by Van der Tuuk: singa barong. A barong or barwang is a honey bear. In Balinese iconography, however, singa barong or barwang and singa ambara or mara are represented in the same way: by a winged lion (see No. 3390-18). We must con clude that in Bali the terms ambara, barong, and barwang are associated with wings and with flying through the air. In KBNWB III: 399 and IV: 525, 902 two explanations which do not accord with each other, however, are given for singa barong: “a winged animal in the drawings”, and also: “without wings. Singa marwang has wings however”. Singa marwang is derived from singa ambara {KBNWB IV: 525). It is possible that the terms ambara and barwang have been confused. Cod. Or. 3390-218 Two drawings on Dutch paper, watermark concordia, countermark VdL. 4-2.7 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: dark red, yellow, light brown, light salmon-pink, light grey, light violet, violet, very pale blue, white, black. The red paint at the bottom on the left is damaged. Artist: I Ketut Gedé. Origin: Singaraja. Top: Sekar Kancana, disguised as a white eagle, fights Mégantaka who is disguised as a beri-bird The air is indicated by awon-awon ornaments (type IV). The sky is indicated by very pale blue. A winged male figure is depicted on the lefthand side. It faces right. Its knees are bent. It holds a long sword in its right hand and aims at the figure on the right. Its left arm hangs (matéken) by its side. It has sharp nails. Its head has a beak like a bird’s, round bulging eyes, sharp teeth and fangs. Its hair is styled in a chignon curled inward at the back of its head and a garuda ornament. It has a diadem on its head. Its wings and tail point upwards. Its skin is white. It wears a short loincloth, a small loincloth tucked up between its legs and a sash round its waist. Its jewelry is characteristic of that of a royal personage. A large bird flies on the right. It has a demonic head. It faces left. It has huge claws and spurs. Its skin is green. Its tail-feathers are like those of a peacock. Its head has bulging eyes, sharp teeth and fangs, and locks of curly hair on the top. It tries to attack the bird on the left with its claws.
A text in Balinese script in ink at the top on the left says: garuda putih, mayuda ring hambara, (garuda putih mayuda ring ambara), a white eagle fights m the air. At the top on the right is written: ngaran manuk bri pindrang larnya (ngaran manuk beri pin(d)rang elar nia), called a beri-bird. Its wing has been cut. At the bottom at the right is written: hi skar kahcanna, malingngsé, dadi garuda putih; hi mégantaka, malingsé, matmahan manuk bri, (I Sekar Kancana malingsé dadi garuda putih, I Mégantaka malingsé matemahan manuk beri), I Sekar Kancana changes into a white garuda bird and I Mégantaka changes into a beri-bird. A white bird armed with a long sword fights a green bird. It tries to cut off the wing of the green bird. The white bird is a transformation of the princess Sekar Kancana and the green beri-bird a transformation of Mégantaka. This scene is described in the Balinese geguritan Mégantaka IX: 61-63 (Van Eck 1875: 389-391). The fight between Sekar Kancana and Mégantaka continues. Mégan taka changes into a beri-bird and flies up into the sky. Sekar Kancana changes in to a white eagle (garuda putih) with an iron beak (cucuk ipun wesi agung). They fight fiercely, but both are equally strong so that there is neither winner nor loser. Beri is a difficult word to translate. According to Van Eck it means a griffin. In Cod. Or. 3265: 13 Van der Tuuk reacts rather indignantly on this translation. His view is that beri means a garuda-like bird (KBNWB IV: 870). Clearly the ar tist was of a different opinion. The beri-bird often is numbered among the birds listed in magic texts. Bottom'. Sekar Kancana threatens Mégantaka who has fallen from his horse. He lies on the ground bound around by a liane. Sentul holds the end of the liane There are several rock ornaments consisting of groups of rocks with stalks at the bottom and at the top. A demonic man lies on his back at the bottom. His head is on the left. A liane is tied round his body. He has bulging eyes, a full beard, a moustache, long hair, and a crown and a diadem on his head. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A saddled horse stands above him, facing right. A woman stands on the far right. She faces the man on the ground. She holds a pudak flower in her left hand. She points with her right index-finger (nuding) at the man. Her skin is light salmon-pink. She wears a skirt, a long loincloth, a sash wrapped round her waist and belly, and another sash with long ends which covers her breasts. One end of it hangs over her left arm. She has a refined face with long hair and a diadem with a garuda ornament on her head. A small, fat man stands in front of her in the centre. He faces left. He holds the end of the’liane in his right hand. His left arm hangs (matéken) by his side. His skin is light salmon-pink. He has female eyes. There is a kerchief round his head.
He wears a short loincloth tucked up between his legs, a sash round his waist and another sash crossed over his chest. A text in Balinese script in ink at the top on the left says: hi mégëntaka, labuh huli di tundun kudané, bungkus, kapanah haji bungan gadung, (I Mégantaka labuh uli di tundung kudané, bungkus kapanah aji bungan gadung), I Mégan taka has fallen from his horse and is tied by an arrow to a gadung plant. At the top on the right is written: skar kancanna, masikepudak lawan gadung, (Sekar Kan- cana masikep pudak lawan gadung), Sekar Kancana wields a pudak and a gadung flower as weapons. Further to the right is written: déwi skar kancanna, mayuda, lawan mégantaka, (Déwi Sekar Kancana mayuda lawan Mégantaka), Déwi Sekar Kancana fights Mégantaka. In the centre at the bottom is written: parëkan madan hi sentul (parekan madan I Sentul), servant called I Sentul. Mégantaka lies on the ground bound by a liane made of a gadung plant. Sekar Kancana stands in front of him. She makes a menacing gesture with her right hand and holds a pudak flower as a weapon in her left. Her servant Sentul holds the end of the liane which is tied round Mégantaka. The gadung (Dioscorea hirsuta) is a kind of liane which has flowers like rice flowers. The scene refers to the following episodes described in the Balinese geguritan Mégantaka X, 13-18 (Van Eck 1875: 404-409) and X, 25-28 (Van Eck 1875: 416-419). Sekar Kancana, still floating in the air after her fight with Mégantaka, determines to ask her mother for help. In the meantime, Mégantaka has resumed his human shape and has returned to the ground. Sekar Kancana meets the nymphs Supraba and Tilotama in the air. They have just taken the princess back to earth. The nymphs tell Sekar Kancana that Mégantaka s teacher was a jin. It will therefore take at least eight years to overcome him by ordinary means. They decide to give special weapons to the princess so that she can overcome Mégan taka. Supraba takes a pudak and a gadung (sekar pudak gadung melati) from her hairdress. They are to be used as arrows. When the princess is angry with Mégantaka she can kill him by shooting the pudak-arrow. When she wants to bind him she should use the liane. They advise Sekar Kancana to start fighting the next morning as soon as the sun has risen. Sekar Kancana goes back. According to the text she hands the weapons to her lover prince Mas Tilar Nagari. When Mégantaka meets the prince the next morning he starts laughing at him and abusing him. He heads his elephant at the prince. Mas Tilar Nagari shoots the gadung-hane arrow at Mégantaka, when he tries to shoot his nagapasa. The liane winds itself round Mégantaka so that he falls from his elephant. He is carried to Ambara Pati. In the drawing, however, it is the princess Sekar Kancana herself who shoots a liane-arrow and holds the pudak. Further, Mégantaka rides a horse and not an elephant. In canto IX, 21-30 (Van Eck 1875' 350-359), however, when the first meeting and the first fight take place between Mégantaka and Sekar Kancana, he rides a horse.
Cod. Or. 3390-219 Two drawings on Dutch paper, watermark concordia, countermark VdL. 42.2 x 34.5 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, yellow, light violet, violet, light green, dark green, light salmon-pink, light grey, white, light brown, black. Artist: I Ketut Gedé. Origin: Singaraja. Top: the envoy Langlang Duta, held by three men, is decapitated by Sentul A man stands in the centre. His body is en face, his head is turned upwards and to the right. He is surrounded by four men, two to his right and two to his left. He has been executed by a man who sits on the left with a sword. Blood pours from his neck. The pupils of his bulging eyes are close to his eyelids which is a sign that he is dead. He has a full moustache, long hair and a diadem with a garuda orna ment on his head. His skin is light brown. He wears long trousers, a short loincloth tucked up between his legs, a sash round his waist, and another sash crossed over his chest. His jewelry is that of a royal personage. A man stands to the right and stabs him deeply in the left shoulder with his kris held in his right hand. He holds the left arm of the man in the centre with his left hand. He has round eyes, tufts of short hair on top of his head, a moustache and a small beard. He wears a short loincloth, a small loincloth tucked up between his legs and a sash round his waist. His skin is light brown. His chest is covered with hair. Another man on the right sits leaning on his left knee. He holds the left leg of the man in the centre. He has almond-shaped eyes and a small moustache. His skin is light magenta. He wears a short loincloth tucked up between his legs and a kerchief round his head. The fourth man, who stands on the left, holds the right arm of the man in the centre with both hands. He has bulging eyes, a moustache and a small beard, two tufts of hair on each side of his head and a bald forehead. His skin is very light magenta. He has hair on his chest. He wears a short loincloth tucked up between his legs, and a sash. A text in Balinese script in ink at the top in the centre says: hi langlang duta, wus mahuduk kapilayu, raris ktut hantuk gbagan, katutugan jabaning taman (I Langlang Duta wus manyuduk kapilayu, raris katut antuk gebagan katutugan jaba ning taman), Langlang Duta, having stabbed (the princess) runs away. He is chased by guards and runs out of the garden. Close to the man sitting on the left is written: hi sëntul mangorok (I Sentul mangorok), Sentul cuts the throat. Close to the man on the far right is written in Balinese script in ink: gbagan (gebagan), guard. This is also written close to the man on the far left.
A man called Langlang Duta is seized by four men. They hold him. One man, Sentul, decapitates him, while another man, a guard, stabs him in the shoulder. This scene is described in the Balinese geguritan Mégantaka VI: 48-49 (Van Eck 1875: 114-115). Langlang Duta stabs the princess Ambara Sari in her breast. She cries for help. Guards come and chase him (gebagané ngagjagin). Sentul draws his kris. Just outside the garden they catch the murderer (katutugan reké di jabaning taman). They attack him and stab him with lances (pada manumbak). Sentul stabs him with his kris (I Sentul nyahcah nebekin). Langlang Duta dies. It is remarkable that the words used in the text of the poem are almost the same as those written on this drawing to describe what happens. Van Eck 1875: 113 tells us about the name Langlang Duta: “a person representing an accomplice, a spy, or an executioner in the service of kings and gods, is often called Langlang Duta in poems. In Balinese duta means bad, vile, a thief. It is connected with dusta, bad”. In fact duta means messenger, which accords with his role in the drawing. Langlang means clairvoyant, which is a quality valued in messengers and in spies. Bottom: the princess Ambara Sari dies. Rasa(sa)driya and Soka support her back. Sentul cries A woman sits on the ground in the centre. She faces right. Her legs are stretched out, her eyes closed. She leans against a woman who kneels to her left and behind her. Her right arm is stretched out backwards, while her left arm is placed round the shoulders of a third woman who sits to the right and who faces her. The face of the sitting woman is refined, her hair is long. She has a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, a girdle and a shoulder-piece. Her jewelry is that of a royal personage. Her skin is white. The woman kneeling on the lefthand side faces right. She leans her head against the head of the woman who sits in the centre. She holds the caste-cord of the woman in the centre with her right hand, while she holds her left hand on the other woman’s shoulder. Her face is refined. She has long hair and a diadem on her head. She wears a long loincloth, a sash wrapped round her waist, a girdle, another sash which covers her breast, and a shoulder-piece. Her jewelry is that of a princess. Her skin is white. The third woman, on the right, also kneels. She faces left. She supports the woman in the centre with her right hand and she holds the loincloth of the figure in the centre with her left hand. She has a refined face, long hair, and a diadem on her head. She wears a loincloth, a sash wrapped round her waist’ another sash which covers her breast and a shoulder-piece. Her jewelry is that of’a princess. Her skin is white. A man sits on the far right. He faces left. He holds his right hand in front of his face, the fingers pointing downwards, which indicates that something awful has happened. He touches the feet of the woman in the centre with his left hand. He has female eyes. His skin is very light salmon-pink. He wears a short loincloth tucked up between his legs, a sash round his waist and a kerchief round his head.
There are some awon-awon ornaments (type IV) at the top of the drawing and a bunch of flowers and leaves on the left. A text in Balinese script in ink at the top on the left says: hi rasësadrya nundang, (I Rasa(sa)driya nyundang), Rasa(sa)driya supports the back. In the centre is written: tuwan déwi sédë; (the pepet has been crossed out; hence séda) hi soka, (Tuan Déwi séda; I Soka), Tuan Déwi is dead; Soka. At the top on the right is written: hi sëntul nangis, (I Sentul nangis), Sentul cries. Tuan Déwi, the princess Ambara Sari, sits in the centre. She is dying, or has just died. Soka and another woman, called Rasadriya, support her. The servant Sentul weeps. This scene is described in the Balinese geguritan Mégantaka VI: 40-50 (Van Eck 1875: 114-115). Rasa(sa)driya supports the princess (Ni Rasadriya manyundang) and Soka blows in her ears in order to try to keep her alive. All around her cry. The princess announces that she is going to die. “I am departing from you, Sentul and Soka”, she says. According to Van Eck 1875: 47 Sentul is not really a personal name, but a general name for small boys who belong to royal suite. They usually appear under that name in stage-performances. Soka is an abbreviation of Angsoka (OJ, Skt Asoka, a tree—Grandiflora Kerr—with beautiful blossoms). According to Van Eck 1875: 67 it is a general name for a maid in the service of royal women. In the nineteenth century the name was used as a title for such maids only in the theatre. Cod. Or. 3390-220 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.8 x 42.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours', red, light magenta, magenta, yellow, light violet, violet, light green, dark green, light salmon-pink, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Mégantaka meets Sekar Kancana. He greets her, but she threatens him. A small boy does so as well There are rock ornaments at the bottom, at the top and to the right. They have leaves and stalks on the top. There are awon-awon ornaments (type III) at the top of the drawing. On the left a man drives a horse. He faces right. The horse has a saddle and stirrups. The man makes a sembah. He has a demonic face with bulg ing eyes, a full moustache, a beard, and long curly hair. He has a diadem on his head and a high crown with a garuda ornament at the back. He wears long trousers, a loincloth, a sash and a shoulder-piece. His jewelry is characteristic of that of a royal personage. His skin is light salmon-pink. A woman stands on the
right. She faces left. Her legs are set wide apart. With her right index finger she points at the man on the horse. In her left hand she holds a flower. She has a re fined face, long hair, and a diadem with a garuda ornament on her head. Her skin is light salmon-pink. She wears a skirt, a long loincloth, a sash wrapped round her waist, another sash which covers her breasts and a shoulder-piece. Her jewelry is that of a princess. A small boy sits in front of her. His right arm is raised. He points at the man on the horse with his middle finger. He holds a sickle in his left hand. He wears a very small loincloth tucked up between his legs, and a bell on a cord round his neck. He has a tuft of hair on his forehead. His skin is light salmon-pink. A text in Balinese script in ink at the top on the left says, hi mégantaka, ngling- gihin kudë, (I Mégantaka nglinggihin kuda), Mégantaka rides a horse. At the top on the right is written; déwi skar kancanna, Dewi Sekar Kancana. In the centre close to the boy is written; parëkan cnik ngabe harit (parekan cenik ngaba arit), a small boy-servant with a sickle. Mégantaka drives his horse. He greets Sekar Kancana who stands in front of him. She holds a weapon which is a flower and menaces him. A small servant-boy holding a sickle stands in front of her. He im itates her gesture. In the Balinese geguritan Mégantaka a meeting between Mégantaka who rides his horse, and Sekar Kancana is described in canto IX; 21-30 (Van Eck 1875; 350-359). Mégantaka leaves the garden in which the dead princess Ambara Sari lies. He heads towards the battle-field. He meets Sekar Kancana. He assumes that she has come from heaven, because she is so beautiful. He offers her gold and jewels, if she become his queen. Sekar Kancana gets very angry. She proposes a fight telling him that she belongs to Radén Mas Tilar Nagan. Mégantaka gets angry too and bends his bow. According to the text Sekar Kancana had not received the pudak and the gadung liane-arrows from the nymph when she met Mégantaka for the first time. They are used later, as described in No. 3390-218, by Mas Tilar Nagan when he fights Mégantaka (X- 25-28). In the opinion of the artist, however, Sekar Kan cana gets the weapons earlier and she uses them herself when she fights Mégan taka. Cod. Or. 3390-221 Two drawings on Dutch paper, watermark concordia, countermark VdL. 42.5 x 34.5 cm. . . The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, yellow, light violet, violet, light and dark green, light salmon-pink, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja.
Bottom.-, the prince of Ambara Madya is encircled by a snake-arrow. Sekar Kancana and her lover meet him, alone on the battle-field There are awon-awon ornaments (type IV) at the top. A man sits leaning on his left knee in the centre. He faces left. A snake wrapped around his body gazes at him from the left. They are both surrounded by flames. The man stretches his right hand and makes a gesture indicative of speech. His left hangs by his side (matéken). His hair is styled in a chignon curled inwards at the back of his head with a garuda ornament. He wears a diadem on his head. His face is refined. His skin is very light salmon-pink. He wears long trousers, a loincloth tucked up be tween his legs, a sash round his waist, a girdle, a shoulder-piece while his jewelry is characteristic of that of a royal personage. The snake has sharp teeth and fangs, curly hair, a diadem and a crown on its head. A jewel is mounted at the end of its tail. A man stands on the left. He faces right. He makes gestures which indicate that he is speaking. His legs are spread. His toes are curled upwards (tampak sirang). He has a refined face and a diadem on his head. His hair is styled in a chignon curled inwards on top of his head with a garuda ornament at the back. He wears long trousers, a short loincloth, a small loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A woman stands on the right. She faces left. She holds her right hand close to her cheek, which indicates that she is sad, and her left hand in front of her breast. Her skin is very light salmon-pink. She has long curly hair and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, another sash which covers her breasts, a girdle and a shoulder-piece. A text in Balinese script in ink in the centre at the top reads: hambaramadya, makilit nagapasah, (Ambara Madya makilit nagapasa), Ambara Madya encir cled by a snake arrow. At the top on the left is written: hambara pati, Ambara Pati. At the top on the right is written: déwi skar kancanna sdih ngton yam- baramadya; ksakitan makitër hapi, (Déwi Sekar Kancana sedih ngaton I Ambara Madya, kasakitan makiter api), Déwi Sekar Kancana grieves on seeing Ambara Madya. He is surrounded by fire and is being tortured. The prince of Ambara Madya sits in the centre, encircled by a fiery snake- arrow. He is to be burnt to death. A woman looks on, full of sorrow. She is called Sekar Kancana. Another man, clad like a prince, and called Ambara Pati, speaks to the prince of Ambara Madya. This scene refers to various episodes described in the Balinese geguritan Mégantaka. In canto VIII: 59-60 (Van Eck 1875: 316-317) Mégantaka attacks the prince of Ambara Madya, because the princess Ambara Sari from Ambara whom he wants for his wife, stays in Ambara Madya’s palace. He does not know, however, that she has already been killed. Mégantaka causes a storm-wind, so that all the men of Ambara Madya are blown away. Mégantaka shoots his nagapasa, snake-arrow, at Ambara Madya. The weapon winds itself
around him. In canto VIII: 62 (Van Eck 1875: 319) it is described how Ambara Madya is bound and left on the battle-field. The sun beats down and its heat is nearly unbearable. In canto IX: 2-7 (Van Eck 1875: 330-335) Mas Tilar Nagari (Ambara Sari’s brother) and Sekar Kancana, heading for Ambara Madya to help the prince against Mégantaka, come across the prince on the battle-field. The lat ter tells them how he was bound by the arrow and how much he is suffering. Mas Tilar Nagari asks Sekar Kancana to release Ambara Madya’s prince. She utters a charm which puts out the fire. The rope is made to disappear by another charm and finally the arrow breaks, and the prince is free. The arrow represented in the drawing is a nagapasa because it has the ap pearance of a snake. The man in the centre is called Ambara Madya after his country in the drawing. In the texts his personal name is Ambara Pati. However, the man on the left is called Ambara Pati in the drawing. He is surely the Mas Tilar Nagari from the texts, although this name is not mentioned in the drawing. Top: Ambara Sari and the nymphs Lotama and Supraba watch the fight between the prince of Ambara Madya and Mégantaka There are air-ornaments (awon-awon, type IV) at the top, at the bottom and in the centre. A woman stands on the left. Her body faces right. She holds a gadung flower in her right hand. She looks down, her head bent over. Her skin is very light salmon-pink. She has a refined face, long curly hair and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, another sash which covers her breasts and a shoulder-piece. Her jewelry is characteristic of a that of princess. A woman stands in the centre and another one on the far right. They face left. They look the same. Their bodies and heads are bent forewards. They hold their right hands close to their cheeks and their left hands in front of their bodies. They wear skirts, long loincloths, sashes wrapped round their waists, and sashes to cover their breasts, and shoulder-pieces. Their jewelry is characteristic of that of royal personages. They have refined faces, long curly hair and diadems on their heads. Their skin is very light salmon-pink. A small child who carries a cane sinh-box sits at the feet of the woman in the centre. He wears a very small loincloth tucked up between his legs. He has a small coif on his forehead. His skin is very light salmon-pink. A woman sits leaning on her left knee at the feet of the woman standing on the right. She faces left. She holds a sirih bowl (lelancang). Her hair is styled in an asymmetric chignon at the back of her head (tetagelan) with a small diadem. She wears a loincloth with a sash wrapped round her body and another sash which hangs round her neck. Her skin ls also very pale salmon-pink. A text in Balinese script in ink at the top on the left says: dadari suprabë nonton Paprangngé yambaramadya hulidyambarané, (Dedari Supraba nonton paprangé I Ambara Madya uli di ambarané), the nymph Supraba watches the fight of Am-
bara Madya from the sky. At the top in the centre is written: puniki, hatmané, tuwan déwiné pjah ring taman suduk langlang duta, sama nonton (puniki atmané Tuan Déwiné pejah ring taman suduk Langlang Duta, sama nonton), This is the soul of Tuan Déwi, who was stabbed and killed by Langlang Duta in the garden. They all look on. Van der Tuuk has added in Latin script in ink: nonton, looking. At the top on the right is written in Balinese script in ink: dadari lotamë, prësama hangiring, nonton yudané, yambaramadya (Dedari Lotama prasama angiring nonton yudané I Ambara Madya), the nymph Lotama, they all watch I Ambara Madya fighting. In the centre, close to the child at the bottom, is written: parëkan juru cannang, halit, (parekan juru canang alit), a small servant, a sirih-bearer. At the bottom on the right is written: pahjrowan, (panjroan), a female servant. Three women in the sky watch a fight which takes place below them. The woman carrying the flower is the nymph Supraba. She is accompanied by the soul of the dead Ambara Sari, called Tuan Déwi, Honourable Princess in the text in the drawing, and by the nymph Lotama. Two servants are present, one a small boy who carries a box containing sirih utensils, the other a woman with a sirih- bowl. The two women standing to the right each express their distress by holding a hand close to their cheeks. A similar episode, namely three women watching from the sky, is described in the geguritan Mégantaka IX: 36, 39-40 (Van Eck 1875: 364, 367-368). However, here they are not watching the fight we have just described, but the fight between Mégantaka and Sekar Kancana. The princess Ambara Sari cries while she watches. The nymphs Lotama and Supraba ask her why she is doing so, since they themselves enjoy the fight. The princess tells them that she feels guilty because her husband and her brother are suffering because of her. The artist has connected the watching of the women with the fight of the prince of Ambara Madya. This might have been influenced by the fact that in the Mégantaka IX: 64-65 (Van Eck 1875: 321-322) Ambara Madya s prince, left behind on the battle-field by Mégantaka, bewails his deceased wife. He summons her to look at him from heaven while he is bound and alone and suffering from heat and fire. Tuan Déwi is a title. It can be used to refer to any princess. In this drawing Tuan Déwi refers to Ambara Sari. Cod. Or. 3390-222 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.8 x 42.4 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, light magenta, light blue, dark violet, yellow, light green, dark green, light salmon-pink, light grey, black.
Artist: I Ketut Gedé. Origin-. Singaraja. Sekar Kancana menaces Mégantaka who has changed into a giant. Sentul imitates his mistress The ground in the centre is indicated by light grey. Above it there is a large rock ornament consisting of a combination of three rocks and stalks. There are V-shaped ornaments in black ink in the air. A demonic man stands on the left. His body is en face. His legs are spread wide apart. His skin is light salmon-pink. He wears long trousers, a loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash hanging over his right shoulder. His jewelry is characteristic of that of a royal being. He has three groups of three heads placed on top of each other. The heads in the centre are en face, those on the sides en trois quarts. They have bulging eyes and fangs. The heads to the sides have hands holding an attribute. The figure itself has four hands. The hands on the left hold (from bottom to top): a double lance, nothing, a kris, a discus, a mace, and another discus. Those on the right hold (from bottom to top), a fiery mace, nothing, another fiery mace, a discus, a flame and another mace. Weapons (an arrow and a mace, two discusses, a kris, three flames, three more arrows with three pointed ornaments on top) fly through the air to the right. A woman stands on the far right. She faces left. She points with her right index finger at the demon on the left and holds a pudak flower with creepers in her left hand. She has a refin ed face, long hair and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, another sash wich covers her breasts, and a shoulder-piece. Her jewelry is that of a royal personage. Her skin is very light salmon-pink. A small, fat boy stands in front of her over to the centre a little. He faces left. He holds a broken sickle in his raised right hand and he points up with his left index finger. His right foot rests on the rock ornament. He has a small coif on his forehead. He wears a small loincloth tucked up between his legs.^ A text in Balinese script in ink over the woman says: déwi skar kancanna, ngagern pudak lawan gadung, kanggén ngru, saking pawéh i suprabë (Déwi Sekar Kancana ngagem pudak lawan gadung kanggén ru saking pawéh I Supraba), Déwi Sekar Kancana handles a pudak and a gadung creeper as arrows which she was given by Supraba. Further to the left is written: hi skar kancanna, ngawijilang hujan byas lawan Pamor; masëpuk mangbëkin rat (I Sekar Kancana ngwijilang ujan bias lawan Pamor masepuk mangbekin rat), Sekar Kancana causes ram of ash and chalk to fall. This fills the world Nearer to the bottom is written: i mégantaka malmgsé, matënggëk 9 masoca, kadi bintang, kumancorong, (I Mégantaka malingsé matenggek’9 masoca kadi bintang kumancorong), Mégantaka changes form, so that he has nine heads and eyes like shining stars. Close to the boy is written: Parëkan ngaba harit lung, (parekan ngaba ant lung), a servant with a broken sickle. Above this Van der Tuuk has added in Latin script in ink: ant lung, a broken sickle.
Mégantaka has changed into a many-headed demon. He shoots various kinds óf arrows at a woman who stands in front of him. She menaces him and holds a pudak flower and a gadung liane as weapons. A little boy-servant stands in front of her. His weapon, a sickle, is broken. There is a rain of ash and chalk in the air. This scene refers to an episode described in the geguritan Mégantaka IX: 41-43 (Van Eck 370-372). Mégantaka and Sekar Kancana take many forms during their fight. Mégantaka changes himself into a giant (pamurtian). He is as tall as a mountain, with 1700 heads, 3200 hands, 2000 legs, 800 eyes and sharp fangs. The princess however causes a rain of ash and chalk (ujan bias lawan pamor) to fall. Mégantaka is blinded by it. He cries and shouts because he is in pain. He is forced to change back to his original appearance. Mégantaka is depicted as a pamurtian with only nine heads and twelve hands. He has shot arrows, a kris and flames at the princess. The V-shaped ornaments represent the rain of ash and chalk brought on by her. Such rains are caused by vulcanoes. According to the artist the princess has already got the pudak and the liane as weapons from he nymph Supraba. The boy-servant imitates his mistress: he points at Mégantaka and holds a weapon, but this is broken. Cod. Or. 3390-223 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.6 x 42.4 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light magenta, light blue, violet, light and dark green, yellow, light salmon-pink, light brown, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Mégantaka fights the prince of Ambara Madya The air is indicated by awon-awon ornaments (type IV). There are two rock or naments at the bottom in the centre. The higher of the two ornaments has an ogre’s head en profil at its base and stalks with leaves on the top of it. A demonic man stands on the left. He faces right. His legs are set wide apart. He holds a snake with both hands. He has a demonic head with bulging eyes, a full moustache and a beard, long hair, a diadem and a high crown with a garuda or nament on his head. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash, a girdle and a shoulder-piece. His jewelry is that of a prince. The snake has long curly hair, a diadem and a high crown, sharp teeth and fangs. A man stands on the righthand side. He faces left. His legs are spread apart. He rests his right foot on the rock. He holds a bow and an arrow with a crescent in his hands. He has
already shot three arrows at the man on the left, but they are bent double. The man on the right has a refined face, a chignon curled inwards with a garuda orna ment at the back of his head and a diadem. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash hanging over his left shoulder. His jewelry is that of a prince. A text in Balinese script in ink at the top on the left says, rajëmégantaka, ngagëm nagëpasah, (Raja Mégantaka ngagem nagapasa), king Mégantaka holds a snake-arrow. At'the top on the right is written: radén hambaramadya, harnen- tang ru, candrasa, (Radén Ambara Madya amentang ru candra(ha)sa), Radén Ambara Madya bends a bow with a candrahasa (moon-derider)-arrow. Radén Ambara Madya, who stands on the right, shoots arrows, including a candrahasa, at Mégantaka. This scene is described in the geguritan Mégantaka III: 59-60 (Van Eck 1875: 316-317). Mégantaka attacks the prince of Ambara Madya, because of the princess Ambara Sari. He first causes a heavy storm-wind to blow away all the prince’s men. Ambara Pati and his most trusted servant remain on the battle field. Mégantaka then shoots an arrow (nagapasa) at the prince. It winds itself round him. , , _ . . c .. In KBNWB P 569 Van der Tuuk refers to candrahasa (OJ) in the following way: “according to the Balinese, who turned this term into candrasa as the Javanese do, it is represented by a bow, as can be seen in the drawings . This observation, however, is not completely correct. Cod. Or. 3390-224 Two drawings on Dutch paper, watermark concordia, countermark VdL. The sheetjTfolded horizontally into two halves. Them is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. .. ,. . Colour,: red, light magenta, light blue, violet, light and dark green, yellow, ltght red, light salmon-pink, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Bottom: Limbur gives Langlang Duta a kns. She orders him to kill the princess Ambara San At the bottom of the drawing there are horizontal red and green stripes which indicate a stone floor and grass. There is a creeper with a large flower ™ the cen tre. A building with a roof with stone ornaments is depicted on the left. There are awon-awon ornaments (type IV) at the top on the right. A fat woman sits on er knees to the right She faces left. She holds a kris in her right hand and its sheath
in her left. She has a face which is only a little refined and long hair and a diadem with a garuda ornament on her head. She wears a skirt, a long loincloth, a sash with long ends round her waist and another sash round her neck. She has large, flat, wrinkled breasts. Her skin is very light salmon-pink. A man sits leaning on his right knee on the left. He faces right. He makes a sembah to the woman to the right. He has a demonic face with large bulging eyes, a sharp nose, a heavy moustache, a beard, long curly hair and he has a diadem on his head. His skin is light salmon-pink. His chest is covered with hair. He wears long trousers, a short loincloth tucked up between his legs, a sash and another sash crossed over his chest. A text in Balinese script in ink at the top on the right reads: hi limbur, ngutus i langlang dutë, tur kabahang kris, kris critë wadon, (I Limbur ngutus i Langlang Duta tur kabahang kris, kris crita wadon), I Limbur gives a kris of the type ‘crita wadon’ to I Langlang Duta and then sends him away. The kris represents a par ticular type. It is depicted in De Kat Angelino 1921: No. 14. At the top on the left is written: haran hi langlang dutta, kahutus ngmatyang twandéwi, ring taman, (aran I Langlang Duta kutus ngamatiang Tuan Déwi ring taman), called I Langlang Duta, sent to kill Tuan Déwi in the garden. At the bottom in the centre is written: malinggih ring babataran, (malinggih ring bebataran), sits on the pavement. An ugly woman, called Limbur, sends Langlang Duta who is kneeling in front of her away. He is to kill a woman called Tuan Déwi. Limbur gives him a woman’s kris which she is holding in her hand. This episode is described in the Balinese geguritan Mégantaka VI: 43-45 (Van Eck 1875: 112-113). Prince Ambara Pati of Ambara Madya is forced by his parents to marry the ugly eldest daughter of his mother’s brother. She is called Limbur. Since she is so ugly she makes use of a charm. She bewitches the prince so that he forgets all about his beloved Ambara Sari and thinks that she, Limbur, is the most beautiful woman of all. However, after one month the charm stops working and Limbur is afraid that then the prince will begin to remember the princess especially when he sees how ugly Limbur is. Limbur decides to put Am bara Sari out of the way. She therefore orders the wicked Langlang Duta, a messenger (janma duta) to come to see her. He arrives and sits on the ground (manegak di bebataran). “Help me to kill the princess in the garden (dig taman sarig)” she says to him. “When she is dead I will give you money. Go and stab her (eda wéra kema suduk)’’, she says to him. In the text Limbur’s ugliness is elaborately described (Van Eck 1875: 188-190). Her belly is as large as a basket and covered with wrinkly fat, her thighs which reach down to her calves are fat as well and look like the thickest type of bamboo. Her waist is like a box, her breasts are like large coconuts, she has a short neck, puffy cheeks, her lips are curled up, there are gaps in her teeth. She has bad breath, and she smells of urine. She has no eyebrows, red heavy, swollen eyes, a broad nose, flat nails, and she walks like a pig. She also has a speech defect.
In the live theatre in the regency of Tabanan she is called Galuh Siam, the princess of Siam, because it is said that she was born there. Top: the wicked Langlang Duta stabs the sleeping princess to death At the bottom of the drawing there are horizontal stripes in red which represent a stone floor. A small building with four poles set in stereobates and supporting a tiled roof stands in the centre. There is a couch inside the building. A tray with a fire is mounted on the pole on the left. It represents a lamp. Another lamp with a shade hangs from the roof. A woman lies on her back on the couch. Her head is to the left. Her eyes are closed. She rests her head on her left arm. Her right arm lies alongside her body. Her skin is very light salmon-pink. She has a refined face, long hair, and a diadem on her head. She rests on a pile of four bolsters (galeng matumpuk patpat). She wears a skirt, a long loincloth which loosely covers her body and a shoulder-piece. Her jewelry is characteristic of that of a princess. A man stands on the right behind the couch. Only the upper part of his body and his feet are visible. His body is en face, but his head is directed to the right as though he does not want to look at the lady. He stabs the woman in the left shoulder with a kris, so that blood pours from the wound. He holds his left hand to the coach while stabbing the woman. He has bulging eyes, a sharp nose, a heavy moustache, a beard, long hair and a diadem on his head. He wears a sash crossed over his chest. His long trousers and loincloth are only partly visible from behind the couch. His skin is light salmon-pink. A text in Balinese script in ink at the top on the right says: hi langlang duta, hanuduk, tuwan déwi, sdëk wngi, (I Langlang Duta anyuduk Tuan Déwi sedek wengi), I Langlang Duta stabs Tuan Déwi at night with a kris. On the left is writ ten: tuwan déwi, sirëp, di taman, (Tuan Déwi sirep di taman), Tuan Déwi sleeps in the garden. Above the lamp is written: damar, lamp. Close to the kns in the centre is written: rah (rah), blood, and on the right in the couch: nuduk manglén mata, (nyuduk manglén mata), he turns away his head while he stabs. A man called Langlang Duta stands behind the couch upon which the princess sleeps. He stabs her to death with the kris, but, because he turns away we may conclude that he does so reluctantly. This episode is described in the Balinese geguritan Mégantaka VI: 46-48 (Van Eck 1875- 114-115) Langlang Duta departs. Unseen he enters the sleeping place (pasarén) of the princess. She lies on her couch. Her legs are resting on bolsters (geguling). An expensive lamp (damar rawit) lights up her face. Langlang Duta hesitates, but since he wants the reward Limbur promised him because he is poor, he stabs the princess, but turns his head away. He strikes her in the breast so that hlood streams from the wound.
Cod. Or. 3390-225-228 Nos. 3390-225-228 belong together. They consist of two foolscap sheets of Dutch paper, mark P.v.L. and are bound and stitched round a thin piece of bam boo set in the centre of them. It was, at least in the regency of Badung and at the beginning of this century, not abnormal to use thin blades of bamboo by stitching them to the edges of a sheet of paper to make it strong. Such sheets, with dating tables and horoscopes written upon them, where mounted on the wooden back-piece (parba) of a balé. These can still be found, as for instance of the griya Taman, in Intaran, Sanur. The idea of using bamboo to make something stronger might have influenced its use in the drawings. The drawings are made by the same artist, which I call no. 3. Cod. Or. 3390-225 A drawing on Dutch paper, mark P.v.L. Polychrome, watercolours and ink. Colours: red, light green, ochre, light grey, white, black. Artist', no. 3. Origin: Buléléng. Three palm-trees', a coconut-palm, a lontar-palm and an areca-palm At the bottom of the drawing there are a number of floor ornaments with curls. Three trees are depicted in a row. On the left stands a palm-tree laden with coconuts. There is a creeper which is in flower on the left of the tree and a flower ing pudak in a pot on the right of the tree. In the centre there is a fern-palm bear ing fruit. It is surrounded by a fence (bebataran). Creepers and flowers grow on the far right and on the far left at the bottom of the fence and an ananas plant grows inside the fence. An areca-palm is depicted on the right. It is surrounded by a basket. A small quadruped, probably a squirrel (semal or kakap) climbs the trunk of the palm. A pudak plant in a pot stands on the far right. A text in Balinese script in ink at the top on the left says: punan huh, (punyan nyuh), coconut-palm, in the centre: hëntal, (ental), lontar-palm, and on the right: punan buwah, (punyan buah), areca-palm. Three palm-trees, a coconut-palm, lontar-palm and an areca-palm, are depicted. Each is surrounded by either a fence or a basket for protection and all grow in a courtyard with a stone floor. Pudak and ananas plants in pots or inside a fence, are also depicted. This drawing resembles No. 3390-25 which is unfin ished. The three trees are very important in the daily life of the Balinese. The large, green leaves of the coconut-palm (slépan) are used for offerings and as roofing material for temporary buildings, while the young, white leaves (busung) are also
used in offerings. The coconut shell was in former days used as a container (bruk) for salt, and for spoons; from the white fruit, copra and oil is made. It is also used in offerings. The wood is used as a material for building houses and bale. Old leaves, fruit, sheaths of fruit and of leaves (Hoping) are used as fuel. In former days sacks (tapis) are made from the sheaths and coffee and salt were kept in them. The lontar leaves are used for writing on and for offerings. The stalks of the fruit are cut (see Nos. 3390-182, 185), and from the sap a beverage called tuak is made. The fruit itself is used for making sugar. The areca-palm is important for its nuts. They are used for betel chewing. Cod. Or. 3390-226 A drawing on Dutch paper, mark P.v.L. 21 x 34.3 cm. Polychrome, watercolours and ink. Colours: red, pink, light green, ochre, light grey, grey, white, black. Artist', no. 3. Origin: Buléléng. Monkeys fight a male and a female demon A rock ornament with a spiral and with leaves and flowers is depicted on the far left. There are several rock ornaments at the top and at the bottom of the draw ing. A naked male demon stands to the left. His body is en face, but his head is en trois quarts and faces right. He has a large penis. He has small female eyes, pro truding teeth, long fangs, a long protruding tongue, a moustache and a beard. His hair is medium length. His body is coloured light green with pink spots. He stands with his legs wide apart. He holds a small grey monkey above his head with both hands. Blood pours from the monkey’s head and mouth. In the centre stands a naked female demon. Her body is en face, but her head « en trois quarts. She looks to the left. Her skin is ochre. Her pudenda are large. She has bulging eyes protruding teeth and long curly fangs. She holds a small grey monkey m her left hand. It hangs upside-down. The pupils of its eyes are close to its eyelids, a sign that it is dead Blood streams from its belly. The arms and feet of another monkey stick out of the woman’s mouth. Blood also streams from her mouthy A third monkey kneels on the ground on the right and looks at the pudenda of the woman. He touches them with its right index finger A fourth monkey on the far right is pulling her raised leg with both hands. The female demon holds another monkey in her left hand. Blood streams from its arm. The pupils of its eyes are dose to its upper eye-lids which indicates that it is dead. A monkey which bites her head is Hsible behind it. Blood streams from its mouth. The upper part of a seventh monkey is visible behind it. It faces right. It holds a stick with red leaves in its right hand.
A text in Balinese script in ink in the centre says: babutan, lawan horé, (bebutan lawan oré), demons and monkeys. A male demon and a female demon both with large sexual organs, are attacked by monkeys. They have killed or eaten some of the monkeys. Other monkeys bit or pull them about. This scene does not refer to any particular episode mentioned in a text. It is to be regarded as a bebanyolan or lelucon, a witty scene. However, a scene in which monkeys fight demons was almost certainly inspired by the OJ Ramayana. In several instances (XIX: 37-121, XX: 1-51, XXI: 172-175) fights between or dinary monkeys and demons are mentioned. In the abovementioned passages they were on the losing side and were hit, eaten, and bitten by demons. Cod. Or. 3390-227 Two drawings on Dutch paper, mark P.v.L. 42.7 x 34.4 cm. The sheet has been folded horizontally into two halves. A piece of bamboo is set in the centre. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: red, dark red, light red, light green, ochre, light grey, grey, white, black. Artist: no. 3. Origin: Buléléng. Top: Délem spears monkeys. Dead demons lie on their backs A small fat man stands on the left. He faces right. He holds a round shield in his left hand, high above his head. In his right hand he holds a kris on which three monkeys have been speared. The man has round eyes, a mouth with two broad teeth which protrude somewhat, a small beard, and a small diadem on his head. His hair is styled in a pony-tail on the back of his head. His skin is light orange red. He wears a small loincloth tucked up between his legs. His body is covered with hair. Two demons lie down on the right. The demon in the foreground represents a woman. Her feet are to the far right, her head to the left. Her puden da are large. The pupils of her eyes are close to the upper-eyelids, a sign that she is dead. She has large flat breasts. Her skin is light orange-red with light grey spots. Blood spouts from wounds in her neck and in her forehead. She has an enormous curly fang in her upper jaw, and a curly tongue which protrudes from her mouth. A monkey’s head is depicted between her head and the leg of the man on the left. Its eyes are closed. Another demon also lies on its back on the ground. His head, which is to the right, and the upper part of his body only are visible. His skin is light green. His eyes are closed. He has large, curly fangs and long curly hair. A piece of rock lies on the demon’s stomach. A small grey monkey is
depicted on the far right at the top. It jumps backwards to avoid being speared. A text in Balinese script in ink at the top on the left reads: horé, suduk délëm, (oré suduk Délem), monkeys speared by Délem. On the right close to the demons is written: babutan mati, (bebutan mati), dead demons. Two demons lie on their backs, squarted by a rock. The servant of the lefthand party, Délem, spears monkeys. Another monkey jumps away. This scene does not refer to any particular episode mentioned in a text. It is to be regarded like in No. 3390-226, as bebanyolan or lelucon, a witty scene. The scene of monkeys fighting with demons, however, is inspired by the OJ Ramayana as has already been mentioned in No. 3390-226. Bottom-. TwaUn fights Délem There are combinations of three rocks with black stalks at the top and at the bottom. A small, fat man lies on his back in the centre. His head is to the left. His hands are stretched high above his head. His kris and his shield lie on the ground on the far left. He has round eyes, and a single tooth in his half-open mouth. His hair is done in a pony-tail on the top of his head. He has a small diadem on his head. He wears a short loincloth and a sash. Another sash is crossed over his chest. His skin is light orange-red. A man kneels at his feet on the right. He strangles the other man with his right hand and pulls his sexual organs with his left hand. He has female eyes, a small beard and whiskers. He has one large, flat tooth in his mouth. His skin is grey. He wears a black, grey and white checkered loincloth. A text in Balinese script at the top in the centre says: towalén,^ Twalén. In the centre, close to the man lying at the ground is written, delem, Delem. On the far left: tamyang (tamiang), shield and, vertically: kadutan carita (crita), a small kris. Twalén, the servant of the righthand party fights Délem, the servant of the left- hand party. Twalén strangles Délem. His shield and his sword lie to one side. A hght between the servants of both parties does not refer to any specific text or story. Since the fight in the drawing is depicted in a series of drawings devoted to witty depictions of monkeys (who play a role in the OJ Ramayana) fighting with demons (who represent members of Rawana’s party), this fight can also be numbered among the drawings of the type depicted in the series. Cod. Or. 3390-228 Two drawings on Dutch paper, mark P.v.L. 43 x 34.3 cm. The drawing on the top half is on the verso side of No. 3390-227. The drawing °n the bottom half is on the recto side of No. 3390-225. Polychrome, watercolours and ink.
Colours: red, light red, ochre, yellow, light green, light grey, white, pink, black. Artist: no. 3. Origin: Buléléng. Top: two monkeys fight Délem There are rock ornaments at the top and at the bottom. A small, fat male figure, half lying on its back, is depicted in the centre. His head is to the left. His skin is light orange-red. He has bulging eyes, and a large, flat tooth in his wide- open, protruding mouth. His hair is done in a small pony-tail. He has a small diadem on his head. He wears a short loincloth tucked up between his legs, a sash round his waist and another sash crossed over his chest. He has a kris-sheath of black and white wood (pélét or pepélétan) on his back in his girdle. His kns lies on the ground behind him. His hands, which are stretched out, are held by a small light grey monkey on the left, which faces him. Another monkey standing on the right holds his left arm and leg and pushes his belly with its right foot. A text in Balinese script in ink at the top on the left says: horé, (ore), monkey. In the centre is written: délem, Délem, and at the top on the right: horé, (ore), monkey. , Délem, the servant of the lefthand party, is attacked by two monkeys. He loses his l^ris This scene is inspired by the OJ Ramayana, but does not refer to any particular episode. Ordinary monkeys fighting demons of Rawana’s army are mentioned in several places (see No. 3390-226). In the drawing the fight of some of the servants of higher-class monkeys with the servant of the lefthand party is represented. Bottom: female Sang Hyang dancers accompanied by a chorus of boys, and by musicians The colours of this drawing differ from those of the drawing on the top half of the sheet. They are: orange-red, light orange-red, yellow, ochre, light brown, light grey, white and black. The ground is indicated by a red line. A jaka-palm bearing fruit grows in the centre. A pot with leaves growing from it stands at the bottom and a little to the left. A building is depicted on the far left. Poles support the roof and there is a small staircase on the right. A small man sits leaning on his left knee on the right at the bottom. He faces left and looks at a musical instrument consisting of a kett e placed in a wooden frame. He holds a hammer. He wears a short loincloth tucked up between his legs, a sash round his waist, and a kerchief (dastar) round his head. His skin is light grey. He has female eyes. At the top on the right two men sit close to each other. They play large flutes which reach to the ground. The man on the far right wears a short loincloth tucked up between his legs, a sash round his waist and a kerchief round his head. His skin is light brownish-red. The man on the left wears a short loincloth, a sash round his waist and a jacket with long
sleeves. He has a kerchief round his head. His skin is white. Four small boys sit on the ground in front of the pavilion on the far left. They watch two figures depicted m the centre. Their mouths are wide-open. Three of them wear loincloths and jackets with long sleeves. The fourth boy wears only a loincloth. Their skins are of different colours: light grey, light brown and yellow. A girl stands in a dancing at titude to the left of the tree in the centre. She faces left. Her legs are slightly bent. She holds a fan in her right hand and hides her face with it. She holds her sash with her left hand. She has a small diadem and a large headdress. She wears a skirt, a long loincloth, a sash with long ends round her waist and another sash which covers her breasts. Her skin is white. To the left another girl is depicted. She comes down the stairs of the pavilion. She holds a fan in her right hand in front of her breast. She is clad in the same way as the other woman. Her skin is yellow. A text in Balinese script in ink close to the tree says: puhan jaka, (punyan jaka), jaka-tree Close to the building is written: papanggungngan, (pepanggungan), pavilion. Close to the man with the hammer: hong hametukkm, (ong ametukin), a man playing a ketuk. Close to the men playing the flutes is written: hong hahul- ing, (ong anyuling), men playing a flute. A text in Latin script in pencil by Van der Tuuk close to the flute player with brownish-red skin on the right says: brahmana, a brahman, probably because brahmans are associated with red. On the left is written vertically in Balinese script in ink: hong magendmg sangyang (ong magending Sang Hyang), men singing Sang Hyang songs. Above the woman in the centre is written: sangyang dadari, (Sang Hyang Dedari), a female Sang Hyang Dedari dancer. The same text in written close to the woman who comes down the staircase. ...... A Sang Hyang Dedari performance is depicted. Two (unmarried) girls dance accompanied by an orchestra to the right which consists of two large flutes and a bronze kettle. Four boys, also unmarried, sing. A temporary building, called Pepanggungan, is depicted in the background. . The headdress of the girls is called gelungan Sang Hyang Dedari. The dancing attitude of the girl in the centre is called ngliput kepet to make turning movements with the fan, and the attitude of the girl on the left is called mangelo ngliput kepet, to sway with the body and make turning movements with the fen The Sang Hyang Dedari dance is a god-mspired trance-dance (De Zoete and Spies, repr 1973- 70). The dancers are identified with goddesses. They are ad dressed as such, also in daily life. Their words are supposed to have healing power. They serve, like the dance itself, .0 expel evil such as epidemics. The boys and the girls who are chosen as Sang Hyang lead a special, pure life. They are supposed not to have had training in the dance; it is inspired by the gods. The dance is performed within the compound of a temple on the occasion of a temple festival. There exist various types of Sang Hyang Dedar, dances, depending upon the region i„ which they are performed. The dances themselves are always per-
formed by young girls. They go into trance by holding their heads over incense smoke. There are exceptions, however. In some villages, for instance Asak in the regency of Karang Asem, girls do not go into trance. Special songs (Cod. Or. 11 268 11.325, 11.452) are sung by a chorus of boys and sometimes also of girls. The music starts at the moment when the dancers are in trance or start dancing. In the songs heavenly nymphs, like Supraba and Tilotama, are invoked. The beautiful gardens of heaven and the fragrance of flowers are also described in the songs. In De Zoete and Spies, repr. 1973: 70 a particular Sang Hyang is men tioned in which the “sang hyang climbed a high estallage of bamboo, step by step, dancing all the while, and laid offerings on the altar at the top”. This description might well refer to what is depicted in the drawing. The girl, having laid offerings in the pavilion, comes down. It is a pity, however, that De Zoete does not mention the name of the village in which this type of dance is common, for it turned out to be impossible to discover where this type of dance is perform- ed. Cod. Or. 3390-229 A drawing on Dutch paper, mark Van Gelder. 34.4 x 20.5 cm. The sheet is the left side of a foolscap sheet. Polychrome, watercolours and ink. Colours: red, light green, green, light salmon-pink, light brown, brown, yellow, light violet, white, black. The sketches in pencil are still visible. Artist-, no. 12. Origin'. Buléléng. Sidapaksa A standing man faces left. He holds a piece of lontar-leaf inscribed with letters in his right hand in front of his chest. His left hand hangs limp. He has a refined face with a small moustache. His hair is styled in a double chignon with a garuda ornament at the back. He has a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash with long ends, a girdle and a shoulder-piece. His jewelry is characteristic of that of a prince. His skin is light brown. . A text in Balinese script in ink on the left says: siddapaksa, Sidapaksa. I he text on the lontar is only partly visible because the hand holding it covers the letters, but it can be completed easily. It says: ha (tur ti) tyangé ring hidéwa titiyang mapidawëg (ring i) ratu (atur titiang ring i Déwa, titiang mapidaweg ring i ratu), Dear Sir, excuse me for. The text begins in the way in which a letter to a high ranking person normally begins.
A man, called Sidapaksa, holds a letter. This scene refers to an episode des cribed in the OJ Sri Tanjung II: 26-27 and III: 37-41. Sidapaksa, the son of the Pandawa Nakula, is in the service of king Silakrama in Sinduraja. The king desires Sidapaksa’s wife Sri Tanjung and wants to eliminate the husband. He therefore sends Sidapaksa to Indra’s heaven to search for gold and for wool and gives him a letter for Indra. Sidapaksa is ordered not to open the letter. It says that a warrior has come, by which Sidapaksa is meant. Indra and the inhabitants of heaven get very angry and feel like killing Sidapaksa. Cod. Or. 3390-230 A drawing on Dutch paper, mark Van Gelder. 34.5 x 20.4 cm. This sheet consists in the right half of a sheet of foolscap. Polychrome, watercolours and ink. Colours: red, ochre, yellow, light brown, brown, light violet, light grey, white black. Artist: no. 12. Origin: Buléléng. The nymph Supraba A woman Mand» and faces left. She holds her hand in front of her body making gestures which indicate speech. She has a refined face long curly hair, and a diadem with a large garuda ornament at the back. She wears a skirt, a long loincloth, a sash wrapped round her waist and a shoulder-piece. Another sash in black and white batik patterns (batik Rembang) covers her breasts. Her jewelry is characteristic of that of a princess. Her skin is white, but the outlines of her arms, legs and face are light brown. A creeper with flowers grows in front o er. A tex, in Balinese script in ink a. the top on the left says: supraba, Supraba. The nymph Supraba is depicted. She is one of the most important nymphs hv- ing in India's heaven. She plays a role in many texts for instance n the OJ Ac junawiwaha, in the Oj Sri Taiijung, and in the Balinese Megantaka (see No. 3390-221). Cod. Or. 3390-231 A drawing on Dutch paper, mark Van Gelder. 34 x 20.3 cm. c , This sheet consists in the right half of a sheet of foolscap. Polychrome, watercolours and ink. . , ,• m „ rpen Colours: red, dark red, light salmon-pink, yellow, light violet, light green, g , light grey, white, black.
The sketches in pencil are still visible. Artist: no. 12. Origin: Buléléng. The god Mahadéwa A standing man faces left. He holds his left hand in front of him while his right hand makes a gesture which indicates that he is speaking (ngungkab suara) He has a refined face with a small moustache. He has a diadem on his head an is hair is styled in a double chignon with a garuda ornament at the back. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. He is surrounded by a pointed nimbus reaching to the ground. There is a creeper with large leaves on the left. A text in Balinese script in ink at the top says: bhathtara mahadewwa, (Batara Mahadéwa), the god Mahadéwa Mahadéwa is a manifestation of the god Siwa. He is associated with the West. His colour is yellow and his characteristic emblem is the snake-arrow (nagapasa). The double chignon the god wears means that in the drawing he is depicted as a voung man. In South Bali he is always depicted with a high crown (candi aping). His eyes may be drawn in different ways. In Hooykaas 1980 (1): pi. 5 he has small, male eyes while in the Sundarigama 1977, p. 22 he has bulging eyes^The figure in the drawing looks like the god Smara or Kama (see No. 3390-208). Cod. Or. 3390-232 A drawing on Dutch paper, mark Van Gelder. 34 x 20.7 cm. This sheet consists of the left side of a sheet of foolscap. Polychrome, watercolours and ink. Colours: red, ochre, yellow, brown, light green, light violet, magenta, white, Thfsketches in pencil are still visible. Part of the sash covering the breasts of the figure is unfinished and has not been coloured in. Artist: no. 12. Origin: Buléléng.
skirt, a long loincloth, a girdle, a sash round her waist and a shoulder-piece. Another sash covers her breasts. Long ends hang down over her left arm. Her jewelry is characteristic of that of a royal personage. Her skin is yellow. A text in Balinese script in ink at the top on the left says, gaghgar mayang, Gagar Mayang. Gagar Mayang is the name of one of the nymphs living in the realm of the god Indra. The flowers in the diadem are characteristic of the style adopted in North Bali. Cod. Or. 3390-233-236 Nos 3390-233-236 consist of two foolscap sheets (34.2 x 42 cm.). The sheets are folded vertically into two halves and stitched round a piece of bamboo mounted in the fold in the centre. The paper used is Dutch, mark P.v.L. The drawings are made by the same artist, which might be no. Cod. Or. 3390-233, 234 A «W' » f < h ' firs > foolsca P sheet ' They belong with each other. 34.2 x 42.2 cm. Ink, black and grey. Artist: Probably no. 3. Origin-. Buléléng. Anoraan Üs,rU ,0 Laugh,a, an eamy. Rama him a nag for Laksmana watches A monkey sits on the left. It faces right. It makes gestures th “ is speaking It wears rings on both thumbs and another S ' thumbs have long sharp nails. ^ “f " g iJngLs hanging down. It wears a small loincloth tucked up b ° t j „ „; r _ • ,, . , ... It also wears a sash round its waist and a gir is black, grey and white checkere. havc three sharp points (bajra) and they all die. Its armlets, wristlets and ankl P P white checkered pom, upwards. Its necklace rs m the fomn of a b,ae g y ^ a snake. It wears a band of jewelry round its knees. jewel at the tip, points upwards. at the base is depicted at its feet. A rock ornament with an ogre s P ft and a tree grows on them . A small There are two other rock ornament ^ sema n is depicted at the bot- quadruped, probably a kind °f sqmrr P ) The man ^ ^ left r k es^r Jlbmh-rntrh'ch ^ Z, he is speak,ng. He has a re-
fined face with a small moustache, a diadem and a high crown with a garuda or nament at the back of his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and jewelry characteristic of that of a royal personage. The man on the right holds an arrow in his right hand. His left arm hangs by his side (matéken). He has a refined face, a very small moustache and a diadem on his head. His hair is styled in a double chignon with a garuda ornament at the back. He wears long trousers, a small loincloth tucked up between his legs, a gir dle, a sash round his waist, shoulder ornaments and jewelry characteristic of that of a royal personage. A text in Balinese script in ink at the top on the left says: marutisuta, (Maruti Suta), Maruti’s son. This is incorrect. It should be either Maruti, the son of Marut, i.e. Anoman, or Marut Suta, the son of Marut. Marut is an epithet for Bayu, the god of the Vital Air. At the top in the centre is written: ramadéwa, (Ramadéwa), the lord Rama, and on the right: lak,ssmana, Laksmana. The monkey Anoman kneels before Rama and Laksmana. Rama is arguing. Laksmana holds an arrow. He is silent. Anoman’s hands are adorned with finger- rings. This scene may refer to an episode described in the OJ Ramayana VII. 49-52. Anoman is ordered to go to Langka as an envoy with Anggada, Nila, and Jambawan. Rama gives Anoman a ring which he is to give to Sita as a token of friendship. In the drawing, however, Anoman wears three rings. The points of his armlets point upwards. This is also the case in No. 3390-283, but for example in No. 3390-272 they point downwards. It is not clear why Laksmana holds an arrow. The same scene is depicted in No. 3390-283, but in that drawing Laksmana talks and does not hold an arrow. This scene is called kutus Anoman or Anoman duta, Anoman as an envoy, by the Balinese. Cod. Or. 3390-234A and Cod. Or. 3390-235 Two drawings on Dutch paper, mark P.v.L. Cod. Or. 3390-234A and 235 belong with each other. No. 3390-234A is on the recto side of the first sheet and No. 3390-235 is on the recto side of the second sheet. 34.2 x 42.4 cm. Ink, black and grey. Artist: Probably no. 3. Origin: Buléléng. Part of the drawing No. 3390-234A, namely the two children at the bottom on the right, is reproduced by Nieuwenkamp 1906-1910: 56 and described on page 49 of that book.
No. 234A-. Sita, sitting in a pavilion, draws her kris. Two children play at her feet. Luhganda watches The ground is indicated by stone ornamentation. A pavilion with a tiled roof is depicted in the background. Plants and flowers grow from stone pots, which have been placed close to the pillars on the left and on the right of the pavilion. Two parrots sit on two perches which hang from the roof on the left and on the right. A woman sits on her knees (matédoh) in the centre of the pavilion. She faces right. She holds a kris in her right hand. She has placed her left hand on the floor (matéken). She has a refined face with long curly hair and a diadem on her head with a large garuda ornament on the left. She wears a skirt, a long loincloth, a sash wrapped round her waist, another sash which covers her breasts, and shoulder ornaments. Her jewelry is characteristic of that of a princess. Another woman sits on her knees (matimpuh) in the foreground at the bottom on the left. She faces right. Her right hand rests on the floor (matéken), her left in her lap. She has a refined face. Her hair is styled in an asymmetric knot (tetagelan) tied at the back of her head. She wears a skirt, a long loincloth, a sash wrapped round her waist and another sash which covers her breasts. Two small children stand naked at the bottom on the right. They face left. The child on the left, a boy, pulls a toy bull on a string. He wears a bell round his neck. The child on the right, a girl, pulls the tuft of hair on the forehead of the boy. She wears a necklace made of beads. She carries a whip in her left hand. She also has a tuft of hair on her forehead.^ ^ ink at the top on the left says: déwi sita, Déwi Sita. In the arm of the woman at the bottom on the left Van der Tuuk has written in Latin script in pencil: Loganda and in ink: of Luhganda, or Luhganda. Sita, sitting in a pavilion, holds a kris. She is ready to stab herself. A woman of lower rank, Loganda or Luhganda, sits in front of her. A scene with two little children playing together is added. No. 3390-235: Rawana retreats with a drawn kris, after paying Sita a visit A man stands in a dancing attitude. He faces right. His left (nyingjing). He holds his left hand close to his forehead (ulap-ulap). He holds a raised sword in his right hand (nggawa). He has a demon,c face with bulging eyes, large eye-tee.h and a fall moustache. He has a dtadem w„h a garuda orna ment and a high crown on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round hts waist, a caste-cord and another sash crossed over his chest. His jewelry ts characteristic of that of a royal Personage. There are rock ornaments, consisting of combinations of three rocks, A textln Balinese script in ink at the top on the right says: rawapna, Rawana. Rawana, holding a kris stands in a dancing attitude before S„a who sits in her Pavilion. She has also drawn her kris.
This scene refers to an episode described in the OJ Ramayana VIII: 112-138. Rawana pays Sita a visit. He is sick with love of her. He tries to convince her to marry him. He offers her jewels. Sita does not respond. Rawana gets angry. He starts to tell her how eminent he is. Sita interrupts sharply. Rawana then draws his kris and menaces her. In oral tradition and in the dance and in drawings from Bali, Sita always has a kris with her and she is always prepared to use it when Rawana pays her a visit (cf. OJ Ramayana VI: 31, VIII: 112-138 and XVII: 1-61). This is not special to Sita, but is a characteristic quality of all faithful women. They would rather kill themselves than lose their honour. This scene is called panglemes Rawana, Rawana asks Sita to marry him, by the Balinese. It is also depicted in No. 3390-263, but here reference is made to another meeting between Rawana and Sita. Cod. Or. 3390-236 A drawing on Dutch paper, mark P.v.L. The left part of the drawing is on the verso side of No. 3390-235. The piece of bamboo holding the two sheets on which Nos. 3390-233 and 236 are depicted, is stitched in the centre. 34.2 x 42.7 cm. Ink, black and grey. Artist: Probably no. 3. Origin: Buléléng. Méganada fights Anoman who is bound by the snake-arrow A demonic man stands on the left. He faces right. He holds a double lance in his right hand. His left arm hangs by his side. His legs are wide apart, his knees slightly bent. The upper part of his body is bent forward. He has a demonic face with bulging eyes, and large eye-teeth in his upper jaw. He has a small diadem on his head. His hair is styled in a large double chignon with a garuda ornament at the back. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, shoulder ornaments and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. There is a rock ornament between his legs at the bottom and there are four rocks on the left at the top. In the centre three rocks are depicted one on top of the other. The topmost rock has an ogre’s head with one eye (karang bintulu) at the base, the rock in the centre a bird’s head en profil (karang curing). Another rock is depicted at the bot tom on the right. A monkey stands on the right. He faces left. A snake has wrapped itself round his body. Its head faces him. The monkey has large round eyes, sharp teeth and eye-teeth. His hair is styled in a double chignon. He has long, sharp thumb nails. He wears a small black, white and grey checkered loincloth tucked up between his legs. His armlets, wristlets and anklets have three
sharp points (bajra). They point upwards (menék). His necklace consists of a snake. The large snake which has wrapped itself round him has a diadem and a high crown on its head. A text in Balinese script in ink at the top on the left says, méganada, Méganada. At the top on the right is written: marutisuta, kna nagapasah, (Maruti Suta kena nagapasa), Marut’s son is hit by the snake-arrow. (As men tioned before, Maruti should be read either Maruti Suta, or Marut Suta). Méganada, armed with a double lance, stands in front of Anoman. The latter is tied up by a snake-arrow. This scene is described in the OJ Ramayana IX: 63-83. When Anoman destroyed the garden of Rawana, Méganada got very angry. In his anger he took his snake-arrow and shot it at Anoman. It wrapped itself round the monkey. This episode is called kategul Anoman, Anoman bound, by the Balinese. The first fight between Méganada and Anoman is depicted in Nos. 3390-120 and 267. Méganada is depicted with a double lance in the drawing. This weapon is one of his characteristics. Cod. Or. 3390-236A A drawing on Dutch paper, mark P.v.L. This drawing is made on the recto side left of the second sheet. 34.3 x 21.3 cm. Ink, black and grey. Artist: probably no. 3. Origin-. Buléléng. A gateway (paduraksa) with a staircase A gateway and a staircase are depicted. Both are covered by stone-ornaments. The gateway itself has a roof of five tiers. It is flanked by a small turret of three tiers. The tiers are decorated with a one-eyed ogre » head m the centre (karang bintulu) and a bird's head en profil (karang curing) at the sides. The top-pieces consist of a double curl as is depicted in No. 3390-26. There ,s a panel with a geometric decoration in the centre of each turret. , A text in Balinese script in ink at the top reads: paduraksa, paduraksa, temple gateway. , are characteristic of North Bali. Such a gateJay L',„° be founTfor “stance in the pura désa of Bungkulan (photograph No. 2). Cod. Or. 3390-237-240 Nos. 3390-237-240 belong together. They consist of two and a half foolscap w/ ö , hno stick in the centre. They are made sheets stitched together round a small bomb ^ ^ Du(ch mark p v L by the same artist, which I call no. 3. P P
Cod. Or. 3390-237 Two drawings on Dutch paper, mark P.v.L. 42.3 x 34.5 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. The drawing on the top half is in pencil. It is unfinished. It is not described in Juynboll 1911. The drawing on the bottom half is polychrome. Colours: red, light red, light green, light magenta, ochre, light grey, white, black. Artist: no. 3. Origin: Buléléng. Top: Rama, in the presence of Laksmana and Wibisana, orders Anggada to go to Rawana. Another monkey (Sugriwa, Anoman?) watches. Twalén and Mredah are present Three figures stand on the right. They face left. The figure in front is a man. With his right hand he makes a gesture which indicates that he is speaking. He has a refined face, a diadem and a high crown on his head. He wears a sash round his waist. The rest of his clothes and his jewelry are not finished. The figure in the centre has a diadem and a kerchief (kekendon) with a large garuda ornament at the back on his head. It resembles that of the figure of Wibisana in No. 3390-238, top. He presses his right hand to his chest. His clothes and his jewelry are not yet finished. The figure on the far right holds his caste-cord with his right hand. He has a refined face. His hair is styled in a double chignon. The outline of a sitting figure is visible at the bottom on the right. The figure represents a fat man who faces left. The eyes are of the female type. A monkey kneels on his right knee on the left. He makes a sembah. He wears a short loincloth tucked up between his legs, a girdle and a sash. He has a diadem on his head. His hair is styled in a dou ble chignon. His jewelry is not yet finished, which hinders his identification. Another monkey stands behind him on the far left. He faces right. His left hand is akimbo. He has a diadem on his head. His hair is styled in a large double chignon. His clothes and his jewelry are not yet finished. A small, fat figure kneels at the bottom on the left. He faces right. He has a small diadem on his head, his eyes are of the female type. He has a large, flat tooth in his upper jaw. The figure on the right represents Rama, while Wibisana is represented by the figure in the centre and Laksmana by the figure on the far right. They are accom panied by the servant Twalén. A meeting takes place between them and a monkey which kneels on the left. Another monkey stands on the far left and watches. The servant figure on the left represents Mredah. There is some difficul ty in identifying the monkeys. The scene probably refers to an episode described in the OJ Ramayana XVIII: 34-35. Rama, in the presence of Laksmana and Wibisana, orders Anggada to go to Rawana and ask for Sita back. According to the text Anoman is also present. The monkey on the far left in the drawing has not
been given armlets or wristlets. It is therefore difficult to say whether it represents Anoman (his jewelry always has sharp points), or Sugriwa. The kneeling monkey is probably Anggada. This scene is then called Anggada duta, or kutus Anggada, Anggada as an envoy by the Balinese. Bottom.'. Délem and Sangut guard the monkeys and the servants of the righthand party (Twalén and Mredah). They lie on their backs on the ground The air is indicated by awon-awon ornamentation (type IV). A leafy tree stands in the centre. It has magenta coloured fruit, probably rambutan. Seven figures lie on their backs in the centre. They are grouped in three rows. Their heads are to the left. They represent, from left to right and from bottom to top, a monkey with a diadem and a group of rocks on his head. His skin is light orange- red. A text in Balinese script in ink close to him says, girimuka, Girimuka, monkey with the mountain-head. The second figure is a monkey with a boar’s snout. He has a kerchief (kekendon) round his head and a diadem on it. His skin is light green A text in Balinese script in ink above it says: bawimuka, Bawimuka, a monkey with a boar’s head. A monkey with a bird’s head lies in the second row at the bottom. His skin is light green. He wears a diadem and a ker chief (kekendon) on his head. In the centre there lies a monkey with a bull’s head, he has two horns, a diadem and a kerchief (kekendon) on his head. His skin is light orange-red. A monkey with grey skin and horns lies at the top. He has a diadem and a kerchief on his head. Texts in Balinese script in ink at the top read from left to right: saraba, Saraba (from Skt sarabha, deer), wrasaba, Wresaba (from Skt vrsabha, bull), and gwaksa, Gawaksa. This is derived from Skt gavaksa, cow’s head, but on Bali it is associated with goak, crow. This explains why the monkey has a bird’s head in the drawing. A fat man with green skin lies in the third row on the far right at the bottom. He has female eyes. His chin pro trudes. He wears a short loincloth tucked up between his legs and a sash round his neck. Above him there lies another fat man. His skin is hght grey. He has female eyes. He wears a black, grey and white checkered loincloth. A text in Balinese script in ink above them says: twalén, Twalen, rnradah, Mredah The fact that Mredah’s skin is green clearly indicates that the artist comes from Buléléng. Another fat man stands on the far right. He faces left. He holds a round shield in his left hand and a kris in his right hand. He points at the group of figures lying on their back. He has round eyes, a moustache and a short beard and one large, flat tooth in his upper jaw. His hair is done in a pony-tail on the back of his head. He wears a small loincloth tucked up between his legs. His skin is light orange-red. A text in Balinese script m ink above him says, delem, Delem. Another rather fat man stands on the left. He faces right. He has a protruding mouth with one flat tooth in his upper jaw. His hair is done m a pony-tail on top of his head. His skin is light green. He points with his right index finger at the
igure standing to the right. His left arm points upwards. His attitude expresses surprise. He wears a short loincloth tucked up between his legs and an opium pipe on is back in his girdle. A text in Balinese script in ink at the top on the left says: sangut, bangut. In Latin script in pencil Van der Tuuk has added: of mengut, or Mengut (Mangut). At the bottom on the right Van der Tuuk has added in Latin script in pencil between the legs of the figure with grey skin: twalèn, Twalén, and e as added between the legs of the light green figure: rnredah, Mredah. I he servants of the lefthand party, Délem and Sangut, stand guard over a pile o monkeys and servants of the righthand party. They all lie on their backs. This scene possibly refers to an episode described in the OJ Ramayana XXIII: 25-29. any mon eys have been killed in their sleep by Indrajit’s sorcery. The pupils of e eyes o t e igures in the drawing, however, are not closed which indicates that ey are asleep, rather than that they are dead. Since the scenes in No. 3390-238 p an o. 90 239 top and bottom deal with sorcery and its results, this draw- g may a so address the same matter. This scene is called keni sesirep, caught by sleep, by the Balinese. Cod. Or. 3390-238 Two drawings on Dutch paper, mark P.v.L. The drawings are made on the verso side of the second sheet. 1 he sheet is divided horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. 41.7 x 34.5 cm. Polychrome, watercolours and ink. Colours, red, light red, pink, light green, light grey, yellow, white, black. e s eets appear to have been bound after being drawn, for the lower part of t e rawing on the top half and the upper part of the drawing on the bottom half are rendered invisible by stitching. Artist: no. 3. Origin: Buléléng. Top. Anoman brings the mountain with medicine to Rama, Laksmana and Wibisana. Twalén watches in astonishment A monkey stands on the right. He faces left. He holds a group of rocks with trees and plants m both hands. His thumb nails are long and sharp. His skin is white. His hair is styled in a large double chignon. He wears a small black, grey and white checkered loincloth tucked up between his legs with long ends hanging down, a sash and a girdle. He wears a small diadem on his head. His armlets, wristlets and anklets have three points (bajra), which are directed upwards. He wears a snake round his neck. Two men stand on the left. They face right. The man in front makes gestures which indicate that he is speaking. He has a refined
face with a small moustache, a high crown and he has a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle and a shoulder-piece. His jewelry is that of a royal personage. His skin is light green. The man standing on the far left makes gestures which are indicative of ap proval. He has a diadem on his head. His hair is styled in a double chignon. His face is refined His skin is white. The lower part of his body is invisible because a man crouches in front of him. He is probably wearing trousers, and it is clear that he wears a small loincloth tucked up between his legs a girdle, a sash and a shoulder ornament. His jewelry is characteristic of that of a royal personage. His skin is white. A man sits leaning on his right knee at the bottom on the left. He makes gestures which indicate that he is speaking. He has a refined face, a diadem on his head and a kerchief (kekendon). He wears long trousers, a loincloth tucked up between his legs, a girdle, a sash round his waist and shoulder ornaments. His skin is white His jewelry is characteristic of that of a royal personage. A fat man sits on the ground in the centre. He faces right. The monkey on the right touches his right knee with his left foot. His left hand is stretched out above his head which expresses awe, while his right arm is held backwards. His skin is light grey. His mouth is wide-open. He has one flat, broad tooth in it His hair is done in a small knot at the back of his head. He wears a small loincloth tucked up between his legs, and a sash crossed over his chest. ... . A text in Balinese script in ink at the bottom on the right says: marut.suta, ngaba gunung, (Marut. Seta ngaba gunung), Marut s son came, a mountain (It should be either Maruti or Marut Suta). In the centre ,s written: twalen Twalen; at the top on the left: lakasmana, Laksmana, and: ramadewa, (Ramadewa), the lord Rama. Above the sitting man is written: bisana, (W.)bisana. The monkey Anoman carries a mountain covered with vegetation to Rama, Laksmana and Wibisana. The servant Twalen watches in astonishment. This scene refers to an episode described in the Oj Ramayana XXIII: 31-33. Rama, Laksmana and most of the monkeys are soundly asleep as a result of a charm. Anoman is ordered by Wibisana to search for a wonder-herb to bring them back to life. I. grows on the top of the Hunagiri. When Anoman arrives there, he does not know what the herb looks like He therefore breaks off the top of the mountain which is covered with all sorts of plants and trees including the herb He brings it back to Wibisana, Rama and Laksmana. They have already been woken up by Wibisana. The herb is aspersed over the monkeys. They come back to life. , . , c , This scene is called Anoman ngrereh tamba, Anoman searches for the medicine, by the Balinese. Bottom: Patih Prahasta is killed by the monkey Anila The air is indicated by awon-awon ornaments (type IV). There are small stripes on the top representing wind. There is a rock ornament at the bottom in
the centre and on the far left and on the far right of the drawing. A monkey stands on the left. He faces right. His legs are spread, his knees bent. He holds the right ankle of the man in front of him with his left foot. He holds a club with a three- pointed ornament on the top in his right hand. He smashes the head of his oppo nent with a rock which he holds in his left hand. He has round eyes, sharp teeth and a diadem on his head. His hair is styled in a double chignon. His skin is light grey. He wears a short loincloth, a girdle, a sash, and shoulder ornaments. A sash is bound round the top of his tail and the ends of another sash hang over his shoulder and back. A demon stands on the right. He faces left. His elbows are raised, his hands are directed downwards. His skin is light orange-red. He has bulging eyes, large fangs and a diadem with a garuda ornament at the back on his head, which has been smashed by a huge rock ornament. He wears a loincloth tucked up between his legs, a sash, a girdle, and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the left says: handila, Anila and in the centre: prasta pëjah, (Prasta pejah), Prahasta is killed. At the top on the right is written: hangin madrës, (angin maderes), a strong wind. The monkey Anila, or Nila, kills Patih Prahasta (also called Prasta in Balinese) with a lump of rock. A strong wind blows inauspiciously. This episode refers to a scene described in the OJ Ramayana XXI: 225-245. The monkey Nila, or Anila, fights Prahasta. He takes up a large lump of rock as sharp as a diamond. He throws it at Prahasta. It crushes his head. His brains come out. Rains, lightning, dust, black birds, and wind always appear during the fierce fights of prominent figures in the stories. In the drawing a strong wind accom panies the death of Prahasta. This scene is called sédan Prasta, the death of Prasta, or siat Prasta, the fight of Prasta, by the Balinese. Cod. Or. 3390-239 Two drawings on Dutch paper, mark P.v.L. The drawing on the top half is on the recto side of the second folio and the drawing on the bottom half is on the recto side of the third folio. The piece of bamboo is mounted in the centre. 20.8 x 34.5 cm. (top half), and 21.3 x 34.5 cm. (bottom half). Polychrome, watercolours and ink. Colours: red, pink, light green, green, yellow, ochre, light grey, grey, white, black. Artist: no. 3. Origin: Buléléng.
Top: Rawana meditates and Amman disturbs him. A group of lower ranking Balinese runs away. Two girls perform a rejang rénténg dance A raised platform is depicted in the centre. It has stairs on both sides. A stone wall with a square panel and a tiled roof on the top is depicted on the left. A row of four lances is mounted on poles to the right of it. There is an open parasol m the centre. A man sits on the platform. He faces left, but his body is en face. He is flanked by poles with flags and bajra (three-pointed ornaments) on the tops. The man sits in a lotus seat. He makes gestures which suggest that he is meditating (mamusti). His skin is light orange-red. He has bulging eyes, a fu moustache, large eye-teeth, a diadem with a garuda ornament at the back and a high crown on his head. He wears long trousers, a loincloth tucked up between his legs a gir dle, a sash, shoulder-ornaments and another sash over his right shoulder. A white monkey holds his left shoulder with his right hand. He stands on the right and faces him. The monkey has long, sharp thumb nails. His hair is styled in a large double chignon. He wears a small loincloth tucked up between his legs, a sash and a girdle. His armlets, wristlets and anklets have three-pointed ornaments (bajra) which point upwards (menék). He wears a snake-neck ace. His jewelry is characteristic of that of royal personage. There are two female dancers at the base of the platform on the left. The dancer on the left stands. She faces left She holds a fan in her left hand. The dancer on the right sits on her knees She holds a fan in her right hand. Their skin is yellow. They both wear long lomdoths sashes round their waists, other sashes which cover their breasts, large necklaces (badong) and a large headdress consisting of rows of flowers. A small boy stands naked on the right at the base of the platform. He faces right and points with his left index- finger at the monkey. He wears a necklace decorated ■with at>dh His skin is white. A group of four men run to the left on the left. They look backwards to the right. They are all clad in the same way: they wear very small fomdoths tucked up between their legs. The man in the centre wears a kerchief round his head and he has an opium pipe in his girdle. His skin is grey. The man on the far left has a sickle (arit) on his back in his girdle. His skin is light grey. The other men have ochre and pink skins. They are trampling a man on the far left. He lies prone on the ground His mouth is wide-open. He wears a short tome to* tucked up be tween his legs which does not cover his penis. His opium pipe lies on the ground. His skin is ochre. . . . A text in Balinese senpt in ink on the right elose to the monkey says: mam,tsut. (Maruti Suta), Marufs son, (Th.s is an epithet of Anoman; should however be either Maruti, or Marut Suta). At the bottom on the right is written: hanak cnik malalung (ank eenik malalung), a small naked eh,id. A, the top m the centre ,s written: dasasya, naturwinasa (Dasasya nyaturw.nasa), Dasasya uses a charm. (Dasasya, Skt,means having ten faces, which is an epithet of Rawanah Catur- winasa (KBNWB I' 620) is a charm which causes plagues and disasters
everywhere and at the same time. Nyaturwinasa is explained by the following: through witchcraft Rawana comes all his foes except Anoman to sleep. This ex planation must refer to the drawing. The term is not mentioned in the OJ Ramayana. At the top on the left close to the weapons is written: tambak, pajëng, (tumbak, pajeng), lance, parasol. Close to the running men is written: kahula mlahib (kaula malaib), the ordinary men are running away. At the bottom in the centre is written: rejang rénténg, (rejang rénténg), rejang dancers connected by a special red (rénténg) sash (see KBNWB I: 772). In De Zoete and Spies, repr. 1973. 48 it is explained that “the rejang dancers, dancing in several files, are linked each to each by sashes which they hold in their left hand, while the right arm, sometimes with, sometimes without a fan, keeps up a slow undulation’’. The monkey Anoman attacks Rawana who sits on a raised platform. Rawana is surrounded by lances and an open parasol as tokens of honour. Two rejang dancers are in front of him. A group of lower ranking Balinese runs away, tram pling one of them who has fallen. They are disturbed by Anoman’s arrival. A small boy points at Anoman, surprised by his attack. The reason why Rawana meditates is explained in the text written on the drawing: he wants to produce plagues and disaster. It is not certain why the rejang dancers have been depicted. Usually the rejang is performed by young girls on the occasion of a temple festival. The dancers accompany the procession of the gods and they dance in honour of the gods (photograph No. 41). In Karang Asem the rejang may also ac company the soul of an ancestor in a maligya ceremony. It is possible that in the drawing Rawana is supposed to be meditating in a temple compound and that the act of meditation creates a divine atmosphere in which the rejang may be danced. Van der Tuuk remarks in KBNWB I: 772 that rejang dance performances were often held to give kings and princes the opportunity to choose a concubine. The scene depicted in the drawing differs slightly from the episode described in the OJ Ramayana, but the purport is similar. In XXIII: 24-31 Indrajit uses a charm. He shoots arrows at the monkeys, himself being invisible, which causes them to sleep and later to die. Even Rama and Laksmana are hit. Wibisana is im mune. He wakes up Anoman, Anggada and Nila and after a while Rama and Laksmana too. Instead of Indrajit it is Rawana who meditates and uses the charm in the drawing. The episode is called keni sesirep, caught by sleep, by the Balinese. Bottom: Rama, Laksmana and the monkeys are in a deep sleep A pavilion with four poles and a roof is depicted. A couch, seen from above, has been placed inside it. Parrots sit on two perches (paninggahan) which hang from the roof on the far left and on the far right. The beam of the roof is decorated with a piece of cloth (ider-ider). Two men lie on their backs on the couch. Their heads are to the left. Their eyes are closed. They are both wrapped in a large piece of cloth. The man lying on the bottom has white skin. His face is refined. His hair is
styled in a double chignon. He wears long trousers. Of his jewelry only part of his caste-cord is visible. The man lying on the top has green sktm He wears a d.adem and a large crown on his head. He also wears long trousers^ The rest of his clothes are no, shown in the drawing. Four small grey monkeys hang or he on the roof. Their eyes are closed. . . , . , D on ,|, e right says: horé, haturu, rura A text in Balinese script m ink at the top on me x g y , , (crossed out) luring pasangrahan, (oré aturu lur mg pasanggrahan), sleep.ng V uul h & e & , rieht in the centre is written: hatat, monkeys on top of the restinghouse. On the rigm m i P d on the left vertically, in the centre: laksmanna; mmaie^rpufefLksmana Ramadéwa pules), Laksmana and Ramadéwa are asleep (pules is very coarse, it should be at least sirep). P tpmcs X» v y h in a pavilion. Some monkeys sleep on Rama and Laksmana sleep described in the OJ Ramayana XXIII: the roof This scene refers to an episode descrmeu me y • 24-31. Indraji. has used a charm. He shoots arrows a, the monkeys and a, Rama and Laksmana which cause deep by the Balinese. This episode is called keni sesirep, g Y Cod. Or. 3390-240A A drawing on Dutch paper, mark P.v.L. The verso side of the third folio has been used. 21.3 x 34.5 cm. Polychrome, watercolours and ink. , hlark Colours: red, light red, pink, light green, ochre, hght grey, white, black. Artist: no. 3. Origin: Buléléng. r , nro duced by Nieuwenkamp 1906-10: 37. The man with the sirih box is rep Y Pmhasta rsdes Ms Mrs,. H, is surrounded „ .roofs oudseroanls. Broken ianners undo Moot crow announce his approaching death , . thp bottom. The rock on the right has an ogre’s There are rock ornaments at t , „ , horse He faces left The , , , * demonic man rides a saddled horse, tie laces leu. i ne head en profil as a base. A demo ^ reins ^ his left hand and he has a man’s left foot is in a stirrup. He , , • „ fanes in both .... . ,, , He has a demonic face with bulging eyes, tangs in Dotn sword in his right hand i nW ards with a garuda ornament on the back wears a short loincloth, a sash, Of his head. His skin is ig g oyer his left shoulder. His jewelry is that of shoulder ornaments and anothe ictcd in front and behind him as token a royal personage An open pa ri ht at the top and faces left. There of honour. A black crow flies in th . i A Chinese male L also a broken flag-pole:h„team shoes, long trousers, a jacket and a r Ï“VeÏd^kt H His f X ,s white. An old man walks front of h.m carry-
ing a large cane sirih box over his right shoulder. He holds a piece of rope in his left hand and this serves as the lead for the dog which walks at his side. The dog’s mouth is wide-open. The man has an ochre coloured skin. He has female eyes and a chin which protrudes because he has no teeth. He wears a short loincloth tucked up between his legs and a short jacket with long sleeves. He represents a Balinese. A small male figure stands in front of him just behind the horse. He is seen at the back. His skin is ochre. His hair is long. He wears a long loincloth and a kris on his back in his girdle. There is a pennant (umbul-umbul) on a long pole and six lances on long poles on the left at the top. A man lies prone on the ground. He looks upwards. He wears a hat (capil), a short loincloth tucked up between his legs and a short jacket with long sleeves. His skin is ochre. The man standing on the far left holds a pole with a flag. The pole is half broken at the top. The man has light green skin. He wears long trousers, a coat with long sleeves and a ker chief round his head. There is a flower behind each of his ears. His face is directed upward and to the right. He does not look Balinese, but neither does he look Chinese nor European. Behind him, further to the right walks a man with a bayonet. His skin is white. He has a full moustache, a beard and whiskers. He wears shoes, long trousers, a coat with long sleeves and a hat. There is a sabre in his girdle across his stomach. He looks like a European. Behind him, further to the right, another man walks. Only part of his head and his body are visible. He has oblique eyes and a kerchief on his head. A man walks behind him and holds a lance. His skin is light grey. His forehead is bald, but he has a beard and a moustache. He wears long trousers, shoes, a small loincloth tucked up between his legs and a short jacket with long sleeves. He has a sabre in his girdle in the front. Behind him walks another man holding a bayonet. His skin is ochre. He has a moustache, a beard, and whiskers. He wears shoes, long trousers, a black coat with long sleeves and a hat. He looks European. A text in Balinese script in ink at the top on the left says: dwaja, tikil, (duaja tikel), a broken banner and at the top on the right is written: gagak, crow, and dwaja tikel, (duaja tikel), a broken banner. Above the man on the far right is writ ten: cina, Chinese. On the right in the centre is written: prahasta, nëgakin kuda. (Prahasta negakin kuda), Prahasta rides a horse. Prahasta rides his horse. He is armed with a sword. His followers are a group of warriors (Balinese, Chinese, Europeans and other foreigners) armed with sabres and bayonets. Lances, poles and umbrellas are borne as tokens of honour. There are a broken lance, a broke flag-pole and a crow in the air. A dog howls. This scene might refer to an episode described in the OJ Ramayana XXI: 208-210. It is Prahasta’s turn to fight as a champion. He seats himself in his chariot. He is beautifully clad and surrounded by a crowd of enthusiastic warriors who carry pennants. He is suddenly surrounded by howling dogs however, the pennants break, the earth quakes and a rain of blood falls. These are inauspicious signs which announce that he will die in the battle.
The dog and the broken pennants are shown in the drawing. The black crow, another sign announcing someone’s death, has been added by the artist. The suite of Prahasta is an interesting mixture of people: Europeans (at least two), Chinese (at least one), and three other non-Balinese. In the regency of Badung and in the former regency of Mengwi, Buginese troops were used and in Mataram (on Lombok) and sometimes in Karang Asem, Sasak troups were used. According to Bloemen Waanders 1859: 138 there were Buginese and Mandarese picked men in the army of the king of Buléléng. They resisted the Dutch vehemently during their expeditions. Europeans (Dutch, Portuguese) may a so have served in the armies. The Chinese were mainly traders, but there were also Chinese pedlars and coolies. There were Arabic, Indian and Klmganese traders (mainly of textiles) and there was a small colony of Armenians at the e nd of the nineteenth century in Buléléng. It is probable that the man standing on the far left represents a Buginese and that the two other non-Balinese figures on the left in the centre of the group of five men represent Arabs. Cod. Or. 3390-240 A drawing on Dutch paper, mark P.v.L. The drawing is made on the verso side of the third sheet. 21.3 x 34.3 cm. Polychrome, watercolours and ink. . , , . Colours:red, light red, pink, light green, brown, ltght grey, ochre, whtte, black. Artist: no. 3. Origin: Buléléng. A meeting between Wibisana and Méganada is depicted. Délem is shamed to death. He stabs himself. TwaUn watches The air is indicated by awon-awon ornamentation (type IV). A none wall with a square panel and a roof is d.p.c.ed on the far rtght, indicating a or a gateway. A man stands on the left. He faces nght. Hts legs are spread h knees slightly bent. With his right hand he makes a gesturewhich he is speaking. He holds his left hand to his girdle (nabdab). He has a refined face, a d,adem on his head and a kerchief (kekendon) with a large garnda or a^ ment at the back His skin is white. He wears long trousers, a short loincloth t i j u ' t • , a sas h a girdle, a shoulder ornament and jewelry tucked up between his legs, a sasn, a g , mm t-gp far Dft characteristic of that of a royal personage. A small, fat “ d He faces right as well. His sktn is light grey. He has female eyes a moustache and whiskers. He holds a weapon in the shape ofa uge penis ^ glans in his right hand. He wea . 8 rock ornament at his side in loincloth tucked up between ™em ‘S a sma ^ a ta „ ma „ He his girdle, and this also serves as a weapon, cm g
faces left. His legs are spread, his knees bent. He holds a double lance in his right hand. In his left hand he holds the ends of his shoulder-sash (nyamir). He has a demonic face with large bulging eyes, and sharp, long eye-teeth. He has a full moustache, a small beard and whiskers. His hair is styled in a large double chignon. He wears a diadem on his head. His skin is light grey. He wears long trousers, a short loincloth tucked up between his legs, a sash, a girdle, a shoulder ornament and another sash over his shoulders. His jewelry is characteristic of that of a royal personage. A small, fat man stands in front of him in the centre. His body is directed to the left, his head is turned upwards. He presses a kris into his chest with his right hand. The kris however is bent double. He holds a shield in his left hand. He has round eyes, a protruding mouth with one large, flat tooth, a beard and whiskers. He wears a short loincloth tucked up between his legs and a sash crossed over his chest. His skin is light orange-red. A text in Balinese script in ink at the top on the right says: méganada, Méganada. Above the small man on the right is written: délëm, Délem. On the left: bisanna, Bisana (or Wibisana), and on the far left: twalén, Twalén. On the recto side of the sheet Van der Tuuk has written in Latin script in pencil: babutan ook op kerkhoven, (bebutan), demons also in grave-yards. This note does not refer to what is depicted in the drawing. It accords more with Nos. 3390-226-228. Méganada, Rawana’s son, stands in front of Wibisana. He is armed with a double lance, while Wibisana is not armed. Wibisana talks to Méganada. The latter is accompanied by his servant Délem. He tries to stab himself, but the kris is bent double. Twalén, the servant of Wibisana, stands aside, armed with his weapon, the huge penis. To stab oneself is a sign of shame. Délem is ashamed to meet Wibisana. Thus, the meeting must take place after Wibisana has left the party of his brother Rawana for the party of Rama. Délem regards Wibisana as a traitor. He cannot bear the sight of him and therefore tries to stab himself to death. Of course he does not really want to die. He is only pretending. This scene might refer, but does not clearly refer to an episode described in the OJ Ramayana. Wibisana has left Rawana to join Rama. He sees Méganada in the air when he shoots arrows at the monkeys so that they fall asleep. In XX: 73 Wibisana quickly grasps his weapon when he notices Méganada. In the drawing, however, Wibisana is not armed and Méganada is not in the air, but the scene depicted might refer to a suchlike episode. Cod. Or. 3390-241 Four drawings on Dutch paper, mark P.v.L. 42.8 x 34.5 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the recto and of the verso sides of the sheet. The recto side is numbered 241A, the verso side at the top 241B and at the bot tom, 241C.
Ink, black and grey. Artist and origin: It is very difficult to decide where the artist comes from. Nos. 3390-241 and 292 can be ascribed to him. The trees resemble those depicted in Nos. 3390-25 and 225 by artist no. 3 from Buléléng. The V-shaped ornaments on clothes and pots (Nos. 3390-241 and 292, recto and verso) resemble those depicted in Nos. 3390-240, 228, 238, which are by artist no. 3. The gateway in No. 3390-292 (definitely by the same artist as No. 3390-241) however is characteristic of South Bali (see photograph No. 5). I shall call the artist no. 13. Mentioned by Juynboll 1915: 5. The central part of the drawing on the recto side at the top (Arjuna) is reproduced by Nieuwenkamp 1906-10: 1 and 38, and by Hallema 1924/25: 59. The drawing on the verso side at the bottom is repro duced by Nieuwenkamp 1919: 164, pi. 2. Recto, top\ the nymphs Supraba and Lotama test Arjuna’s steadfastness. Arjuna meditates The air is indicated by awon-awon ornaments (type I). There are five rock or naments at the bottom with leaves and petals on top. A small platform on low poles placed in stereobates is depicted in the centre. Lotus petals hang from it. There are stalks with leaves and flowers on both sides of it. A man sits in a lotus seat on the platform. His body and face are en face. He clasps his hands together (mamusti), which indicates that he is performing ascetism. He has a refined face, and he wears a diadem and a turban on his head. He wears long trousers, a short loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece, a caste- cord ending in a one-eyed ogre’s head (karang bintulu), and a sash over his left shoulder. His jewelry is characteristic of that of a royal personage^ A lance and another lance with a flag have been placed in the background behind him. An open parasol is mounted in the centre. These are tokens of honour A woman stands on the right. She faces left. She holds a pudak flower in her left hand and stretches out her right hand towards the man sitting in the centre. She has a re fined face, a chignon curled inwards, characteristic of a nymph, and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist another which covers her breasts, a shoulder-piece and a third sash over her left shoulder. Her jewelry is that of a princess. Another woman stands on the left. She faces right. She holds her left hand in front of her body while her right arm hangs by her side. She has a refined face, a diadem on her head, a chignon curled in wards with a garuda ornament at the back, and she wears a skirt, a long loincloth, a sash wrapped round her waist and another one which covers her breasts, a shoulder-piece, and a third sash over her left shoulder. Her jewelry is characteristic of that of a princess. Van der Tuuk has written in Latin script in ink on the left: tilottama, Tilotama, in the centre: Ardjuna, Arjuna, and on the nghthand side. Suprabha.,
Supraba? A text in Balinese script written vertically on the right says: nga, hanaka, atar (this sign is corrected by means of an ulu and a suku), pa, ta, fol lowed by three signs without meaning. It is possible that it should be read as: nga. anaka atapa, the episode of the man performing acetism. Two nymphs, Supraba (definitely) and Tilotama, stand close to Arjuna who is performing ascetism. He is dressed like an ascetic and makes gestures which in dicate that he is meditating (mamusti). The nymphs try to seduce him. This we know because Supraba holds a pudak flower, which is a sign of love. This scene refers to an episode described in the OJ Arjunawiwaha. In canto I it is described how the god Indra tests Arjuna’s steadfastness in performing ascetism. He sends temptations for Arjuna. In IV: 1-8 the nymphs Tilotama and Supraba with a group of other nymphs, try to seduce him. Arjuna sits in the en trance of a grotto on the mountain. It is night and the moon shines. One nymph sings love-songs while another one fondles the pudak flower in her arm acting as though it were Arjuna. Arjuna, however, does not respond. Recto, bottom: a nymph of lower rank tries to seduce the servants Twalén and Wana The air is indicated by awon-awon ornaments (type IV). There are six rock or naments on the ground. A woman stands in the centre. She faces right. Her body is en face, her legs are spread, her knees slightly bent. She opens her loincloth with both hands, so that her pudenda are visible. Her hair is knotted on the back of her head. She wears a loincloth, a sash round her waist and another sash (anteng-anteng) over her shoulder. A leafy tree grows from a rock on each side of her. Both trees have a stag-horn fern on the trunk. The fern on the left has a bird’s head en profil (karang goak or karang curing) in the centre. A small, fat man sits on the right. He has placed his right knee over his left (matimpah). He faces the woman. He clasps his hands together in front of his body, a gesture indicative of meditation, but at the same time he looks very intensely at the woman. He has female eyes, a half-open mouth with one flat, large tooth and a pony-tail on the back of his head. He wears a black, grey and white checkered loincloth tucked up between his legs, a sash, and a kris on his back in his girdle. Another fat man sits on the far left. He makes the same gesture as the man on the right. He faces right. He also has female eyes, one large tooth and a pony-tail. He wears the same clothes as the man on the right and he also has a kris in his girdle. Two cocks, fly ing in the air on the far right and left, watch the scene, while a third bird, sitting in the tree on the left, looks down at the woman. A text in Latin script in ink written in the arm of the figure in the centre by Van der Tuuk says: tjondong (condong), female servant, and on the left: wana, Wana. This is the name of the second servant of the righthand party in Buléléng. In the arm of the figure on the right is written: Twalén, Twalén. A woman, a servant by her hairdress, shows her pudenda to the two servants of the righthand party, Twalén and Wana. They pretend to perform ascetism, but they watch the woman attentively.
This scene must be connected with the seduction of Arjuna as described in the OJ Arjunawiwaha IV: 6. One of the nymphs opens her loincloth, so that “it” becomes visible. “It” first looks as though it were laughing at Arjuna, because of “its” love for him, but then, after being rejected, “it” looks angry. According to the text a group of nymphs accompanies Supraba and Tilotama on their mission to Arjuna. The woman in the drawing, indicated by the word condong, servant, might be one of the nymphs of the group. Servants imitating the behaviour of their lords, but in their own way, are often depicted in Balinese drawings and in sculptures. Such scenes are called lelucon or bebanyolan, witty scenes. Verso, top'. Arjuna and the god Siwa, disguised as a hunter, have shot an arrow at a swine The air is indicated by awon-awon ornaments (type IV). There are five rock or naments with petals and leaves on the top depicted at the bottom. A pudak plant grows on the far left. A leafy tree with fruit is depicted in the centre. There is a stag-horn fern with a flower in the centre on the trunk. Butterflies, a bee and a beetle fly round the tree. A swine stands on the rocks in the centre. Its body is directed towards the right, its head is turned to the left. It has been shot in its right shoulder by an arrow coming from the left. A man standing on the left faces right. His legs are spread, his knees slightly bent. He holds a bow in his left hand. He holds his right arm in an upward direction which indicates that he has just shot an arrow. The man has a refined face. He wears a diadem and a turban on his head. He wears trousers, a long loincloth tucked up between his legs, a sash, a girdle, and a shoulder-piece. His jewelry is characteristic of that of a prince. Another man stands on the right. He faces left. He holds his right hand close to his chest and touches his sash with his left hand (nyamir). His attitude indicates that he is silent. He has a refined face, a small moustache and a diadem with a high crown (candi kurung) on his head. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. A text in Balinese script on the right says: bataraharan, (batara aran). The second part -ran- is crossed out and above it Van der Tuuk has written in Balinese script: ndra and an “i” is added above the “ha”, so that it becomes batara hrn- dra. Batara’Indra, the god Indra, is referred to. This is not correct however. Although the round crown (candi kurung) is characteristic of the god Indra, the figure must represent Siwa. In the swine’s body Van der Tuuk has written in Balinese script: céléng, swine, and on the left, rajuna, Arjuna. Two men, Arjuna and the god Siwa, look at a swine shot by an arrow. This scene is described in the OJ Arjunawiwaha VII: 5-8 and VIII. 1-8. The demon Niwatakawaca has sent his patih Mamang Si Mu(r)ka disguised as a swine to Ar juna. The animal uproots the earth at the foot of the mountain on which Arjuna performs ascetism. Arjuna is greatly disturbed by this. He therefore enters the
grotto and gets his bow and arrow. At the same time the god Siwa arrives dis guised as a hunter. Arjuna shoots an arrow at the swine. The god Siwa does the same. His arrow joins Arjuna’s. Verso, bottom.-. Arjuna and Siwa fight with arrows The air is indicated by awon-awon ornaments (type IV). There are five rock or naments at the bottom. There is a leafy tree with a stag-horn fern on the trunk in the centre. It is surrounded by a fence with pudak plants. On the left and on the right pudak plants also grow from a rock. A man stands on the left. He faces right. He holds a bow in his left hand and an arrow in his right. His legs are spread, his body is askew, as if he were going to fall backwards. Arrows come from the right all around him. One touches his left arm, but the point of the arrow has bent double. Another arrow touches his right thigh. His appearance and clothes are similar to those of the man on the left at the top. A small quadruped (semal) depicted on the far left is hit by an arrow. A man, standing on the right, faces left. He holds an arrow above his head with his right hand. He points with it at the man on the left. He holds a bow in his left hand. He is surrounded by ar rows shot from the left. His appearance and clothes are similar to those of the figure at the top on the right. A text in Latin script in ink by Van der Tuuk at the top on the left says: Ar- djuna, Arjuna and on the right: bhatara Siwa, Batara Siwa, the god Siwa. Arjuna and Siwa fight each other. They shoot arrows at each other. This scene is described in the OJ Arjunawiwaha VIII: 8-9. After quarrelling with words about their rights over the dead swine, Arjuna and Siwa start fighting each other. At first they shoot arrows at each other. Arjuna, however, is not wounded by them. Cod. Or. 3390-242 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 34.3 x 42.9 cm. The sheet is folded vertically into two halves. There is a drawing on the left and on the right of the fold. Both drawings belong together. Polychrome, watercolours and ink. Colours: red, light magenta, light salmon-pink, light brown, yellow, light green, light blue, sky-blue, light grey, black, white. Artist: I Ketut Gedé. Origin: Singaraja. Black scratches in the centre have been covered with white paint.
Left; a baris biasa dancer with a lance A man stands in a dancing attitude. He holds a lance with both hands. It points to the right. His body and head are en face. His left knee is raised nyingjmg) He has large, round eyes. They are directed to the right. He has a full moustache, a small beard and whiskers. His hair is long. His skin is light brown. He has a ker chief round his head and a flower behind each ear. He wears a long blac , grey and white checkered loincloth in a floral design and edged with a piece ofsongket textile in a “ndek” pattern. It comes up to his armpits. It is held by a sash wound round his chest and back. One end of it hangs down. The other hangs over his right arm. He also wears a sleeveless jacket (kuaca) with buttons. He has akns on his back in his girdle and a knife in his girdle at t e ront - _ A text in Balinese script in ink at the top says: hanak mabyasa mak tatumbak, (anak mabiasa makta tumbak), a man performs a bans biasa dance with a ance^ The loincloth is of the type kain songket mabintangan. is ma , brahman on a photograph made in 1865 wears a similar loincloth (photograph No. 42). Right: a baris biasa dancer with a lance. . , ■ j ■ attitude He holds a lance with both hands. It points A man stands in a anci g spread, his knees bent and to the left. His body and head are en face. H s legs are spre his toes curled upwards (tampak sirang). He has large,HüXt light left. He has a full moustache, a beard, whiskers and iong salmon-pink. He has a kerchief round his H ° W wea rs a long loincloth in kerchief is folded in a way a “ndek’’ pattern. It ’“heid bTr-hbounf^nd him us, under the armphs. A small loincloth is IS tield by a sasti boun down over hls nght arm SIt^h^s'^dlfa'nd an op,urn p.pe <can g h,„„ g > m his g irdle “'Bahnese scrip, m (mabiasa, ngigelang tumbak), a P With q 1 anrf* . * i i ___ r T"’l 1 „ v’q sa, ngigelang ~ A "two'Z clad „he baris I"ll: r hfro a m ttornTrofoL, eye ts character,sttc of baris dances. Their lances point at each other. and g pies> repr . 1973: 57 as “a very The baris biasa is descnh ?' erall acts as a kind of coda to a temple brief dance with spears wh g ^ ^ ^ . g worn> only the ordinary ceremony or procession to the ■ men but als0 exceptionally by women headcloth and a karn. It is chie y^ ^ another with lances is a sham fight is who are filling a priestly role . i
called masesraman (KBNWB III: 93). According to informants in Tabanan the baris biasa takes place early in the morning after the closing ceremony of an elaborate (utama) temple festival (déwayadnya). At the end of the festival something takes place which is called mabiasa, madu-aduan or makmcang- kincung. It is a kind of sham fight. Men and women hold coconuts and knock them against each other, and they do the same with eggs. Other men hold lances (payong pagut, pajeng rob-rob, tumbak) and knock each other about with them. They are accompanied by a gala ganjur orchestra which plays a special melody called makincang-kincung. Cod. Or. 3390-243 Four drawings on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42.9 cm. The sheet has been folded vertically into two halves. On the left and on the right of the fold on the recto and on the verso sides of the sheet there is a drawing. Polychrome, watercolours and ink. Colours: light red, light green, brown, yellow, pink, light orange-red, black, white, grey. Artist: no. 14. Origin-. Buléléng. The sheet was torn along the fold. It has been repaired with transparent paper. The sketches in pencil are still visible. Verso, left-, the god Indra, armed with a club, rides his mount, the elephant The floor is indicated by stone ornaments with jewels. The air is depicted by awon-awon ornamentation (type IV). A man rides an elephant. They both face right. The man holds a club with pointed ornaments at the top and at the bottom in his right hand. He holds his left hand in front of his chest. This gesture in dicates that he is watching in silence. He has placed his legs in the stirrups which hang from the saddle on the elephant s back. His skm is light green. He has a refined face, a very small moustache and a diadem and a high round crown on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle and shoulder ornaments. His jewelry is characteristic of that of royal personages. The elephant’s skin is white with light orange-red, and red spots. A text in Balinese script in ink at the top on the right says: surapati, Surapati, Lord of the Gods. This is an epithet for the god Indra. A text in Latin script in ink added by Van der Tuuk close to the crown says: glung kurung (gelung kurung), a high round crown. This term refers to the type of crown Indra wears. Gelung kurung is the same as candi kurung. The god Indra, armed with a double-club (bajra), rides his elephant. This scene may refer to an episode described in the OJ Arjunawiwaha XXIII: 1. Ar-
juna has discovered the “Achilles heel” of the demon Niwatakawaca. The gods arrange their army in order to fight with the demon. Indra appears, armed with his club (bajra). He rides his elephant Erawana which is beautifully adorned. Verso, right: Mredah, the servant of the righthand party, fights Delem, the servant of the lefthand party The ground is indicated by stone ornaments with jewels. The air is indicated by awon-awon ornaments (type IV). A small, fat man sits on his buttocks on the around He faces right. He holds the feet of another fat man with both hands. He has female eyes, a protruding chin and a round nose Hts haa ts done m a pony tail. Hi, skin is orange-red. He wears a short loincloth tucked up between h.s legs and a sash round his waist. There is a kris on h.s back in hts girdle. The other fat man, on the right, faces left. His body is bent. He holds a kns m h.s r.gh. hand and a round sh.eld in his left. His sk.n is orange-red. He has bulging.eyes. A large ear-ring is mounted through his ear-lobe. H.s ha.r .. tri m a small knot on top of his head. He wears a short loincloth tucked up between h.s legs a sash round h.s waist and another sash round his neck which is knotted across h.s chest. He also has shoulder-ornaments. He carries a kns-sheath in h.s g.r e. A text in Balinese script in ink at the top on the left says: delem, Delem. In Latin scrip, in ink Van der Tuuk has added close ,0 the ha.r: djambul üambul) knot of hair In pencil he has also added: ban. mara takut mat, (degag delem), a big mouth but a small hear, (degag Delem: Délem as a braggard). Th.s remark refers to Delem':, character. gp, Mre dah. Van der Tuuk On the left is written m Balinese sc p ■ , referring to the has added in Latin scrip, in ink: tngkuluk (tengkuluk), turban lock on M red ah’s forehead. The term tengkuluk usually refers to the round p.ece lock on Mredah s to „ nut on their heads when they carry of textile (at present often a towel) women put on i heavy burdens. A coif on the forehead is ca e ja . servant of the The servant of the righthand party, Mredah, fights Delem the servant ol the I he servant ol me g a particular episode. Since the other lefthand party. This scene does n . , , . • t L„ qt A r _ Ti l h ryn the recto and verso sides, play a role in the UJ Ar persons, depicted on the recto SQ as well . They imitate their junawiwaha, we may assume that the seiv lords, and fight. Recto, left: the demon Détya Prabu is hit by an arrow in Ms chest The ground is indicated by St ° ne (type 7v). A demonic man stands air is represented by awon-awon orn^ iW ^ ^ ^ ^ ^ and faces right. An arrow has been § His left arm from the wound. The demon holds a double lance m ^ ^ is directed upwards (ulap-ulap). g teeth P and fangg; a tooth on his cheek, a skin is brown. He has huigmg eyes, and & high round crown on his head . moustache and whiskers. He has
He wears long trousers, a small loincloth tucked up between his legs, a sash, a gir dle and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the right says: déprabu knéng hastrë. Van der Tuuk has added on top of “dé”: tya (Détya Prabu kenéng astra), the lord of demons hit by an arrow. In Latin script in ink is written close to the forehead: ptitis (patitis), diadem. A demon, called Détya Prabu, lord of demons, is hit by an arrow. This scene may refer to episodes described in the OJ Arjunawiwaha. The demons, guided by their king Niwatakawaca, fight the army of the gods. In XXI: 4 it is mentioned that both parties assemble their warriors. Niwatakawaca is called Détya Raja, or Détya Pati, the king of the détya, a kind of demons. His ministers are mentioned in XXII: 1. They are called Duskreta, Wirakta and Krodaksa in the text. In XXV: 11 two of them are killed. The name Détya Prabu is somewhat problematical, because it also means demon-king, a name which might refer to Niwatakawaca. He is hit in his mouth however and not in his chest. The figure in the drawing on the right is called Détya Pati, which also means demon-king, and this might also refer to Niwatakawaca. A figure which is also hit by an arrow in the story of the Ar junawiwaha is the demon Momo Si Mu(r)ka. Although he is disguised as a swine when he is hit, he assumes his original form after he is struck by the arrow. It is probable that this is depicted in the drawing. Recto, right: the demon Détya Pati (Niwatakawaca?) armed with a lance The ground is indicated by stone ornaments with vertical lines, and curls. The air is indicated by awon-awon ornaments (type IV). A demonic man stands and faces left. He holds a double lance in his right hand. His left arm is akimbo (nyamir). His legs are spread, his knees bent (tampak sirang). His skin is white. He has round eyes, sharp teeth and fangs, a fang on his cheek, whiskers, a moustache and long hair. He wears a diadem and a round crown on his head, a short loincloth, a small one tucked up between his legs, a sash, a girdle and a shoulder ornament. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the left says: détyapati, Détya Pati, lord of the demons an epithet for Niwatakawaca. Van der Tuuk has written in Latin script in ink close to the crown: glung kurung, round crown, which refers to the type of crown. A demon called Détya Pati, probably the demon-king Niwatakawaca, is armed with a lance. As mentioned above, this scene might refer to an episode described in the OJ Arjunawiwaha in which demons under the leadership of Niwatakawaca prepare themselves for the fight with the gods.
Cod. Or. 3390-244 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, blue, blue-green, light yellow, light salmon pink, light grey, black, white, very light yellow, light greenish-grey. Artist: no. 5. Origin: Badung. A brahman offers medicine to ike king of Madura who has been bitten by a snake. The wife of the king and his wife-to-be make their distress plain. The wife-to-be is consoled by a male ser vant. A priest sitting in front of a shrine holds a pot of holy water The air is provided with awon-awon ornaments (type I). There is a rock orna ment at the bottom on the left. A tall stone plinth and a small roofed budding with closed doors is depicted on the rock. It represents a shrine. A large pavilion with four poles sitting in stereobates and coveted by a bled roof stands m the background. There is a Door halfway up the poles of the pavihon upon which ,es a mattress (kasur) and a pile of five bolsters (galeng matumpuk lima). A man lies prostrate upon the mattress. His eyes are closed. H,s headUs to the right. He has a refined face. His hair is styled in a chignon curled inwards. He has a diadem on his head. He has placed his right arm above his head on one of the bolsters is left arm hangs and touches a man standing in front of him. He wears a loincloth, a sash round his waist, a girdle and a shoulder-piece. H.sjewelry is characteristic of that of a royal personage. His skin is very light yellow A snake is depicted close to his head on the far right. I. has a knot in its tad. It looks a. the man Another man stands in the centre. He faces right. He holds a srnaU, round pot with both hands. He has a refined face with a small moustache^ H.s headdress consists of a kerchief (dastar) and a small diaderm H.s skin ,slight salmon-pmC He wears a loincloth, a sash round his waist with long ends hangmg down and another sash knotted round his neck. His jewelry is that of a high ranking person b„, no, of that of a royal personage, for the caste-cord ,s missrng. He has flat shoulder ornaments. A woman sits on her knees a, the bottom on the right. She holds her right hand close to her cheek to indicate that she ,s sad. Her head askew. She has a small diadem and a garuda ornament on her head. Her ha long and curly. Her skin is light salmon-pink. She wears a skirt, a long loinclo , a sash round her breast and 11a. shoulder ornaments. Her jewelry , 4— of that of a princess. A small fat man sits on his knees further to the left. He faces her, and he covers his eye with his right hand, which indicates that he is sad. He touches the woman’s right elbow with hrs left hand and this is a sign of compas sion. He has a coif on his forehead. His skin is light greenish-grey. He wears a
small loincloth tucked up between his legs. A dog lies close to the stone shrine on the rock. It looks back to the right. A woman stands on the far left close to the couch. Her body is directed to the right, but her head is askew, for she looks to the left. She holds her right hand close to her cheek to indicate grief. She holds her left hand to her breast. She has a refined face, a diadem with a garuda ornament on her head and long curly hair. She wears a skirt in a floral pattern, a long loincloth, a sash wrapped round her waist and another sash which covers her breasts, a gir dle, a caste-cord and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. Her skin is very light yellow. A man sits to the right of the stone shrine. He faces it. He holds a round pot decorated with petals round the rim with both hands. He has round eyes, a moustache and whiskers. His forehead is bald. He has a batik kerchief (batik Betawi) round his head. He wears a short loincloth tucked up between his legs and a sash. A text in Balinese script in ink on the right of the pavilion says: hidda wwangbang, (Ida Wangbang), and in Latin script Van der Tuuk has added: ida wangbang the geneesheer, Ida Wangbang, the healer. As has already been men tioned wangbang means red person, red is associated with the god Brahma and with fire, so the name Wangbang stands for a brahman. Close to the man lying down is written vertically in Balinese script: ratü ring madura, sinawut ring hula gadang (ratu ring Madura sinahut ring ula gadang), the king of Madura has been bitten by a green snake. In Latin script in ink Van der Tuuk has added: ratu, king. At the top on the left is written in Balinese script in ink in the pavilion: balé, ring karang kmagëttan (balé ring Karang Kamegatan), a couch in Karang Kamegatan. At the bottom on the right close to the woman is written in Balinese script: hi ratna, dwitta, sësakrëingan, (I Ratna Duita sesangkringan), Ratna Duita, the wife-to-be of the king. Close to the small male figure on the right is written: hi gëlidir, I Gelidir. In Latin script in ink Van der Tuuk has added: glidir, Gelidir. According to KBNWB IV: 753 Gelidir is the name of the servant in the drawings who plays a role in the Rangga Lawé. Close to the dog is written in Balinese script in ink: cingcing mdëm (cicing medem), a dog asleep. Close to the man in front of the shrine is written: jro balyan kétol (jero balian Kétol), the balian Kétol. A balian is a kind of faith healer and a priest of a lower class. In Latin script Van der Tuuk has added: Ketol. Above the stone building is written in Balinese script in ink: tugu, offering niche. Close to the woman standing on the left is written in Balinese script: hi ratna swani, rabi ratwing madura (I Ratna Suani rabi ratu ing Madura), Ratna Suani, the wife of the king of Madura. The king of Madura lies on a couch in Karang Kamegatan. He has been bitten by a green snake, which is positioned close to his head. The king’s wife Ratna Suani, and his wife-to-be, Ratna Duita, are present and show their grief. The ser vant Gelidir tries to console Ratna Duita. A brahman offers medicine in a pot. A priest of a lower class, the balian Kétol, sits in front of a stone shrine. He holds a pot of holy water.
This scene might refer to an episode from the story of the goldsmith and the brahman. It is described in the OJ Tantri Kamandaka 142, and at greater length in the Tantri Demung 4: 76-78 and 5: 3-30 (Cod. Or. 13.019). The monkey, the tiger and the snake decide to help the brahman, since he had once saved their lives. The snake bites the crown-prince when he gets off his horse. He falls to the ground. The king summons the brahmans to make medicine to cure his son. The queen is overwhelmed by grief. According to the artist it is not the crown-prince, but the king who has been bitten. The snake is present when a brahman offers medicine. The presence of a wife-to-be is also not mentioned in the texts. It is possible that the drawing reflects a story performed in live theatre in Badung. Cod. Or. 3390-245 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, pink, light blue, sky-blue, dark blue-green, yellow, brown, very light brown, light grey, white, black. Artist: no. 5. Origin: Badung. The sheet is torn in the centre along the fold. Pun Tnk makes obeisance to king Harsawijaya of Majapahit. Pun Raganata is present, and watches. Nang Senén and Gelidir are also present There is a continous rock ornament on the left. There are awon-awon or naments (type I) to indicate the air. There is a leafy tree with a stag-horn fern (simbar) on a rock with ogre’s heads on the left close to the fold. A man stands on the right. He faces left. His legs are spread, his knees slightly bent (agem). He holds the end of his kris which is under his loincloth (nabdab urnagka) with his left hand and the top of it with his right hand. He has a refined face with a small moustache, a diadem on his head and a chignon curled inwards with a garuda or nament at the back on his head. His skin is very light brown. He wears a long loincloth in kuta Mesir pattern which is tucked up in front, a sash with long ends hanging down round his waist, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. Open parasols are depicted in the background to both sides of the man. There are four lances with flags at the top on the far right. Two lances with feathers (bandrolan) have been placed in front of him in the centre. Two small men stand on the far right. One holds a parasol. His skin is very light brown. He wears a short loincloth tucked up between his legs, a short jacket with long sleeves and a kerchief round his head. His skin is very light
brown. The other man holds a sirih bowl on a foot decorated with jewels (lelan- cang). Such bowls are in fact made of gold and of silver. The man has a tuft of hair on his forehead. He wears a small loincloth tucked up between his legs and a girdle. His skin is very light brown. A man sits leaning on his right knee on the left close to the tree. There is some blood on his left leg. He faces right. He makes a sembah and asks something. He has oblong eyes, a moustache, whiskers and a sharp nose. He has a chignon with a large garuda ornament at the back on his head. His skin is very light brown. He wears a long loincloth and a sash with long ends round his waist. He also wears a girdle, a sash round his neck and flat shoulder ornaments. He has a kris with a black and white sheath on his back in his girdle. A tall man sits on the far left. He faces right. He holds his right hand in front of his chest. His left hand hangs limp. His attitude indicates that he is listen ing. He has a refined face with a small moustache. His hair is styled in a curled chignon of the Panji-type (gelung Panji maringgit). His skin is very light brown. He wears a long loincloth, a sash with long ends between his legs, a girdle, a shoulder-piece and a sash over his right shoulder. He has a kris with a black and white sheath on his back in his girdle. A dog sits at the bottom on the left. Its body is directed to the left, but its head is turned to the right as though it were watching what is happening. A text in Balinese script close to the man on the right says: sri harsa, wijaya, Sri Harsawijaya. On the right close to the small man at the top is written: nangsnén, Nang Senén, and in Latin script Van der Tuuk has added: Nang Senen. At the bottom on the right is written in Balinese script in ink: hi glidir, I Gelidir. Close to the parasol at the top is written in Balinese script: ta, corrected in të, dung hagung (tedung agung), a big parasol. Van der Tuuk has added in Latin script in ink: tëdung agung. At the top on the left close to the tree is written in Balinese script in ink: tarü sarpakésara, (taru sarpakésara), a nagasari-tree (Mesua Roxburghii). This tree is referred in many ways by the Balinese, e.g., by the terms nagasari, nagapuspa, bujagapuspa. Sarpa, naga and bujaga all of which mean snake while késara, sari and puspa refer to plants or flowers. Close to the sitting man on the left is written: puntrik (pun Trik), someone or a defeated person from Trik and close to the dog: hasu, (asu), dog. At the top on the left close to the tall man is written: puragganata (Pu(n) Raganata), Raganata. In Latin script Van der I uuk has added: pun Raganatha, and: uit de Lawe, from the Lawé. An audience of Harsawijaya and two other men is depicted. Harsawijaya is ac companied by two servants: Nang Senén, who holds a parasol, and Gelidir, who holds a sirih-bowl. The parasols and the lances in the background show that Wi jaya has royal power. Wijaya stands on a stone floor close to a nagasari-tree. Pun Trik, who sits in front of him is, going by his clothes and his jewelry, a lower rank ing official. He is wounded. He makes a sembah to honour Wijaya or to ask him for something. A man called Raganata sits and listens. His hairstyle is characteristic of that of a patih.
This scene must refer to historical episodes described in the Pararaton and in the Rangga Lawé. The last mentioned text is particularly popular on Bali. In Rangga Lawé I: 1 a prince called Radén Wijaya is introduced. He is the cousin of the king of Tumapel in East Java. In I: 6 Mpu Raganatha (OJ) the king’s patih resigns because the king will not listen to his advice any longer. He now becomes adhyaksa (the superintendent) to Tumapel. Tumapel is attacked by the rulers of the island of Madura and Kadiri in East Java. Wijaya deserts Tumapel and joins the court of the king of Kadiri. This king likes Wijaya very much. Wiraraja from Madura advises Wijaya to ask the king of Kadiri for the forest around Trik, for the Madurese intend to build a settlement there. Wijaya does so and his request is granted. In IV: 100-103 he leaves Kadiri and goes to the new settlement which is called Majapahit. In V: 1-23 Wijaya gives an audience in Majpahit. Many func tionaries are enumerated. In the drawing Wijaya is portrayed as a kind of king, who gives an audience. This suggests that the audience depicted takes place in Majapahit. Wijaya is visited by a functionary of a lower rank, a defeated person of the land of Trik. The presence of Mpu Raganatha (OJ, Pun Raganata, Bal.) however, is questionable. It suggests that the audience takes place in Tumapel, during which a local leader of Trik is received. If we follow the story as it is told in the text, this is not possi ble, for the idea to ask the forest around Trik, thus to deal with people from Trik, only comes into being after Wijaya has left Tumapel and joined the king of Kadiri. So in a meeting in Kadiri between Wijaya and someone from Trik the decision of the king of Kadiri to give the grounds of Trik to Wijaya and the Madurese could have been communicated. The presence of Raganata is then questionable too. It is, however, probable that in Badung, where the artist comes from, Raganata was regarded as a general name for a patih in stage-plays of the Rangga Lawé repertoire. Van der Tuuk however does not inform us about this in his dictionary. About Harsawijaya, as Wijaya is called in the drawing, Van der Tuuk mentions the following: “he is called Harsawijaya instead of Wijaya only by the king of Kadiri’’ (KBNWB I: 114). The blood on the leg of Pun Trik is problematical. It indicates a wound as a result of a fight. A fight with Pun Trik or with men from Trik in a textual source is unknown to me, but it is probable that it was introduced into stage-plays in badung. C °d- Or. 3390-246 Six drawings on Dutch paper, watermark concordia, countermark Van Gelder. 41.5x34.4 cm. s heet is folded horizontally into two halves. There are three drawings on p e to P of th e recto side and three on the bottom of the verso side of the sheet, -aoh side is divided into three strips by vertical lines drawn on the sheets. n h, black and grey.
Artist: no. 8. Origin: Bratan. The sketches in pencil are still visible. The sheet is torn in the centre along the fold. The three drawings on the recto side and the centre drawing on the verso side have been reproduced by Hooykaas 1973 (2): hi, h3, h5 and h2. Recto, left: karang lawéan, an ornament in the shape of a man with his head on his chest A decapitated man stands with his legs spread. His body is en face. His hands and arms are also spread. A head is drawn across his chest. He wears a short loincloth tucked up between his legs. A text in ink in Balinese script at the top says: karang lawéyan (karang lawéan), an ornament with a person without a head. In the OJ Ramayana VI: 76-96 such a demon is slain by Rama. He is called Kabanda and Dirgabahu. According to the Balinese he roams in graveyards (see also KBNWB III: 710). He is depicted in magical drawings as one who can avert various kinds of evil (Hooykaas 1980 (2): 83, 135, 136, 141). He is also a constellation (Maass 1929: Tab. Ill) depicted in the star-calendars. Recto, centre: karang katunggéng, an ornament in the shape of a scorpion A scorpion, seen from above, is depicted. Its head is directed to the left. A text in Balinese script in ink at the top says: karang katunggéng, an orna ment in the shape of a scorpion. The katunggéng or katunggyang is according to KBNWB II: 180 a large blue-black scorpion with a deadly sting. According to Hooykaas 1980, (2): 63 it is used in magical drawings. It stands for illness in youth, and happiness and riches in old age. It is also the name of a constellation (Maass 1929: Tab. III). Recto, right: karang betukan, an ornament in the shape of a pig’s stomach Intestines consisting of a gullet, a stomach and the large intestine are depicted. A text in Balinese script in ink at the top says: karang btukan (karang betukan), an ornament in the shape of the stomach of a pig. In Latin script in ink Van der Tuuk has added: karang bëbtukan zou een spook zijn, dat de mensch op kerkhoven achterna zit, karang bebetukan is a ghost which chases people in graveyards. Such a ghost is more often called basang-basang by the Balinese. In KBNWB IV: 963 the following information is found: “a ghost resembling a pig’s stomach, uttering the sound kréyok; its intestines are long”. Hooykaas 1973 (2): 8 mentions that it is one of the demons which deceives and deters the Powers of Evil.
Verso, left, karang pepengkah, an ornament in the shape of a demon with spindly legs A man stands naked en face. His legs and arms are spread, and they are striped. He has round eyes, a small beard and small locks of hair on his head. A text in Balinese script in ink at the top says: karang papëngkah (karang pepengkah), an ornament in the shape of a ghost with spindly legs. In Latin script in ink Van der Tuuk has added: op de (crossed out), op de tëtempeh jen nglam- pahang Brajut (tetémpéh yén nglampahang Brayut), on the flat basket when the story of Brayut is given. I do not know what is meant by this remark. According to KBNWB IV: 320 this spirit roams in graveyards as has already been mentioned in No. 3390-1. There is a scene in a graveyard in the Brayut performances and in the texts (Cod. Or. 4380), to which part of Van der Tuuk’s note may refer. In Nos. 3390-1 and 29 the ghost is represented as female, while in this drawing it is represented as male. Verso, centre: karang kuuk, an ornament in the shape of a quadruped with floppy ears A quadruped with large, floppy ears and a long protruding tongue faces left. It has a long tail and feet resembling small hands. A text in Balinese script at the top says: karang kuwuk (karang kuuk), an orna ment in the shape of a tiger-cat (Felix Javanensis Horsf.). According to the KBNWB II: 6 the animal chases chickens and other fowl. According to Hooykaas 1973 (2): 8 it is a demonic being which roams in graveyards. It might also be represented in magical drawings, but I have not yet found it so represented. Animals with floppy ears may also be associated with the god Indra and his heaven. This is already the case in the Majapahit period in Eastern Java. Two quadrupeds with floppy ears are depicted under Indra’s throne in panel no. 10 of the Mintaraga (= Arjunawiwaha) reliefs of the Candi Surawana (Paré, Kediri), which dates from the end of the fourteenth century A.D. (Van Stein Callenfels 1925: pi. 41). Verso, right: karang Mén Bajra, an ornament in the shape of the female ghost called Mén Bajra A standing woman is depicted. She has enormously long breasts which she holds in her hands. Her legs are directed to the left, but her body and her head are en face. Her mouth has a sad expression. She wears a short skirt and a sash (anteng-anteng) round her neck. She has long hair. A text in Balinese script in ink at the top says: karang mén bajra (karang Mén Bajra), an ornament in the shape of Mén Bajra. According to KBNWB IV: 105 Mén Bajra is a ghost with large breasts which roams in graveyards. She is also called Mén Bajang or Mén Bengko. In Krambitan she is called Mén Géléh. She has long breasts because she has had many children. She belongs to the type of
ghost called tonya, which can also harm children. Offerings should be presented to her at various ceremonies for children in order to appease her. She is often depicted in relief or as a statue in a pura dalem (see photograph No. 44, pura dalem in Patandakan). Cod. Or. 3390-247 A sketch on Dutch paper, no marks. 34.6 x 41.7 cm. The sheet has been folded vertically in the centre. Pencil. Artist'. Probably I Ketut Gedé. Origin'. Singaraja. The sheet is torn in the centre along the fold. The monkey Nila crushes Prahasta’s chariot, and smashes Prahasta’s head with a branch of a tree A monkey stands on the right. His legs are spread. He holds a tree with roots and branches in his right hand. He beats the head of the person on the left with it. With his left hand he grasps the weapon of the person on the left. His hair is styled in a double chignon. He wears long trousers, a short loincloth tucked up between his legs, a girdle, a sash, and shoulder-ornaments. He wears ordinary armlets, wristlets and anklets. A demonic man stands on the left. He faces right. He holds a club with a three-pointed ornament (bajra) at the top and at the bottom in his right hand. He pushes the monkey on the right with his left hand. He has a demonic face with bulging eyes, fangs in both the upper and lower jaw and a large nose. His headdress is not very clearly depicted and our view of it is impaired by the tree held by the monkey. It does, however, resemble the headdress of the Prahasta figure depicted in No. 3390-238 on the right. The figure wears long trousers, a short loincloth tucked up between his legs, a sash, a girdle, shoulder- ornaments, and jewelry characteristic of that of a royal personage. He raises his right knee (nyingjing). Two horses lie prostrate under it with the remains of a chariot. There are three demon’s heads under the backs of the horses. No texts have been added to the drawing. A monkey fights a demon. He smashes him with a tree. The demon’s two horses and chariot have already been crushed. Three demon’s heads lie on the ground. The monkey looks like Nila and the demon looks like Prahasta. The fight between Nila and Prahasta is probably depicted, which is described in the OJ Ramayana XXI: 225-245. In XXI: 232 it is described how Nila crushes the chariot. The final phase of the fight is depicted in No. 3390-238.
Cod. Or. 3390-248 Six drawings on Dutch paper, watermark concordia, countermark Van Gelder. 41.6 x 34.3 cm. The sheet has been folded horizontally into two halves. There are three draw ings on the top half of the recto side and at the bottom half of the verso side of the sheet. The sheet is divided into three by vertical lines drawn in ink. Ink, black and grey. Artist: no. 8. Origin: Bratan. The sketches in pencil are still visible. The sheet is damaged at the sides. The drawings on the recto side left and on the verso side left have been reproduced by Hooykaas 1973 (2): h4 and h6. Recto, left: karang tamaja, an ornament in the shape of the head of a boy An ogre’s head en trois quarts is depicted. It faces left. It has round eyes, a round nose and a half-opened mouth with sharp teeth and fangs in the upper and in the lower jaw. It also has a fang on the cheek. It has long hair. It wears a necklace and two round jewels on its forehead (cundang). Leaves and a branch in the shape of a snake’s body with leaves protrude at the back of the neck. The end of the branch is shaped like a snake’s head with a forked tongue. A text in Balinese script in ink at the top says: karang tmaja (karang tamaja), an ornament in the shape of a son or a boy. It is not clear which son or boy is referred to. The son of Siwa, called Kala, might be meant. He roams at cross roads as has already been mentioned in No. 3390-200. Recto, centre: karang Kala Rahu, an ornament in the shape of the head of the demon Rahu An ogre’s head en trois quarts faces left. It has bulging eyes, a big nose, sharp teeth, and fangs in the upper and lower jaw. It wears a diadem and a crown on the head. It has two round jewels on its forehead. It has long hair. It also has a fang on the cheek. Instead of a neck there is a weapon representing a discus (cakra). A text in Balinese script in ink at the top says: karang kalarahu (karang Kala Rahu), an ornament in the shape of the head of Kala Rahu. The story of the demon Rahu has already been mentioned in No. 3390-20. The demon’s head is cut off by the god Wisnu, when he tries to drink ambrosia. The characteristic emblem of Wisnu is a discus. In order to demonstrate that the demon’s head was cut off by this weapon it is depicted under the head.
Recto, right: karang Yama, an ornament in the shape of the head of the god Yama An ogre’s head en trois quarts faces left. It has round eyes, a large nose, a half- open mouth with sharp teeth and fangs in the upper and lower jaw. It also has a fang on its cheek. It has three round jewels on its forehead. It wears a diadem and a high crown on its head. It has long hair and a necklace. The ear-jewel runs into a stalk with leaves on the right. A text in Balinese script in ink at the top says: karang yama (karang Yama), an ornament in the shape of the head of the god Yama. Yama is the demonic god who resides in the hell. He decides the punishments of sinners. Verso, left-, karang Ludra, an ornament in the shape of the head of the god Ludra or Rudra. An ogre’s head en trois quarts faces left. It has bulging eyes and a long nose. The mouth is half-open. It has a sharp teeth and fangs. It also has a fang on its cheek. It has three round jewels on its forehead. It wears a diadem and a high crown on its head. The ear-jewel runs into a stalk with leaves on the right. It wears a necklace. The head is mounted on a tortoise which has its head to the left. It has two small legs at the bottom of the shell. Four human heads are mounted on the shell. A text in Balinese script in ink at the top says: karang ludra (karang Ludra), an ornament in the shape of the head of the god Ludra. Ludra is a demonic manifestation of the god Siwa. He is associated with the South-West. The tortoise represents bedawang nala, which serves as a base for the earth (see No. 3390-8) and as an image and a seat for many gods. It is adorned with skulls to express the demonic aspect of the god. Ludra may also be called Rudra (r and 1 are inter changeable in Balinese). Hooykaas 1973 (2): 8 described Ludra as one of the Powers of Evil. He can be used as such in magical drawings. Verso, centre - , karang empas, an ornament in the shape of a tortoise, two snakes and a corn plant A tortoise seen from above is depicted. The head is directed to the left. A snake is curled round its head and forelegs and another snake round its hindlegs. Their tails are bejewelled. The snake’s tails and their heads are at the top of the draw ing; they face each other. The snakes have high crowns and diadems on their heads. They have long hair. Between the heads, in the centre, grows a corn plant with a flower. A text in Balinese script in ink at the top says: karang hëmpas (karang empas; the p is added later), an ornament in the shape of a tortoise. Van der duuk has added in Latin script in ink: empas. A text in Balinese script in the centre says: jagunggémbal (jagung gémbal), a special kind of corn, which is fed to doves. Ac-
cording to Ginarsa 1971 (1): 2-3 jagung gémbal is another name for buléléng, and is associated with the city of Buléléng (now called Singaraja). When the new king Panji Sakti established his palace North of the désa Sukasada in 1682 AD many people were planting corn. Hence the name given to the new palace was Buléléng. The young corn plant resting on the tortoise with the snakes means the realm of the king of Buléléng, representing the world, which rests on the bedawang nala as its base (see No. 3390-8). Verso, right: karang klesih, an ornament in the shape of an ant-eater A small quadruped entwined by a stalk with leaves faces left. The animal has “armoured” plates on its body and tail. A text in Balinese script in ink at the top says: karang këlsih (karang Klesih), an ornament in the shape of an ant-eater. This animal might be represented on magical drawings, but I have not yet come across any. Cod. Or. 3390-249 Fifteen drawings on Dutch paper, watermark pro patria, countermark VdL. 33.2 x40.9 cm. The sheet is folded vertically into two halves. There are seven drawings on the left of the fold and eight on the right. Ink, black and grey. Artist: no. 2. Origin: Buléléng. The drawings on the left are reproduced in Hooykaas 1973 (2): i 1-7. Left, top left: karang sarpa, an ornament in the shape of the head of a snake A snake’s head en profil faces left. It has a bulging eye, a half-open mouth with sharp teeth and fangs and a tongue which is split into two halves. It wears a diadem and a high crown with a garuda ornament on its head. It has long, curly hair. A text in Balinese script in ink on the left says: karang sarpa, an ornament in the shape of the head of a snake. In No. 3390-130 an ornament in the form of a snake called Antaboga is depicted. Left, top, right: karang rerangut, an ornament in the shape of the head of an animal An ogre’s head en trois quarts faces right. It has bulging eyes, a half-open mouth with sharp eye-teeth and flat, broad front teeth. It has short, curly locks of hair. A text in Balinese script in ink at the top says: karang rarangut (karang rerangut), an ornament in the shape of a kind of animal. In KBNWB I: 825 it is
mentioned that the karang rerangut was “recently” introduced (into Buléléng) from Gianyar. It is not mentioned what kind of animal is meant. I have not yet found the ornament on temples in Buléléng, nor in other regencies, nor in the col lection of photographs of Van der Tuuk (Cod. Or. 3329). Left, centre, left: karang rangda, an ornament in the shape of the head of the rangda An ogre’s head en trois quarts is depicted. It faces left. It has bulging eyes, pro truding teeth, long curly fangs in the upper jaw and in the lower jaw and a long curly tongue with flames at the end. It has a fang on its cheek. It wears a diadem on its head. Its hair consists of curly locks. A text in Balinese script in ink at the top says: karang rangda, (karang rangda), an ornament in the shape of the head of rangda. The ornament has already been dealt with in No. 3390-8. Left, centre, right: Karang domba, an ornament in the shape of the head of a goat An animal’s head is depicted en profil. It faces right. It has an oblong eye, long pointed horns, flat front teeth and sharp eye-teeth in its upper and in its lower jaw. It has short locks of hair. A text in Balinese script in ink at the top says: karang domba, an ornament in the shape of the head of an old, hairy billy goat. An other type of goat, called Ménda, has been treated in Nos. 3390-12 and 129. Left, bottom, left: karang bintulu, an ornament in the shape of a one-eyed ogre’s head An ornament with a one-eyed ogre’s head en face is depicted. It has only an up per jaw with two large, flat front teeth and two pairs of fangs (celcng). One pair points upwards (menék) and one very long pair points downwards (tuun). At the bottom of the head legs of a kind are depicted. A text in Balinese script in ink at the top says: karang bintulu, an ornament in the shape of the head of a one-eyed ogre (see also KBNWB IV: 859). More karang bintulu by other artists are depicted in Nos. 3390-23, 24, and in photographs Nos. 28-30. Left, bottom, right: karang bawi, in the shape of the head of a swine An animal’s head en profil faces right. It has a swine’s snout, a large round eye, long sharp fangs in the upper and lower jaw and three floral curls on top of the head. A text in Balinese script in ink at the top says: karang bawi, an ornament in the shape of the head of a swine. More ornaments with swine’s heads are depicted in Nos. 3390-15, 23 and 130.
Left, bottom, right: karang beduda, an ornament in the shape of a dung-beetle A beetle is depicted at the bottom on the right. It faces left. A text in Balinese script in ink at the top says: karang baduda, (karang beduda), an ornament in the shape of a dung-beetle. This beetle lives in dung and makes a buzzing sound during the night. Right, top, left: karang saé, an ornament in the shape of the head of a Chinese lion An animal’s head en trois quarts is depicted. It faces left. It resembles a lion’s head with bulging eyes and a half-open mouth with flat front teeth and fangs. A curly tongue protrudes. A creeper with a flower hangs down from one corner of its mouth. A text in Balinese script in ink at the top says: karang sahé (karang saé), an or nament in the shape of a Chinese lion’s head. More karang saé are depicted in Nos. 3390-9, 12, 13, 23, 127, and in photographs Nos. 8-10 and 12. Right, top, right: karang trewélu, an ornament in the shape of a rabbit A crouching quadruped is depicted. It faces left. A text in Balinese script in ink at the top says: karang trewélu, (karang trewélu), an ornament in the shape of a rabbit. In KBNWB II: 602 it is mentioned that trewélu (Port, coelho) were kept by the king of Buléléng. The animal was also called a bikul blanda, a “Dutch rat”. Right, right: karang uled, an ornament in the shape of a caterpillar Just below the rabbit a hairy caterpiller is depicted. Its head is to the left. A text in Balinese script in ink at the top says: karang wulëd (karang uled), an ornament in the shape of a caterpillar. Right, centre, left: karang yuyu, an ornament in the shape of a crab A crab, seen from above, is depicted. It faces the top of the sheet. A text in Balinese script in ink at the top says: karang yuyu, an ornament in the shape of a crab. The crab is known as a constellation. It is depicted in the star-calendars (Maass 1929: Tab. III). It is also used in magical drawings. In Hooykaas 1981 (2): 74 it is used for making rain. In temple reliefs it is often found holding a creeper and cut ting it with its claws (photograph no. 42, pura désa, Banjar). It is also depicted at the back-piece of the statue of Mén Bajra in front of the pura dalem in Patan- dakan (photograph No. 44).
Right, centre, right: karang udang, an ornament in the shape of a shrimp A large shrimp is depicted. Its head is to the left. A text in Balinese script in ink at the top says: karang wudang, (karang udang), an ornament in the shape of a shrimp. The shrimp is a constellation. It is part of the star-calendar. It is also depicted on reliefs of temples in North Bali, for instance on the back-piece of the statue of Mén Bajra in front of the gateway to the pura dalem in Patandakan (photograph No. 44). Right, centre, right: karang lipan, an ornament in the shape of a millipede Immediately below the shrimp a millipede is depicted. Its head is to the left. A text in Balinese script in ink at the top says: karang lipan, an ornament in the shape of a millipede. The millipede can be depicted on magical drawings, for instance as a reverser of vampires (Hooykaas 1980 (2): 159, bottom left). Right, bottom left: karang de(rn)pat, an ornament in the shape of the decapitated head of the demon Rahu An ogre’s head is depicted en trois quarts. It faces left. It has bulging eyes, a large nose, a half-open mouth with sharp teeth, fangs and a curly tongue. It has locks of curly hair on its head. A text in Balinese script in ink at the bottom says: karang dernpat (karang dem- pat). According to KBNWB II: 498 this is the name for a flaming ogre’s head where the flames look like hair. It is depicted in the star-calendar (palelintangan) and as a karang. According to Maass 1929: Tab. I, II there is a star called dem- pat, or depat which influences one’s character when one is born on Saturday umanis (the first day of the five day week). In Latin script Van der Tuuk has added in pencil: dëpat of kalarahu?, depat or Kala Rahu. This refers to the fact that the demon de(m)pat may also be represented as the demon Rahu (see No. 3390-248, recto). Right, bottom, right: karang tledu, an ornament in the shape of a scorpion A scorpion seen from above is depicted. Its head is to the left. A text in Balinese script in ink at the bottom says: karang tlëdu, (karang tledu), an ornament in the shape of a scorpion. In drawing No. 3390-246 another type of scorpion, the katunggéng is depicted. One of the differences between the two scorpions is that the sting of the katunggéng is mortal while that of the tledu is not.
Cod. Or. 3390-250 Ten drawings on Dutch paper, watermark pro patria, countermark VdL. 33.1 x 41.8 cm. The sheet is folded vertically into two halves. There are five drawings on the left and five on the right of the fold. Ink, black and grey. Artist: no. 2. Origin: Buléléng. The sketches in pencil are still visible. Left, top: karang gelap, an ornament in the shape of a lightning-head The drawing is depicted vertically. In order to view it in the right way the sheet has to be turned. An ogre’s head is depicted en profil. It faces left. It has a large bulging eye, a big nose, and a wide-open mouth with one large, flat, protruding tooth in the upper jaw. The other teeth are small but sharp. It has long, curly fangs in the upper and in the lower jaw. A long, curly tongue protrudes. The figure has flames, pointing to the left, all over its head, nose and mouth. A text in Balinese script in ink at the bottom says: karang glap (karang gelap), an ornament in the shape of an ogre’s head representing lightning. More karang gelap are depicted in Nos. 3390-20, 46, 130, and in photograph No. 21. Left, centre, left: karang clepuk, an ornament in the shape of an owl An owl is depicted en face. Its tail-feathers point upwards. A text in Balinese script in ink at the top says: karang clepuk (karang clepuk), an ornament in the shape of an owl. This ornament is called karang garuda in South Bali. It may be depicted in reliefs in temples in North Balinese style as well as in South Balinese style. It may hold a snake or a fish (photograph No. 45, pura Emas Murub, Sempidi and No. 46, pura désa in Abian Semal). Left, centre, centre: karang danawa raja, an ornament in the shape of the head of Raw ana A large ogre’s head is depicted en trois quarts. It faces left. It has large bulging eyes, a long nose, a half-open mouth with sharp eye-teeth and a moustache. It also has a fang on its cheek. It wears a diadem and a high crown with a garuda or nament on its head. A text in Balinese script in ink at the top says: karang danawaraja, (karang danawa raja), an ornament in the shape of the head of the king of the demons. Rawana might be referred to. The way his mouth, moustache, and crown are depicted is characteristic of North Bali.
Left, centre,' right-, karang ménda, an ornament in the shape of the head of a buck An animal’s head en trois quarts is depicted. It faces left. It has large female eyes, a half-open mouth with sharp teeth and fangs and horns pointing upwards on its head. It wears a diadem. A text in Balinese script in ink at the top says: karang ménde, (karang ménda), an ornament in the shape of the head of a buck. More bucks are depicted in Nos. 3390-12, 129, 249. Left, bottom: karang rupa, an ornament in the shape of an ogre’s head without a lower jaw A large rock ornament with an ogre’s head en face at the base is depicted. It has legs of a kind at the sides. It has bulging eyes, an upper jaw with flat front teeth and two pairs of fangs (céléng). One pair points upward and one points downwards. The tails of two snakes are knotted in the centre round its head. Their bodies run through the ears of the ogre. Their heads appear on either side of the ogre’s head. A text in Balinese script in ink at the top says: karang rupa, an ornament in the shape of an ogre’s head without a lower jaw. More karang rupa are depicted in Nos. 3390-2, 17, 46, and 127, but they are not surrounded by snakes. Right, top, left: karang curing, an ornament in the shape of a bird’s head en profil A bird’s head en profil facing left is depicted. It has only an upper jaw with a pointed beak, sharp teeth and a fang. It has one round eye. There is a floral orna ment on top of its head. A text in Balinese script in ink at the top says: karang curing, an ornament in the shape of a bird’s head en profil and without a lower jaw. More karang curing are depicted in Nos. 3390-23, 24, 46 and 127, and in photographs Nos. 4, 26 and 27. Right, top, centre-, karang cawiri, an ornament in the shape of an ogre’s head with hands but without a lower jaw An ogre’s head is depicted en face. It has two large bulging eyes, an upper jaw with flat front teeth, pointed fangs and a floral tongue. It also has fangs on its cheeks. There is a floral leg on either side of the head. Close to the ears small hands protrude. It has a diadem and flames on its head. A text in Balinese script in ink at the top says: karang cwiri (karang cawiri); as has been mentioned under no. 3390-23 the cawiri should, according to KBNWB I: 629 be depicted as a gaping bird’s beak, which is not the case in the drawings. The ogre resembles a demon called Boma in South Bali. More karang cawiri are depicted in Nos. 3390-23 and 46.
Righf, top, right: karang asti, an ornament in the shape of an elephant’s head An animal’s head en profil faces right. It has one round eye, a long trunk an upper jaw with fangs and sharp teeth and eye-teeth. There are floral ornaments on its head. A text in Balinese script in ink at the top says: karang hasti, (karang asti), an ornament in the shape of the head of an elephant. More karang asti are depicted m N° s - 3390-23, 24, 46 and 127, and in photographs Nos. 31-33. R ight, centre, right: karang manuk, an ornament in the shape of a bird’s head en profil A bird’s head is depicted en profil. It faces right. It has one large bulging eye and only an upper jaw with a pointed beak which curls at the end. It has sharp teeth and eye-teeth. The head has floral ornaments on the top. A text in Balinese script in ink at the top says: karang manuk, an ornament in the shape of a bird’s beak en profil. Other ornaments in the shape of a bird’s beak, called karang manuk or karang paksi are depicted in Nos. 3390-17, 23 and 127. These birds have an upper jaw as well as a lower jaw. The karang manuk in this drawing closely resembles the karang curing. The difference is that the karang manuk has a curled beak while the karang curing has a pointed beak. It is difficult to discern the differences between the various karang manuk, paksi and curing. Each artist seems to have his own way of drawing them. This is also the case in sculpture. Right, bottom, left: karang patra, an ornament in the shape of a floral ogre’s head enface without a lower jaw A large ogre’s head is depicted en face. It has almond-shaped eyes, a floral nose, upper jaw and eye-lids. It has flat front teeth and sharp fangs. It has floral egs. Leaves protrude from the mouth. The head and face are decorated with leaves and stalks. A text in Balinese script in ink at the top says: karang patrë (karang patra) floral ornament. Such an ornament is often put at the centre of oblong panels in walls surrounding temples and palaces. It is found both in North Bali and in South Bali. Cod. Or. 3390-251 Two drawings on Dutch paper, watermark pro patria, countermark VdL 41.7 x 34 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink.
Colours: red, light red, light magenta, light green, yellow, light salmon-pink, light grey, grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet has been damaged at the bottom on the left. It has been repaired by being glued onto a piece of white paper. Top: various utensils for ceremonies of the soul: a lamp, an effigy of the soul and an offering tower There are awon-awon ornaments (type II) at the top of the drawing. A thick, green, vertical bamboo pole is depicted on the left. On top of it there is a smaller, vertical piece of bamboo. A snake is curled along the vertical pole. It has a jewel at the tip of its tail. Its head is at the bottom and directed to the right. It has a wide- open mouth and a forked tongue. It wears a diadem and a high crown on its head. From the top of the bamboo hangs a white lamp which can be raised and lowered by a piece of rope connected to it. A text in Balinese script in ink says: plita sari (pelita sari), and in Latin script in pencil Van der Tuuk has added: n.v. damar kurung, name for the damar kurung. In KBNWB IV: 211, under pelita sari we find “hardly known, the same as the damar kurung, but with the figure of a dragon”. By dragon the snake in the drawing is meant. The damar kurung is a lamp which is hung on an ordinary bamboo pole at the entrance to a compound when there is a cremation ceremony (ngabén) or a ceremony in honour of the soul fourty two days after the cremation (mamukur). At ngrorasin, twelve days after the cremation, no damar kurung is hung up. The lamp is made of white paper stretched over a bamboo frame. The lamp is lit at night for so long as the corpse or the soul is in the house. The light is meant to show the wandering soul of the deceased the way to heaven. The lamp is burnt once the ceremony of which it forms part has been completed. In Pitra Tarpa Kusa Pranawa: 25 (Cod. Or. 18.005), and Supta Pranawa Pamrasan: 16 (a ms in a private collection in griya Gedé in Panarukan) the for mula for lighting the lamp clearly mentions its function: om am agni mijilakën saking sünyantara, anyundarin margasanga, om am may the fire come forth from the interspace of void, in order to illuminate the ninefold path (to heaven). In the centre a kind of tower is depicted mounted on a green bamboo frame. The tower itself has a black, grey and white checkered base, a body which is decorated with an ogre’s head en face without a lower jaw in the centre, two upside-down lions on the sides and a bird’s head en profil (karang curing). More bird’s heads (karang curing) are mounted on the sides of the platform. A bird is mounted on top of the platform. It is seen en trois quarts. It has a long, pointed beak. Its wings and tail-feathers are spread upwards. A text in Balinese script in ink says: puspahijo (puspa ijo), “green flower”. A puspa, however, is also the name for a rather elaborate effigy of the soul (sekah;
cf. KBNWB IV: 562). The puspa ijo or candi ijo is used during the ceremony which is held fourty two days after a cremation in honour of the soul (mamukur). It contains the effigy of the soul of the deceased. It is thrown into the sea after the ceremony is over. The bird, a kind of eagle, helps to overcome hindrances and is supposed to fly away with the soul to heaven. On the righthand side a tower on a bamboo frame is depicted. It has a grey white and black checkered base and a body with a winged ogre’s head en face without a lower jaw and two bird’s heads en profil (karang curing) at the sides. On top of it there is a tower with eight roofs and a top-piece. A text in Balinese script in ink says: pamuspahan, (pamuspan). The pamuspan is a kind of offering tower which is carried in procession round the village on the occasion of karya pamekas, that is part of the cleansing ceremony (ngaskara) which takes place the evening before a cremation. Various offerings are carried in the procession; the tower comes near to the end of it. The number of roofs of the tower should accord with the class to which the deceased belongs. The highest number of roofs is eleven. This is the privilege of the members of the ksatriya class, and of the king of Tabanan. Lower classes, for instance the wésya and the pasek, are allowed to have nine roofs. The tower in the drawing has eight roofs, which is wrong. The pamuspan tower is only used in very elaborate ceremonies! In the OJ kidung Sunda V: 50-52 the pamuspan is mentioned in relation to the cremation of a king. Bottom: a procession carries the ashes of a cremated person to the sea The ground is indicated by light grey parallel curving lines on the lefthand side and by salmon-pink on the right. Five men, two in front and two behind, and one in the centre carry an open sedan. It is decorated with winged snakes which wear crowns. There is a parasol in the centre of the sedan. The bearers walk to the right. The man in front on the right has light salmon-pink skin. He has oblong eyes, whiskers and a kerchief round his head. He wears a long loincloth with pleats in front, a sash and a short jacket with long sleeves. The other man has white skin. His head, with almond-shaped eyes and with a kerchief round it, is only partly visible. A small man with white skin walks in front of them. His forehead is bald. He has female eyes. He is clad in a very short loincloth tucked up between his legs. Two women walk on the far right. They carry trays of fruit (dulang) on their heads. Their skin is light salmon-pink. The hair of the woman in the foreground is styled in an asymmetric chignon (tetagelan). The women are clad in the same way, namely they wear long loincloths, sashes wrapped round their waists and sashes (anteng-anteng) round their necks. A small male figure walks in the foreground on the right. He has salmon-pink skin. He holds a dog with a bell round its neck. He has a moustache. There is a flower behind his ear
A woman walks in the centre. She also carries a bowl of fruit on her head. The bowl rests on a round piece of cloth placed on her head (tengkuluk). The colour of her skin is light salmon-pink. She wears a skirt, a long loincloth, a sash wrapped round her waist and another sash round her neck. Behind her walks a man. With his right hand he supports the sedan in the centre and he takes some fruit from the woman’s bowl with his left hand. He has female eyes. He wears a long loincloth, a sash, a kris on his back in his girdle and a kerchief round his head. His skin is light salmon-pink. Of the two men carrying the sedan at the back, the man in the foreground has white skin. He has almond-shaped eyes. He wears a long loincloth, a sash, a kris on his back in his girdle, a short coat with long sleeves and a kerchief round his head. The other man wears a black and grey checkered loincloth, a sash and a kerchief round his head. He has oblong eyes. His skin is light salmon-pink. Parasols, open and closed, and lances, are depicted in the background close to the sedan. On the far left walks a small man. He faces right. He carries a long-handled trident bearing a pennant. He has female eyes, and short hair with a little coif on his forehead, which is characteristic of a servant. He wears a small loincloth tucked up between his legs and a short jacket with short sleeves. A text in Balinese script in ink at the top on the right says: hanak makirim (anak makirim), men carry the ashes of a cremated person to the sea. At the bot tom on the right Van der Tuuk has added in Latin script in pencil: djëmpana (jempana), sedan. After the cremation the ashes are assembled and put in a small coconut (klungah) with some flowers. This is called the sekah areng. It is carried on a sedan to the sea or to a river and thrown in so that it can start its journey to ultimate release. This can be reached after a number of ceremonies in honour of the soul. In each ceremony an effigy of the soul (wadah sekah) is made, which is more elaborate each time. For the ceremony which takes place twelve days after the cremation (ngrorasin) an effigy made of waringin leaves is used (sekah kekangsén), and for mamukur a candi ijo (see the drawing on the top) is used. Cod. Or. 3390-252 Two drawings on Dutch paper, no marks. 43.1 x 34.4 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: red, light red, bordeaux-red, light magenta, light green, green, yellow, light salmon-pink, light brown, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja.
The sheet has been torn on the left and right along the fold. It has been glued onto transparent paper. The drawing at the bottom is reproduced by Nieuwenkamp 1906-10: 93 and Lekkerkerker 1925/26: 137. Top: men in trances stab themselves with krisses during a temple festival On the left and at the top various buildings and pavilions are depicted on stone bases. At the bottom on the left stands a closed building on a stone base with a tiered roof called gedong tarib matumpang lima. On the right of the base there are two pennants (umbul-umbul), and two spears (tumbak). At the top row there are, from left to right, a stone building (tugu), two open pavilions (palinggih) with roofs resting on four poles and with a type of sedan inside, another open pavilion (palinggih) with a roof resting on four poles, and two small closed buildings (tugu). Three men are depicted in the open space between the buildings. They stab themselves with krisses. On the left stands a small man. He faces left. His hair is knotted at the back of his head. He has a flower behind his ear and stuck in to his knot (kalpika). His forehead is bald. His skin is light salmon-pink. He wears a long loincloth, a sash and a kris-sheath on his back in his girdle. At the top on the right a tall man stands on his right leg. He faces left. His left knee is raised. He has long hair. His skin is light salmon-pink. He wears a long loincloth, a small loincloth tucked up between his legs, a sash and a opium pipe in his girdle. His eyes are large and he looks down. His expression is troubled. At the bottom on the right a man sits on his knees. His head is to the right. He looks down. His expres sion is also troubled. He has female eyes. He stabs himself in the neck, so that the pointed end of the kris comes through. Blood pours from the wound. His skin is light magenta. He wears a short loincloth tucked up between his legs and a sash. He has long straight hair. A text in Balinese script in ink at the top on the left says: puniki pura, this is a temple. Close to the man on the left is written: pamangku, ngurek (pamangku ngurek), a temple priest stabs himself with a kris and turns it round in the wound. Close to the man at the top on the right is written: hanak ngurëk kasusup kale, (anak ngurek kasusup kala), a man stabs himself, because he is possessed by a demon. At the bottom on the right is written: hanakëngsap kapongor, matatu, (anak engsap, kapongor, matatu), a man who is possessed is wounded, because he is a sinner. Three men in trances stab themselves with krisses in the courtyard of a temple. Their eyes are troubled. One of the men is the temple priest. Bottom' two men and a woman stab themselves with krisses, they are accompanied by an orchestra The ground is indicated by light magenta. A metal gong hangs from a rack at the top on the left. A man, standing on the left and facing right, beats it with a
mallet, in the shape of an animal’s head. He has female eyes, a bald forehead, and short curly hair at the temples. His skin is light salmon-pink. He wears a small loincloth tucked up between his legs and a jacket wit long sleeves. A text in Balinese script in ink says: makëmpul, playing the kempul. Another man sits on his left knee at the bottom on the left. He faces right. He beats a metallophone consisting of two metal kettles in a rack with two sticks. He has oblong eyes. His mouth is half-open. His skin is light salmon-pink. He wears a short loincloth and a sash. He has a kerchief round his head. He has an opium pipe on his back in his girdle. A text in Balinese script in ink says: ngbug réyong (ngebug réong), to beat a réong. In front of the kempul player sits a man facing right. He holds a drum on his knees. He beats it with a stick held in his right hand and with the palm of his left hand. He has almond-shaped eyes and he has a kerchief round his head. His skin is light salmon-pink. A text in Balinese script in ink says: hanakmakendang (anak makendang), someone playing a drum. Another man sits in the centre at the bottom. He holds two large cymbals. His body is en face but his face is directed to the right. He has a bald forehead and female eyes. He wears a short loincloth and a sash and a short jacket with long sleeves. His skin is light salmon- pink. A text in Balinese script in ink says: macéngcéng, playing the céngcéng. A man stands in the centre at the top. He is seen from behind. His right knee is raised. He stabs himself in the shoulder and in the head with two krisses. He has long hair. He wears a short loincloth and a sash round his waist. He has a kris- sheath of black and white wood on his back in his girdle. A man sits at the bottom in the centre. His body and head are en face. He stabs himself in the chest with a kris. The end of the kris is bent double. He also looks troubled. He has female eyes. His hair is long. He wears a small loincloth tucked up between his legs, a sash and a short jacket with long sleeves. A woman stands on the far right. She faces left. She stabs herself in the breast with a kris. The end is bent double. She has a refined face. She has long hair and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, a girdle and another sash which covers her breasts. Her skin is light salmon-pink. A text in Balinese script in ink at the top on the right says: hanak ngurek, haji kris kakalih; puniki premas luh, (anak ngurek aji kris kekalih, puniki premas luh), a man stabs himself with two krisses; this is a female assistant of a temple priest (pamangku). Close to the man sitting at the bottom is written: hanak ngurek, a man stabs himself. A group of men and a woman stab themselves with krisses. The woman is a premas. This is a term for a kind of female temple assistant in North Bali. Such an assistant may help the priest during a temple festival (déwayadnya) and during a procession to the bathing place or to the sea (makiis). Each temple has a group of such assistants. In South Bali they are called prasutri (the women) and juru sungi (the men). In North Bali the women may also be called pasarén. The men’s club is called pamaksan. One becomes an assistant through family tradition. One has to make a vow in order to attain the status. This may for instance be a vow to help at each elaborate temple festival held once every two years.
In former days it was the custom to stab oneself at the end of a temple festival accompanied by music. Someone who had been bad or had forgotten his vow was punished by the god (kapongor). This person wounded himself while stabbing himself with a kris after the festival (matatu). KBNWB II: 785, temblék, men tions that people in a state of possession do not begin stabbing as soon as they become aware of the smell of dirt, in particular chicken manure, on their krisses. Stabbing (ngurek) still takes place, but only infrequently. These days in South Bali people stab themselves at the end of a Calon Arang performance held on the occasion of a temple festival (see No. 3390-125). Cod. Or. 3390-253 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 41.6 x 34 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, light magenta, light brown, light green, green, dark green, yellow, light grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet has been torn along the fold. It has been repaired with transparent paper. Top: sarcophagi are depicted which are used for cremating the corpses of noblemen, of brahmans, and of prabali There are three rock ornaments with creepers at the top on the right. At the bottom there are three large rock ornaments and a bunch of grass. A pavilion with four poles supporting a roof is depicted in the centre. A winged spotted lion stands on the left at the bottom. It has horns on its head and cockspurs on its legs. It faces left. A light brown lion stands in the centre facing left. It has wings and cockspurs. A white bull stands on the far right. It faces left. A small boy stands behind it, fac ing left. He holds the bull’s back. The boy has a small coif on its forehead. His skin is light brown. Another small boy kneels naked in front of the bull. He touches the leg of the winged lion. He has almond-shaped eyes and a small coif on his forehead. His skin is light brown. A man stands on the far left behind the spot ted lion. He has a kerchief round his head. His skin is light brown. All animals have a deckel on their backs. A text in Balinese script in ink in the centre says: patulangan singambarwang, (patulangan singa barong), a sarcophagus in the shape of a winged lion. On the right is written: patulangan lernbu, (patulangan lembu), a sarcophagus in the shape of a bull. Van der Tuuk has added in Latin script in pencil: voor hoogere
kasten, for higher caste people. On the lefthand side of the pavilion at the top is written in Balinese script in ink: balé si lunglung, a kind of pavilion (the meaning of which will be explained later). At the top on the left is written in Balinese script in ink: patulangan singabréng, (patulangan singa bréng), a sarcophagus in the shape of a spotted lion. Van der Tuuk has added at the top on the left in Latin script in pencil: voor prabali, for prabali. In KBNWB IV: 903 reference is made to a karang bréng (depicted in No. 3390-9), as “a spotted animal with long teeth and fangs” and to the patulangan singa bréng ‘‘which is depicted in the plate”. Three sarcophagi are depicted in front of a bale si lunglung. The shape of a sar cophagus is dictated by the class to which the person to be cremated belongs. In former days the bull was used for a male brahman and the cow for a female brahman, the lion for a ksatriya, the deer for a wésya and the gajah mina, fish- elephant, and cecekakan, for a jaba. According to Van der Tuuk’s note the white bull on the right is for higher caste people; this means for brahmans, ksatriya, and wésya. Covarrubias 1937: 373 also mentions that the majority of noblemen use the bull for men and the cow for women. According to the drawing the winged spotted lion is for prabali. To the prabali belong groups of Balinese who withdrew themselves when the Javanese made Bah into a vassal state at the beginning of the fifteenth century. The prabali are reck oned to be jaba. They are divided into many groups and have various burial and cremational customs. The balé si lunglung is the name of a pavilion which is erected at the cremation place on the spot where the cremation has taken place. Various offerings are placed in it (pring, suci, daksina) as well as the ashes of the person who has just been cremated. The ashes are temporarily put in a small earthenware vessel (sesendin). In the balé si lunglung the ceremony of ‘‘waving at the ashes (ngayab)” takes place (see for instance Ngabén Lanus Warga Pandé Sajagat Bali 34: 1608-1614, Cod. Or. 18.006). Bottom: sarcophagi are depicted which are used for cremating the corpses of jaba The ground is indicated by green spots and rock ornaments with and without creepers. A leafy tree with horizontal branches grows in the centre. It is probably a kepuh-tree (cotton-tree). There are three plants at the top on the right. An animal stands in the centre. It faces left. It has an elephant s head, elephant s fangs, but large pointed eye-teeth, antlers on its head, the ears of a tiger and the body of a spotted tiger. It has a deckel on its back. A fish-elephant in a rack is depicted on the left. It looks like the animal depicted in No. 3390-46. A wooden box with four poles stands at the top on the left. The sides are shaped like the tail of a fish. It also has a deckel. A text in Balinese script in ink in the centre at the bottom says: patulangan ga jah ndaka, (patulangan gajah (a)ndaka), sarcophagus in the shape of an elephant.
At the bottom on the left is written: patulangan gajah minna, (patulangan gajah- mina), sarcophagus in the shape of a fish-elephant. And at the top on the left is written: patulangan cacëkakan, (patulangan cecekakan), a sarcophagus with nicks which are split like the tail of a fish. In Latin script in pencil Van der Tuuk has added: voor de 4 de kaste, for the fourth class, and further to the bottom: prabali. Three sarcophagi for the jaba are depicted. The animal which two of them have in common is the elephant. It is variously shaped, like an elephant, or a fish- elephant. The third sarcophagus has fish-tails only. In KBNWB I: 603 Van der Tuuk refers to this type of sarcophagus under cekah instead of cekak: “patulangan cecekakan of the fourth class, see the plate’’. By gajah ndaka, gajah andaka must be meant. According to KBNWB I: 43 Andaka is the name of an elephant, and also of a bull (see No. 3390-129). We must assume that elephant is meant here. According to KBNWB IV: 780 the use of the sarcophagus in the shape of a “gaja mina” is restricted to members of the bendésa and pasek clans. The kepuh-tree depicted in the centre is associated with the cremation ground. It grows there quite often. Cod. Or. 3390-254 Two drawings on paper, no marks. 43.3 x 34.5 cm. The sheet has been divided horizontally into two halves. There are two draw ings, one on the top half and one on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: light red, light magenta, bordeaux-red, light green, green, yellow, light salmon-pink, light grey, white, black. Artist: I Ketut Gedé. Origin-. Singaraja. Top-, cl performance op the butterply~haris (bans kupu atarung) A male dancer chases two “girls” A man stands in the centre in a dancing attitude. His body and head are en face. His head is askew. His left knee is raised (nyingjing), his left arm stretched sideways while he holds his right hand to his girdle holding his sash (nyamir). He has round eyes, a full moustache and long hair. He has a kerchief round his head. His skin is light salmon-pink. He wears a long loincloth which reaches up to his armpits, a small loincloth tucked up between his legs and a sash round his chest. He has a kris on his back in his girdle. A small woman stands on the right. She faces left. Her legs are slightly spread, which indicates that she is walking. She hides her face behind a fan held in her right hand (ngliput). Her left arm hangs limp (matéken). She wears a skirt, a long loincloth, a girdle, a sash wrapped
round her waist, another sash which covers her breasts, a shoulder-piece and a caste-cord. She has a diadem of flowers on her head. Her skin is light salmon- pink. A small tree stands between the man and the woman. Leaves are indicated by small vertical parallel stripes. Another woman stands on the far left. She faces right. She holds a fan in her right hand (ngliput). Her left arm points to the right. She has a refined face and a diadem with flowers on her head. Her skin is light salmon-pink. Her legs are spread a little and her knees slightly bent, which in dicates that she is walking. She wears a skirt, a long loincloth, a sash wrapped round her waist, a girdle, and another sash which covers her breasts, and a shoulder-piece. A text in Balinese script in ink in the centre at the top says: puniki gagudrug, (puniki gegudrug), this is a clownish figure. In Latin script in pencil Van der Tuuk has added: lelampahan Kupu atarung, a performance of the butterfly-baris dance-drama. Kupu atarung is the name for a large black and red butterfly (.KBNWB II: 622). At the top on the left is written in Balinese script in ink: higëlhigëlan, malalampahan, kupuhatarung, (igel-igelan malelampahan kupu atarung), a performance of the butterfly-baris dance-drama. In Latin script in ink is written above the two women on the left and on the right: gandrung ambar sari, a travestite dancer called Ambarsari. According to KBNWB I: 418 “Ambarsari should be Ambara Sari, which is the name of a princess. She represents a gan drung (travestite dancer) or gegudén (court dancer) as depicted in the drawings”. A gegudén was a female dancer, usually a very young girl, who belonged to a king or to a prince. She performed jogéd dances, but was not allowed to be taken by men other than the prince or the king. In KBNWB IV: 709, jogéd gudén, the lat ter part of this information is repeated. A baris dancer, representing the gegudrug, a clownish figure, dances with two “girls”. Their dance is called the butterfly-baris. It forms part of the baris kupu atarung dance-drama. The meaning of the butterfly dance is as follows: a male baris dancer represents Indra’s gardener. The garden is visited by butterflies (the Ambarsari dancers) who destroy the flowers there. The gardener is supposed to drive the butterflies away. According to De Zoete and Spies the butterfly dance was nearly extinct but it was revived in the nineteen thirties. The dance as such is still known but the dance-drama is almost forgotten now. More information on this subject is given in No. 3390-255. Bottom: father Ambarsari chases Mother Ambarsari. A performance of the butterfly-baris (baris kupu atarung) A leafy tree is depicted on the far left. Leaves are indicated by green and yellow parallel stripes. A woman runs to the left. Her arms are spread wide. She carries a basket of fruit on her head. She has a refined face. Her hair is styled in an asym metric knot (tetagelan) which indicates that she is a commoner. She has a sash on
her head, one end of which is wound round her left arm. She wears a long loincloth, a sash wrapped round her waist and another one over her breasts. Her skin is light salmon-pink. A man runs behind her on the far right. He takes a durian fruit from her basket and holds a peeled banana in his left hand. Part of the banana is already eaten. His skin is light salmon-pink. He wears a long loincloth, a short loincloth tucked up between his legs, a sash round his waist and a kerchief round his head. He looks like the baris dancer in the drawing at the top in the cen tre. A text in Balinese script in ink at the top on the left says: mémén yambarsari (ménmén I Ambarsari), the mother of Ambarsari. At the top on the right is writ ten: bapan yambarsari (bapan I Ambarsari), the father of Ambarsari. A witty scene (lelucon) from the baris kupu atarung dance-drama is depicted. A man, called the father of Ambarsari, chases his wife, Ambarsari’s mother. He steals fruit from the basket she carries on her head. According to KBNWB IV: 709 the male baris dancer (gegudrug) is the father of the butterfly-dancers, and the condong (servant) figure is the mother. The father, being a kind of clown, plays some tricks while he is dancing. This is shown in the drawing. Cod. Or. 3390-255 Two drawings on Dutch paper, no marks. 42.9x34.4 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours-, red, light red, light magenta, magenta, yellow, light green, green, light blue-green, light salmon-pink, light brown, light grey, black, white. Artist: I Ketut Gedé. Origin: Singaraja. Bottom-. Ambarsari is beaten by her father with a branch of a tree. She weeps. A performance of the butterfly-baris (baris kupu atarung) The ground is indicated by green dots. A plant with stalks grows on the left and another plant grows in the centre. A leafy tree is depicted in the centre. Leaves are indicated by parallel stripes. A tall pot with stalks and a large flower and buds is depicted on the far right. A woman sits on her knees on the left (matimpuh). Her head is askew. She faces right. She holds her right hand close to her cheek which is a sign that she is grieving. Her left arm is being pulled by the man standing on the right. She has a refined face with long hair and a diadem with flowers on her head. Her skin is light salmon-pink. She wears a long loincloth, a sash wrapped round her waist, a girdle, a sash which covers her breasts and a shoulder-piece. Another sash hangs over her shoulders. Her jewelry is
characteristic of that of a princess. A man stands on the right. He faces the woman. He pulls her arm with his left hand. He holds a branch of a tree in his right hand, ready to beat her back. His right knee is raised (nyingjing). He has an angry expression on his face. He has round eyes, a large moustache, a bald forehead but locks of long hair at the temples. He has flowers behind his ears. His skin is light salmon-pink. He is clad in a long loincloth, a small loincloth tucked up between his legs, a sash round his waist and another sash round his neck. A text in Balinese script in ink at the top says: puniki yambarsari, sdëkatigtig, hantuk bapan nané, bahan nané nagih gagamëlan, sahisahi, (puniki I Ambarsari sedek katigtig antuk bapan nyané ban nyané nagih gegamelan sai-sai), this is I Ambarsari while she is beaten by her father, because she wants to hear gamelan music every day. Ambarsari sits down and weeps. She is beaten by her father, because she asks for dancing music every day. Scenes in which a woman is beaten often occur in live theatre, in Calon Arang performances, in arja and in topéng (masked theatre). Top-. Ambarsari weeps at the foot of a tree on a cremation ground. She is consoled by her mother. A performance of the butterfly-baris (baris kupu atarung) The ground is indicated by green dots. There are rock ornaments on the right at the bottom and at the side. A large leafy tree grows on the left. Leaves are in dicated by green dots. There are two rock ornaments at the foot of the tree on the right. Above it lies a cremation lamp (damar kurung). A skull lies at the bottom on the left. A bier of green bamboo leans against the trunk of the tree. A small woman stands naked in the tree. She represents a female ghost. She holds the branches. A demonic head and an arm with a small head on the top hang in a branch. They represent the head-ghost (tendas) and the arm-ghost (tangan- tangan) (see No. 3390-39, 173 and 17.994-2). The tree is the kepuh (cotton) tree which grows at cremation grounds. A woman kneels to the right of the tree. She faces left. She holds her right hand, covered by her sash, close to her cheek which indicates that she is grieving. Her left arm hangs limp (matéken). She looks the same as the figure depicted in the drawing at the bottom. Another woman sits behind her on the far right. She faces left. She holds her left hand, covered by her sash, against her cheek. This indicates grief. With her right hand she touches the shoulders of the woman on the left. Her face is refined. Her hair is styled in an asymmetric chignon (tetagelan). She has a sash round her head; the end of the sash hangs down. Her skin is light salmon-pink. She wears a long loincloth, a sash wrapped round her waist and another sash which covers her breasts. Her jewelry consists only of armlets, which indicates that she is of low rank. A basket of fruit (pisang, durian) stands between her and the other woman. A text in Balinese script in ink at the top says: yambarsari, suhud katigtig, lahutkaméméné, huli di pkën, ngabë dadaharran, lahut ngasihin, sambil ngling,
(I Ambarsari suud katigtig laut teka ménménné uli di peken ngaba dedaaran laut ngasihin sambil ngeling), after Ambarsari has been beaten, her mother arrives from the market carrying food. She consoles her and weeps too. Ambarsari sits and cries at the cremation ground, probably because her father has refused to give her dancing music and has beaten her. Her mother has arrived from the market where she has bought fruit. She has put down her basket and now consoles her daughter. She also weeps. According to informants in Blahbatuh and Badung, the baris kupu atarung is no longer performed as a dance drama with spoken texts. It is only known as a dance these days. Although informants still remember the dramatic performances from the thirtees, it was impossible to get any information about how the story was performed. I have not yet come across a text referring to the scenes depicted in Nos. 3390-254 and 255. Performances of the baris kupu atarung however are mentioned in Balinese geguritan (Bagus Umbara VII: 438, Van Eck 1876). Cod. Or. 3390-256 Two drawings on Dutch paper, watermark concordia, countermark VdL. 41.5 x 34.8 cm. The sheet is folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. Colours: red, light magenta, magenta, light blue, yellow, light salmon-pink, light brown, light grey, grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The sheet has been glued onto transparent textile and is mounted in a passe partout. Bottom: an offering to appease the demons is carried out by a Muslim for two Chinese', a Muslim pangulu recites the Koran for a group of followers The ground is indicated by light green parallel curving lines. Green dots repre sent grass at the bottom on the left. A leafy tree is depicted in the centre. Its leaves are indicated by green dots. A man sits cross-legged in the background in the cen tre. He faces right. An open parasol is stuck in the ground behind him. The man has round eyes and a moustache. His skin is light salmon-pink. He wears a short loincloth, a jacket with long sleeves and a kerchief round his head. He holds a black chicken in his left hand and a large knife in his right. There is a square ob ject in front of him on the ground. One large round object, five smaller ones and three triangular objects have been placed on it. Two men stand close to each other on the right. They face left. The man in front holds a long bamboo pipe in his
right hand. His left arm is akimbo. He has eyes like slits, a small pointed beard and a long moustache. His skin is salmon-pink, but his cheeks are magenta. He wears long grey and white striped pantalons, shoes (tlumpah), a shirt with but tons, a coat with long sleeves and a European hat (tetopong). His hair is tied in a long braid (santagi, plintir) which hangs from the back of his head. The other man stands behind him. He leans on the back of the man in the foreground. His face and the colour of his skin are similar to those of the other man. He wears the same clothes and headdress as the other man. His hair is also tied in a long braid. He holds an open parasol in his right hand. A text in Balinese script in ink close to the sitting man says: pasëgëhannasi war- na, mawadah klatkat, sudamalë, (pasegehan nasi warna, mawadah klatkat sudamala), an offering to the demons consisting of five heaps of coloured rice placed on a bamboo tray made from basketery. Close to the standing men is writ ten: wang cinna, mapotong hayam, ngabë pajëng robrob; wang slam juru potong, syap sëlëm, haji golok (wang cina mapotong ayam, ngaba pajeng robrob, wang selam juru potong siap selem aji golok), Chinese performing the ceremony “mapotong ayam’’, holding a large umbrella. A Muslim kills the black chicken with a knife. Two men, wearing clothes characteristic of Chinese (shoes, a European hat, a costume), but with a long braid have a ceremony for the demons carried out by a Muslim. The aim of the offering is to appease the demons. A black chicken is slaughtered and a rice offering with three rice towers (tumpeng) and five heaps of coloured rice (nasi warna, the colours correspond with those of the quarters of the compass and with that of the centre) is made. The blood of the chicken is sprin kled over the rice. A tall man stands in the centre. He faces left. He holds an open book which is blank in both hands. He looks at it. He has almond-shaped eyes, short hair and a kerchief bound round his head. His skin is light salmon-pink. He wears long trousers, a long loincloth, a girdle, a jacket with tails and long sleeves and a long small loincloth over his shoulder. He also wears shoes. Three men sit in a row on the left. They face the tall standing man. The man in the background holds a parasol in both hands. He has almond-shaped eyes, a long moustache and short hair. He wears long trousers, a coat with long sleeves and a kerchief round his head. His skin is light salmon-pink. The man in the centre points with his right index finger at the man with the book. He has almond-shaped eyes, a moustache, short hair and a small beard. He probably also wears long trousers, and a shirt with buttons, a coat with long sleeves and a scull cap. A long, small sash hangs over his right shoulder. The man in the foreground sits crosslegged. He holds his shoulder-sash with his right hand. His left hand is held to his leg. He looks downwards. He has almond-shaped eyes, a moustache and short hair. His skin is light salmon-pink. He wears long trousers, a shirt with buttons and a jacket with long sleeves. A long, small loincloth hangs over his left shoulder.
A text in Balinese script in ink at the top on the left says: hanak slam majung- jung koran (anak selam majungjung Koran), Muslims recite the Koran. Close to the man with the book is written: pangulu slam ngabë cakëpan krëtas (pangulu selam ngaba cakepan kertas), a Muslim leader holds a book made from paper. A Muslim leader reads the Koran for a group of three Muslims sitting at his feet. They repeat the sentences he reads. Top: various types of temporary shrines for offeringsfor the Balinese: a sanggah cukcuk or carukcuk, a sanggah turns lumbung and a sanggah tawang The ground is indicated by light grey and green dots. There are three small leafy trees in the background on the right. There are two groups of rock or naments in the foreground at the bottom. A bamboo pole is depicted on the left. It is split into four at the top. A square, flat object (klatkat) has been put on the four ends on the top. A saucer with four bananas has been placed on it. A horizontal pole hung with various fruit and a ketipat is mounted on the pole. Another ver tical bamboo pole with leaves is inserted in the ground close to the first one. A black chicken hangs from the end of the pole. A dog stands upright against the first mentioned vertical pole, trying to get the food on the horizontal pole on the left. A text in Balinese script in ink at the top on the left says: sanggah carukcuk, misi bantën hatanding, mabayangbayang, syap sëlëm matgëntgënan tunggah cicing, (sanggah carukcuk misi banten atanding, mabayang-bayang, siap selem mategentegenan, tunggah cicing), a sanggah carukcuk (or cukcuk) with a set of offerings; the skin of a black cock as a kind of kite and a pole with offerings. A dog tries to reach it. The offerings on the sanggah carukcuk or cukcuk form part of a caru offering to appease the demons. The shrines are placed at cross-roads, in court-yards and in front of temples on different occasions. Grader repr. 1960: 225 mentions particular sanggah carukcuk erected in a village close to Singaraja at the end of the nineteenth century, ‘a few decades ago a number of people from Bratan settled in newly opened territory in the west, especially in Patemon and Jembrana and frequent contact with the village (Bratan) are still maintained. It was customary that on returning home safely to Bratan a traveller erected a sanggah carukcuk in his compound, and from there evoked the deity ’ A square piece of basketery rests on four trunks of a leafy tree in the centre. The branches still have leaves. A basket with round objects and a saucer with bananas on it have been placed upon it. A woman sits on the ground on the left. She faces right. She holds the stem of one of the trees with her left hand and she has a saucer on a small base (pangasepan) holding fire in her right hand. She has a refined face, an asymmetric chignon at the back of her head, a flower behind her ear and
one on her forehead. Her skin is light salmon-pink. She wears a long loincloth, a sash round her waist, and another sash with a black and white batik pattern (batik Betawi) which covers her breasts. A text in Balinese script in the centre at the top says: sanggah turus lumbung, misi daksina, hanak luh ngaturang hasëp (sanggah turus lumbung, misi daksina, anak luh ngaturang asep), a shrine made from living dadap trees, containing a daksina offering. A woman pays homage with incense. A woman has offered daksina and fruit in a shrine called sanggah turus lum bung and she honours the gods with incense. A sanggah turus lumbung is erected in a courtyard in the North-East as a tem porary shrine before one has a permanent domestic temple with shrines con structed. Two bamboo poles which are split at the top stand on the right. A square base of basketery is mounted on the top of the poles. A kind of fence is mounted on three sides round the square base. A dulang, a tall basket and two saucers of fruit, mainly bananas, stand on the square. A large crow sits on the left on the fence. He picks at a banana. A dog stands on the right and looks up at the food displayed. A text in Balinese script in ink at the top on the right says: sanggar tawang, di smë, mdaging suci, hasoroh hamah gwak, diengek cingcing, blang, mangëpah, (sanggar tawang di sema, madaging suci asoroh amah goak dléngék cicing belang mangepah), a sanggar tawang on the cremation ground, containing a complete set of suci offerings. A crow eats them. A spotted brown and white dog is looking up and barks. Offerings are displayed on a sanggah tawang on a cremation place. A crow and a bird try to eat from the offerings. A sanggar tawang has in fact three compartments, in which the gods responsi ble of one’s birth, life and death (Brahma, Wisnu and Iswara) are honoured. What is depicted in the drawing is now called a sanggah tutuan (r and h at the end of a word are interchangeable in Balinese), with one compartment (rongan). A suci is offered to the gods in more elaborate ceremonies for the dead (burials, cremations; pitrayadnya), but also in ceremonies for the gods (temple festivals, déwayadnya). Cod. Or. 3390-257 A drawing on Dutch paper, watermark concordia, countermark VdL. 42 x 34.4 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: light red, light brown, light salmon-pink, light green, green, white, black.
Artist and origin: the sheet is signed on the back in Balinese script in ink: gambar pakaryyan hida madé tlaga, saking sanür griya tlaga, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. The lower part of the sheet is damaged. The sheet is torn in the centre along the fold on the left. A love scene between Surata and Kokaja in a pavilion The drawing is surrounded by a frame drawn in ink. It is coloured with orange- red and light salmon-pink. A large pavilion is depicted. It has a stone base. Two wooden poles support a tiled roof. A small curtain (ider-ider) hangs from the roof. A man sits on the left at the bottom. He faces right. He holds an almost naked woman on his knees and embraces her. He has a refined face, long hair, and a lit tle coif on his forehead. He wears a diadem on his head. His clothes consist of short trousers, a small loincloth tucked up between his legs, a girdle and a sash round his waist. His jewelry is characteristic of that of a royal personage. The woman faces him. Her head is close to his. Her body is directed to the left, but her legs to the right. She has long hair with a diadem and a garuda ornament at the back of her head. Her skin is white. Her loincloth which lies on the man’s knees covers only part of her right leg. Her jewelry is characteristic of that of a princess. She holds the man’s arm with her left hand and touches his necklace with her right hand. A text in Balinese script in ink on the left says: ngantén suratané, the marriage of Surata. On the right is written: kokaja, Kokaja. A text in Balinese script in pencil at the top says: Boma lalakon, ngantén suratané, ring dwarawati (Boma lelakon, ngantén Suratané ring Dwarawati), the story of Boma, the marriage of Surata in Dwarawati. Surata sits in a pavilion. He fondles Kokaja and makes love to her while she sits on his lap. This scene refers to an episode described in the OJ Bhomakawya 59:6—67. The love-affair of Surata (Bal., Suratha OJ), a son of Druma, and Kokaja is des cribed. It starts as follows. Kokaja tells a female servant what has happened to her. During a trip with her parents in the forest Kokaja’s carriage got behind. She met a prince on a horse. This is Surata. They fall in love. After a while they lose each other in the crowd. Kokaja’s girlfriend then visits the prince. She tells him that Kokaja has pangs of love. The prince gives her a pudak flower with a love- poem. Surata and the princess meet and make love. Cod. Or. 3390-258 This drawing is missing. According to Juynboll 1911:483, it was made by the same artist as the preceding drawing, i.e. by Ida Madé Tlaga of Sanur. It is sup-
posed to be another drawing of a couple making love. It is mentioned in No. 3390-259 which scene might have been represented in the drawing. More information on the missing drawings is to be found on page 485. Cod. Or. 3390-259 A drawing on Dutch paper, watermark concordia, countermark VdL. 42 x 34.3 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, light red, light salmon-pink, light brown, brown, light green, green, white, black. Artist and origin: the sheet is signed at the back in Balinese script in ink. gambar pakaryyan hida made tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. A love scene between the servant Twalén and an old female servant The drawing is surrounded by a frame drawn in ink. It is coloured with red and salmon-pink. The ground is indicated by black and light brown dots and stripes. A leafy tree stands on the right. A stag-horn fern is mounted on the trunk. The leaves of the tree are indicated by green and black dots. A wall with a door and a staircase are depicted on the left. The wall is decorated with stone ornaments. The doorframe is surmounted by an ornamental frieze. The door itself is closed and held to by a kind of padlock. A man sits in front of the door on his knees. He holds the legs of the woman sitting on his lap. The woman pinches his right arm with her right hand and she holds his mouth shut with her left hand to express that she is trying to ward him off. The man has female eyes, a small moustache and a beard. His mouth protrudes. He has a cap on his head, on top of which is a tuft of hair. He wears a small red, light red and white checkered loincloth tucked up between his legs. His skin is light salmon-pink. The woman has a wrinkled face which in dicates that she is past her prime. Her hair is styled in a double knot on the back of her head, as servants have. She wears a skirt, and a sash round her neck. Her legs and breasts are uncovered. A text in Balinese script in ink in the centre says: ngiring samba (ngiring Sam ba). This may mean pangiring Samba, the servant of Samba, but it also may mean to imitate Samba. On the right close to the woman is written: condong, female servant, and on the left: tawalen, Twalen. In the frame at the top is written in Balinese script in pencil: Boma, pangipuk samba, ring kanyapuri, (Boma, pangipuk Samba ring Kanyapuri), Boma, Sam ba makes love in Kanyapuri. By Boma the OJ Bhomakawya is meant. The ser-
vants imitate the behaviour of their lords: Twalén, Samba’s servant, tries to make love to the female servant of the princess. The servant, who is past her prime, tries to ward him off. It is possible that the inscription in the frame at the top refers to a scene which was probably depicted in drawing No. 3390-258, but which has been lost. What is called “a beautifully coloured plate with two lovers” by Juynboll 1911: 483 probably represented a love scene between Samba and Yajnyawati in Kanyapuri. This scene refers to an episode described in the OJ Bhomakawya 26: 14-27. Samba and Yajnyawati meet each other again and make love for the first time in their new incarnation. In an earlier incarnation they had been lovers too and were devoted to each other. The man was Darmadéwa, a son of the god Wisnu, and the woman Yajnyawati. In their new incarnations they are represented by Samba and by Yajnyawati (different from the first one), who stays in a mansion in Kanyapuri. Because she still remembers the lover from her former life she pines away with love. Cod. Or. 3390-260 A drawing on Dutch paper, watermark concordia, countermark VdL. 42 x 34.2 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours', red, light red, light salmon-pink, light brown, brown, light green, green, light blue, white, black. Artist and origin', the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid 5. Délem disguised as an ascetic, imitates the behaviour of his lord Rawana by trying to seduce a woman. Sangut kneels and argues The sheet is surrounded by a frame drawn in ink. It is coloured with red and salmon-pink. The ground is indicated by parallel stripes consisting of black and brown dots. The blue at the top on the right indicates the sky. At the top on the left the upper part of a leafy tree is depicted. Leaves are indicated by green and black dots. A woman stands on the left. Her body is directed to the left, but her head is turned to the right. She holds her left hand to her girdle (nabdab), and makes a gesture which indicates that she is speaking with her right hand. She has a refined face. Her hair is tied in a double knot on the back of her head. She wears a skirt, a long loincloth, a sash round her waist and a girdle. Another sash hangs over her shoulders. Her skin is light salmon-pink. A man stands on the far right.
He faces left. He makes a gesture which indicates that he is speaking with his right hand and he holds a priest’s stick (tungkang, teken) pointing upwards in his left hand. He has round eyes, a half-open protruding mouth with flat teeth, a small beard and whiskers. His hair is tied in a knot on top of his head. He has a petal (kalpika) stuck in it in the manner of a priest. He wears a long red, light red and white checkered coat. His skin is light salmon-pink. A small man kneels on his left knee. He sits at the feet of the other man. He faces left. He makes exaggerated gestures indicative of speech. He has round eyes, a protruding mouth, whiskers, a small pointed beard and a tuft of hair which stands upright on top of his head. He wears a short loincloth tucked up between his legs and he has a kris and a black and white wooden sheath on his back in his girdle. A text in Balinese script in ink at the top on the left says: condong, female ser vant. At the top on the right is written: dilëm ngiring rawana (Délem ngiring Rawana), Délem imitating Rawana. At the bottom in the centre is written: sangüt, Sangut. A text in Balinese script in pencil written in the frame at the top says: ramayana, panjak rawana, (Ramayana, panjak Rawana), Ramayana, the servants of Rawana. Délem imitates the behaviour of his lord. He is clad like an ascetic and he tries to seduce a female servant. Sangut, the second servant of the lefthand party, kneels down in front of the servant and argues. The scene refers to Rawana’s behaviour as described in the OJ Ramayana V: 64-89 and VI: 1-4, and as depicted in No. 3390-262. Such a scene-in which ser vants imitate the behaviour of their lords in an amusing way—is called lelucon or bebanyolan. Cod. Or. 3390-261 A drawing on Dutch paper, watermark concordia, countermark VdL. 42 x 34.3 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, light red, light green, green, light salmon-pink, light blue, light brown, grey, white, black. Artist and origin', the sheet is signed at the back in Balinese script in ink. gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya, puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid 5. Anoman, sent as an envoy to Langka, meets Sita. He offers her Rama’s ring as a token of con fidence. Sita is attended by Trijata The drawing is surrounded by a frame drawn in ink. It is coloured with red and salmon-pink. The ground is indicated by a stone ornament. Light blue at the top
on the left and in the centre indicates the sky. The top of a leafy tree is depicted on the left and another one at the top on the right. Leaves are indicated by green and black dots. A stone wall with a patra punggel ornament on the top is depicted on the far left. A woman stands on the left. She faces right. Her left arm hangs by her side while she holds her right hand close to her waist, indicating that she approves of something. She has a refined face with long hair and a diadem with a garuda ornament at the back on her head. She wears a long loincloth, a sash wrapped round her waist and a girdle. Her jewelry is characteristic of that of a royal per sonage. Her skin is light salmon-pink. A woman sits on her knees at the feet of the princess. She faces right as well. She holds the end of her sash with her right hand (nyamir), while her left arm hangs limp. She has white skin. Her face is refined and she has long hair and a diadem with a garuda ornament at the back on her head. She wears a long loincloth, a short loincloth, a sash round her waist, a gir dle and another sash which covers her breasts, and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. A monkey sits on his left knee on the right. He faces left. He holds a ring in his right hand; his left hand supports his right elbow, indicating that he is offering the ring. His skin is white. He wears a black, grey and white checkered loincloth tucked up between his legs, a sash, and a girdle. His hair is styled in a double chignon. His armlets and wristlets have three sharp points (bajra). The all point upwards (menék). He wears a snake round his neck. A text in Balinese script in ink at the top on the left says: sita ring tama lëngka (Sita ring taman Langka), Sita in the garden in Langka, and on the right in the centre is written: hanüman ngatürang simsim (Anuman ngaturang simsim), Anoman offers a ring. At the top in the frame is written in pencil: kutus hanümané, mapanggih ring déwi sita, (kutus Anumané mapanggih ring Déwi Sita), Anoman sent as an envoy, meets Sita. Anoman kneels down in the garden in Langka in front of Sita. She is attended by Trijata, the daughter of Rawana’s brother Wibisana. Anoman offers Sita a ring. This scene is described in the OJ Ramayana VIII: 178. Anoman has been watching Sita from a tree. Rawana has come to ask Sita to marry her. He threatens her when she refuses to do so. Rawana goes away. Sita gets very sad. At that moment Anoman comes down. He says that he wants to speak to Sita. She is reluctant because she thinks that he is Rawana in disguise. Anoman kneels in front of her. He tells her about Rama’s adventures after she was kidnapped. When he shows her Rama’s ring she believes him. She gives him a jewel and a drawing in which she looks very distressed. Anoman says farewell to her and goes away. This scene is called kutus Anoman, or Anoman duta, Anoman sent as an envoy by the Balinese. It is also depicted, but in a slightly different way, in No. 3390-281.

Rawana, disguised as an ascetic, pays Sita a visit in the forest. They talk to each other. Rawana’s servant Sangut kneels down and honours Sita with a sem- bah. This scene refers to an episode described in the OJ Ramayana V: 64-89. Laksmana leaves Sita when he has uttered the curse. Sita goes into the forest to pick flowers. A Siwaite monk with a rosary and an alms bowl is wandering through the forest. It is Rawana in disguise. He goes to Sita. He talks to her and warns her about the dangers of the forest. He praises her beauty. He asks her whether she has a husband. At first Sita is bewildered because Rawana praises her so highly. She answers that Rama is her husband and that he has gone away to look for the golden deer. In VI: 1-4 Rawana tells her that Rama is a worthless creature and that he himself is much mightier and a much better person. He asks her to become his wife and to join him in Langka. By making a sembah Sangut expresses the fact that he esteems Sita highly, as his lord does. The same scene is depicted in No. 3390-280. It is called Rawana dados pan- dita, Rawana becomes a priest, by the Balinese. Cod. Or. 3390-263 A drawing on Dutch paper, watermark pro patria, countermark VdL. 41.6 x 34.1 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, light red, light salmon-pink, light brown, light green, green, light blue, blue, grey, white, black. Artist and origin: the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid 5. Rawana asks Sita to marry him; she refuses and feels like killing herself. Rawana is angry. Trijata watches and speaks The drawing is surrounded by a frame drawn in ink. It is coloured with red and salmon-pink. The ground is indicated by black and light brown dots. There is light blue at the top on the right and this represents the sky. A stone building with a roof and a door is depicted on the left. A piece of blue cloth hangs in the door way. A man stands on the right. He faces left. He holds his hands close to his waist. His left hand is clenched into a fist, while his right hand makes a gesture which indicates that he is speaking. This attitude is called rajasinga. His legs are spread, his knees slightly bent. He has a coarse face and an angry expression. His
eyes are round, his nose pointed, his eye-teeth sharp. He has a moustache, whiskers, long curly hair and a diadem with a high crown on his head. His skin is light salmon-pink. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and a sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A woman stands on the left in front of the doorway. She has just drawn her kris from its sheath. She holds the kris in her right hand and the sheath, upside-down, in her left hand. It is made of black and white wood (pélét). She has a refined face, long hair and a diadem with a garuda ornament on her head. Her skin is light salmon-pink. She wears a long loincloth, a sash wrapped round her waist, a girdle, another sash which covers her breasts and a shoulder-piece. Her jewelry is characteristic of that of a princess. A woman sits on her knees at her feet. She makes gestures which indicate that she is speaking. She faces right as well. She has a refined face, long hair, and a diadem with a garuda ornament on her head. She wears a long loincloth, another short loincloth, a girdle, a sash which covers her breasts, and a shoulder-piece. Her jewelry is characteristic of that of a princess. Her skin is light salmon-pink. A text in Balinese script in ink at the top on the right says: rawana, Rawana, at the top on the left: sita ring taman (Sita ring taman), Sita in the garden, and at the bottom on the left: trijatha, Trijata. At the top in the frame is written in Balinese script in pencil: pangipuk rana, ring paturwan, tan aharëp sang sita, (pangipuk Ra(wa)na ring paturuan, tan arep sang Sita), Rawana says sweet words to Sita in her sleeping quarters, but she refuses to respond to his overtures. Rawana, who stands in front of her sleeping quarters in the garden of his palace, has been speaking to Sita. She has just drawn her kris, to express her refusal to respond to what Rawana says to her. Trijata, the royal servant of Sita, sits on the ground and speaks. Rawana looks very angry. This scene refers to an episode described in the OJ Ramayana VI: 31. Since their arrival in Langka, Rawana has tried to convince Sita to marry him. She refuses. He gets very angry and threatens her. Another time he threatens her with a kris. This scene is depicted in No. 3390-235. It is not explicitly mentioned that Sita has a kris and threatens to kill herself in the text. According to the artist and in the opinion of the Balinese it is self-evident that a woman should do so. This scene may also be called panglemes Rawana, Rawana’s proposal. In the scene called pangipuk, sweet words, a couple making love is usually depicted. Cod. Or. 3390-264 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42.4 x 34 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink.
Colours: red, light red, light salmon-pink, light brown, light blue, blue, light green, green, black, white. Artist and origin: the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. The frame is damaged in the centre on the right. Rawana menaces Bali while he performs ascetism in the ocean The drawing is surrounded by a frame drawn in ink. It is orange-red and salmon-pink. Black semi-circles in blue indicate the ocean. A man stands on the right. He faces left. He holds his right hand on the right shoulder of the figure in front of him. He points with his index and middle fingers at this figure. He has a demonic face with bulging eyes, sharp eye-teeth, a tooth on each of his cheeks and on his eyebrows. He wears a diadem and a high crown on his head. He is clad in short trousers, a loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash which hangs over his left shoulder. His jewelry is characteristic of that of a royal personage. His skin is light salmon-pink. A monkey sits in a lotus seat on the lefthand side. He sits on a large cushion (lungka-lungka) covered with a piece of checkered textile and surrounded by lotus petals. The monkey’s tail is curled round the feet of the man on the righthand side. He looks at the man. His left hand is held close to his stomach (nyamir), while his right hand touches his necklace (nabdab). He has bulging eyes, sharp teeth and a diadem with a turban on his head. He wears a short loincloth tucked up between his legs, a sash, two lengths of beads over his shoulders (ganitri) and long, round ear-hangers (anting-anting) like an officiating high priest (padanda, resi). A text in Balinese script in ink at the top on the right says: rawana, Rawana and at the top on the left: bali matapa ring jaladi (Bali matapa ringjaladi), Bali performs ascetism in the ocean. In the frame is written in Balinese script in pencil: wütarakanda, Uttarakanda, which refers to the OJ text on which this scene is bas ed. Rawana visits the monkey Bali. The latter performs ascetism in the ocean. Rawana speaks to the monkey and menaces him. The monkey curls his tail round Rawana. This scene refers to an episode described in the OJ Uttarakanda XX (Cod. Or. 10.454: 33-34). Rawana tours the world in his efforts to conquer it. He goes to Kiskindapuri. King Bali, however, is not there. He is performing ascetism at the Southern ocean. Rawana visits him. Bali is chanting ritual texts, clad like a priest. He has made a vow not to speak. Rawana challenges Bali to talk, but Bali does not answer, because he has made a vow. Bali continues his recitation.
Cod. Or. 3390-265 A drawing on Dutch paper, watermark concordia, countermark VdL. 42.2 x 43 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, light red, light magenta, brown, light green, green, light blue, white, black. Artist and origin: the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya, puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. The frame is damaged at the sides and at the bottom. Bali has defeated Ravoana and kneels in front of the god Brahma who lectures him The drawing is surrounded by a frame drawn in ink. It is coloured with orange- red and light salmon-pink. Blue at the top on the left and on the right indicates the sky. The black semi-circles in blue at the bottom indicate the ocean. A man stands on the left. He faces right. He is surrounded by a large pointed nimbus. He makes gestures which indicate that he is speaking. He has large, round eyes, a moustache, whiskers, a diadem and a high crown on his head. His skin is light salmon-pink. He wears a long loincloth, a short loincloth, a small one tucked up between his legs with long ends hanging down, a sash and a girdle, a shoulder- piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A head and the upper part of a body protrude from the waves at the bottom on the left. The head has a demonic face with bulging eyes, a sharp nose, long eye-teeth and teeth on his eye-brows. It has long, heavy locks of hair. A high crown and a diadem lie in the water at the bottom on the left. A monkey sits on his left knee (panangkilan) on the right. He makes a sembah to the man standing on the left. His tail is curled round the neck of the figure in the ocean. The monkey has bulging eyes and sharp eye-teeth. He has a diadem with a garuda ornament at the back and a turban on his head. He wears a short loincloth tucked up between his legs and a sash. A chain (ganitri) hangs over each shoulder. He wears large ear-hangers (anting-anting) like a priest’s. A text in Balinese script in ink at the top on the left says: sanghyang brahma, ngandëg bali (Sang Hyang Brahma ngandeg Bali), Brahma stops Bali. At the bot tom on the left is written: rawana punu (Rawana punyu), Rawana is exhausted. In the frame at the top is written in Balinese script in pencil: wütarakanda, pangaksaman hyang brahma, ring sang bali, (Uttarakanda, pangaksaman Hyang Brahma ring sang Bali), Uttarakanda, the speech of the god Brahma to Bali. The god Brahma speaks to the monkey Bali. The latter kneels and honours
the god with a sembah. His tail is curled round Rawana’s neck. The demon is in the ocean, exhausted. His crown has fallen from his head. His hair is in disorder. He looks troubled. This scene refers to an episode described in the OJ Uttarakanda XX (Cod. Or. 10.454: 33-34). Rawana searches for Bali and finds him performing ascetism close to the ocean. He menaces the monkey. He starts fighting. Bali jumps up and comes down on Rawana’s head. He goes to the Western ocean, and then to the Northern ocean and then to the Eastern ocean to continue his prayers. All the time he has Rawana in his clutches. He then goes back to Kiskinda. He releases Rawana and speaks to him. According to the Sanskrit version of the Uttarakanda (Chapter X) they con tract friendship in the presence of a fire. Rawana leaves. In the OJ version he meets Narada, the priest of the gods.The latter explains to Rawana that it is bet ter not to try to conquer kingdoms any longer because it is useless. According to the artist, the god Brahma, who is the symbol of fire, stops Bali because Rawana is exhausted. Brahma’s speech might refer to the contract of friendship between Bali and Rawana. Cod. Or. 3390-266 A drawing on Dutch paper, watermark pro patria, countermark VdL. 42.2 x 34 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours-, red, light red, light green, green, light salmon-pink, light brown, brown, light blue, grey, black. Artist and origin: the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur; worthless, weak, paid 5. Bali, performing ascetism, fights Rawana in the ocean The drawing is surrounded by a frame drawn in ink. It is coloured with orange- red and salmon-pink. There is light blue and black at the top on the far left and on the far right. It in dicates the sky. Light blue and black semi-circles at the bottom indicate the ocean. Two fish-heads and the upper half of a tortoise protrude from the ocean. The up per half of a man’s body is depicted in the ocean on the left. The man stretches his hands up (buta nawa sari). He has a demonic face with bulging eyes, a pointed nose, sharp teeth and eye-teeth, and teeth on his cheeks and eyebrows. He has whiskers, a moustache, a diadem and a crown on his head. His skin is light
salmon-pink. He wears a shoulder-piece and a caste-cord. His jewelry is characteristic of that of a royal personage. A monkey crouches on the right in the ocean. He faces the man on the left. His tail is wrapped round the neck of the figure on the left. He holds his left hand in front of his girdle (nyamir) and he touches his necklace with his right hand (nabdab). He has bulging eyes, sharp teeth and eye-teeth, and a tooth on his cheek. He wears a diadem and a garuda ornament and a turban on his head, chains (ganitri) over each shoulder, a short loincloth tucked up between his legs, and a sash. He wears ear hangers (anting- anting). He looks like an officiating high priest. A text in Balinese script in ink at the top on the right says: Bali, ngüpatthapit (Bali ngupat-apit), Bali moves back and forth. On the left is written: rawana, Rawana. In the frame at the top is written in pencil: wütarakanda, Uttarakanda. Bali performs ascetism in the ocean. He caught Rawana by the tail. He plunges the demon into the ocean. Bali moves backwards and forwards while he prays. This scene refers to an episode described in the OJ Uttarakanda XX (Cod. Or. 10.454: 33-34). It has already been described in Nos. 3390-264 and 265. The cor rect order of the scenes depicted by Ida Madé Tlaga in the drawings is: 265, 266 and finally 264. The same episode is depicted by another artist in No. 3390-269. Cod. Or. 3390-267 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light red, pink, light violet, violet, yellow, light green, green, light grey, white, black. Artist: no. 7. Origin: Buléléng. The sheet is torn at the bottom in the centre. The red, green and brown paint is damaged in the centre along the fold. Mentioned by Juynboll 1903: 86. Mêganadafights Anoman. Sangut aims his blow-pipe at Anoman. Délem menaces the monkey A large leafy tree growing from the left to the centre is depicted. Leaves and flowers are indicated by green dots. A white monkey stands in the tree. He faces right. He has long, sharp thumb-nails. His hair is styled in a large double chignon. He has fiery ear-jewels, a snake round his neck like a necklace, armlets, wristlets and anklets which have three pointed ornaments (bajra). The armlets and wristlets face each other (menék, tuun). The monkey wears a small black, grey and white checkered loincloth tucked up between his legs, a sash, a girdle, and shoulder ornaments. He has a large red jewel in the tip of his tail. A man
stands on the far right. He faces left. He holds a large snake in his right hand. The snake has long hair and a diadem with a crown on its head. The man points at the monkey with his left index-finger. He has bulging eyes, large, sharp eye-teeth, and a double chignon on his head. His skin is light violet. He wears long trousers in a black and white Javanese batik (Betawi) pattern, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal per sonage. At the bottom on the far right stands a small, fat man. He faces left as well. He holds a blow-pipe (tulup) with both hands. He blows into it. His legs are spread, his knees bent. He has round eyes and a protruding mouth. His hair is tied in a pony-tail. He wears a short loincloth tucked up between his legs and a sash. His skin is light violet. Another fat man stands in front of him further towards the centre. He also faces left, and looks up at the monkey. He draws his kris with his right hand. He points at the monkey with his left index-finger. His skin is light orange-red. He has bulging eyes and a broad, flat face with two broad teeth. His hair is tied in a pony-tail. He wears a red, orange-red and white checkered loincloth tucked up between his legs and a sash. A text in Balinese script in ink at the top on the right says: nagapasah (nagapasa), snake-arrow. On the right in the centre is written: méganadda, Méganada. At the bottom on the right: hi sangut (I Sangut), Sangut. At the bot tom in the centre: i délem (I Délem), Délem, and at the bottom on the left: sang hanoman (Sang Anoman), Anoman. Méganada, holding his snake-arrow, menaces Anoman who stands in a tree. The servant Sangut aims his blow-pipe at the monkey, and Délem also menaces him. He is about to draw his kris. This scene refers to an episode described in the OJ Ramayana IX: 63-83. When Anoman destroyed the garden of Rawana, Méganada got very angry. He took his snake-arrow and shot it at Anoman. This episode is called siat Méganada, the fight of Méganada, by the Balinese. This scene is also depicted, but in a slightly different way, in No. 3390-120. Cod. Or. 3390-268 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.3 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light red, very light violet, violet, light grey, yellow, light green, green, white, black. Artist: no. 7. Origin: Buléléng. The sketches in pencil are still visible. Mentioned by Juynboll 1903: 86.
The servant Twalén, armed with a spear in the shape of a penis fights Délem who is armed with a shield and a kris A fat man stands on the left. He faces right. He holds a penis with a sharp point like a spear over his head with his hands. The glans of the penis has small eyes and a mouth. The man carrying it has a female eye, a flat nose and a half-open mouth and one large, flat tooth. He has short, bristly hair. His skin is light grey. He wears a small black, grey and white checkered loincloth tucked up between his legs and a sash round his waist. Another fat man stands on the right. He faces the man on the left. He holds a round shield in his left hand and a kris in his right. He has bulging eyes, a protruding mouth with one flat tooth. His hair is tied in a pony tail. His skin is light orange-red. He wears a red, light orange-red and white checkered loincloth tucked up between his legs and a sash round his waist. A text in Balinese script in ink at the bottom on the left says: hitwalén, I Twalén, and at the bottom on the right: hidélëm, I Délem. Twalén, the servant of the righthand party fights Délem, the servant of the left- hand party. They both use their characteristic weapons. The scene does not refer to any particular episode told in the texts. Fighting scenes are quite common in theatre and in the graphic arts. When lords fight, their servants do so as well. Cod. Or. 3390-269 A drawing on Dutch paper, watermark pro patria, countermark VdL. 41.6 x 34 cm. The sheet is folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, yellow, light green, dark green, light ochre, yellow, light greyish-yellow, ochre, light grey, grey, white, black. Artist', no. 5. Origin: Badung. The sheet has been repaired on the back in the centre with a piece of paper which has been glued to the back. The sketches in pencil are still visible. Mentioned by Juynboll 1903: 86. Bali performs ascetism and fights Rawana in the ocean The air has awon-awon ornaments (type I) and there is a cloud ornament at the top on the left and on the right. Half circular ornaments at the bottom indicate the sea. There are small fishes in it. A man’s body protrudes from the sea. He faces left. He holds a club with a three pointed ornament on the top in his right hand. He holds his left hand close to his waist. He has a demonic face with round, bulg ing eyes, a sharp long nose, sharp eye-teeth, and teeth on his cheeks and eye-
brows. He has a diadem and a high crown on his head. He wears short trousers, a loincloth, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. His skin is light greyish-yellow. A monkey stands on the hands of the man. He holds the man’s hands with its feet. His tail is wrapped round the man’s neck. He faces left. With his hands he makes a gesture which indicates that he is praying (mamusti). He has a diadem and a turban on his head. He wears a small loincloth tucked up between his legs, a sash, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. He wears large ear- hangers like a priest’s and a long chain with jewels at both ends round his waist. Such a chain is characteristic of ascetics. His skin is light ochre. Both figures are surmounted by a large pointed nimbus. A text in Balinese script in ink on the left says: maharaja bali, matappa (maharaja Bali matapa), king Bali performs ascetism. At the bottom in the centre is written: sang rwanna, Rawana and at the bottom on the left: bé bangnglatan (bé banglatan or bangladan), a kind of flat fish. The monkey king Bali has caught the demon king Rawana in the ocean. Dur ing the struggle Bali continues his prayers. Fishes watch the scene. This scene refers to an episode described in the OJ Uttarakanda XX (Cod. Or 10.454: 33-34). It has already been described in Nos. 3390-265 and 264. The same episode is depicted by Ida Madé Tlaga in No. 3390-266. Cod. Or. 3390-270 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours', red, pink, light blue, dark blue, dark blue-green, ochre, yellow, light brown, light yellow-brown, light salmon-pink, white, black. Artist', no. 5. Origin: Badung. The sketches in pencil are still visible. Mentioned byjuynboll 1903: 86. Laksmana utters a curse, and makes a threatening movement at Sita. Mredah menaces his mother The air is indicated by awon-awon ornaments (type I). There is a continuous rock ornament with flowers in the centre at the bottom. A leafy tree is depicted on a rock in the centre. A creeper with flowers and buds grows on the far left. A woman stands on the lefthand side. Her body is directed to the right, but her head is askew and faces left, resting on her shoulder. She holds her left hand in front of
her breast, which indicates that she is shy and that she is grieving while her right arm hangs by her side (matéken). She has a refined face with long hair and a diadem with a garuda ornament on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, a girdle, and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. Her skin is light salmon-pink. Her loincloth is decorated with kuta Mesir pattern. A small woman sits on her knees in front of her. Her body is directed to the right, but she turns her head to the left to the standing woman. She has a wrinkled face, a double knot of hair on the back of her head and her mouth is half-open. Her breasts are wrinkled which indicates that she is old. Her right arm hangs by her side (matéken). She touches the elbow of the small fat man in front of her with her left hand. She wears a skirt, a loincloth and a sash round her neck. A tall man stands on the right. He faces left. His legs are wide apart, his knees bent. He points with his right index-finger (nuding) at the woman standing on the left. He holds his left fist to his girdle (nyamir). He has a refined face. His hair is styled in a double chignon with a garuda ornament at the back. His skin is light yellow-brown. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A small fat man stands in front of him further to the left. He points with the index-finger (nuding) of his right hand at the woman on the left while he holds his sash with his left hand (nyamir). He has female eyes, a round nose and a cap and a tuft of hair on top on his head. He wears a short loincloth tucked up between his legs and a sash round his waist. His skin is light brown. A text in Balinese script in ink at the top between the branches of the tree says: tarü garodda, (taru garoda), waringin-tree. (The tree in the drawing does not look like a waringin). At the top on the left is written: déwi sitta (Dewi Sita), Sita. At the bottom is written: mémén hi wredah (ménmén I Wredah), Wredah s mother. Van der Tuuk has added in Latin script in ink: i Wrëdah. At the bottom, further to the right is written in Balinese script in ink: hi wrëdah (I Wredah), Wredah. At the top on the right: laksmanna, Laksmana. At the bottom on the far left is written: tarü ratta, (taru lata), liane, and in Latin script in ink Van der Tuuk has written ‘la’ above the ‘ra’ and a stripe under it. Laksmana makes a threatening movement at Sita. She stands aside and makes a gesture that indicates that she feels guilty. The servant Wredah imitates his lord. His mother holds his elbow while she looks at Sita in awe. This scene refers to an episode described in the OJ Ramayana V: 61-64. Laksmana feels very distressed because Sita has accused him of cowardice and of adultery. He calls the gods to affirm that he is chaste. He also warns Sita that the fiend will capture her when he has left her to go after his brother.
Cod. Or. 3390-271 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.6 x 42.3 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, yellow, light green, dark green, light brown, light grey, white, black. Artist: no. 7. Origin: Buléléng. Mentioned by Juynboll 1903: 86. A meeting between Anoman, who has been enchanted by Swayampraba, and Sampati. Mredah lies on his back and watches A leafy tree is depicted in the centre. Leaves and flowers are indicated by green and red dots. A white monkey sits on the left. He faces right. He holds his hands in such a way that his long pointed thumb-nails touch each other. His hair is styled in a double chignon. He wears a small black, grey and white checkered loincloth tucked up between his legs and a sash. His armlets, wristlets and anklets have three sharp points (bajra). His armlets and wristlets point towards each other (menék, tuun). He has a one-eyed ogre’s head ornament (karang bintulu) on each knee, shoulder ornaments and ear-jewels with flames. He wears a necklace which is a snake. He has a hairy chest, characteristic of the style of Buléléng. A small fat man lies on his back on the trunk of the tree. His head is on the left. His left leg is over his right knee, his right arm is under his head and he touches the trunk of the tree with his left hand. His skin is dark green. He has a protruding chin, female eyes and a tuft of hair on top of his head. He wears a short loincloth tucked up between his legs and a kerchief round his head. A large winged figure is depicted on the right at the top. He faces left. He has a pointed bird’s beak, a human body, human arms, and human legs, which have the skin of a bird, and bird’s claws as feet. His wings are turned downwards. He makes gestures which indicate that he is speaking. He has a kerchief (kekendon) with a garuda ornament at the back round his head and a diadem on his head. He wears short trousers, a small loincloth tucked up between his legs, a girdle, shoulder or naments and a sash crossed over his chest. His skin is light green. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: sang maruti (Sang Maruti), Marut’s son, an epithet for Anoman. In the centre is written: hordah, Ordah, or Mredah, and on the right paksi sëmpati (paksi Sampati), the bird Sam pati. A meeting takes place between Anoman and Sampati. Sampati talks to Anoman. The servant Mredah being lazy lies on his back.
This scene refers to an episode described in the OJ Ramayana VII: 80-106. The monkeys, enchanted by the demoness Swayampraba, have lost their sense of time. They are depressed. A large bird comes to see them. It is Sampati, Jatayu’s elder brother. He tells them that they should continue their trip to Langka in search of Sita. This scene is called patemon Sampati, the meeting of Sampati, by the Balinese. The iconography of Mredah is characteristic of Buléléng. Cod. Or. 3390-272 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, yellow, ochre, light ochre, light brown, light greenish-grey, brown, light grey, white, black. Artist: no. 5. Origin: Badung. Mentioned by Juynboll 1903: 86. Anoman visits Rama and Laksmana. He is sent by Sugriwa to ask Rama for help. Mredah points at Twalén The air is indicated by awon-awon ornaments (type I). There is a continuous rock ornament at the bottom on the left and on the right. A white monkey sits on the left. He kneels on his right knee. He faces right. He makes a sembah. He looks up at two men standing on the right. His hair is styled in a double chignon. He has a small diadem on his head. He wears a short black, grey and white checkered loincloth tucked up between his legs, a girdle, and a caste-cord. He has flat ornaments on his shoulders. His armlets and wristlets have three sharp points (bajra). They point towards each other (menék-tuun). Two men stand on the righthand side. They face left. The man in front makes a gesture which indicates that he is speaking with his right hand. He holds his left fist to his girdle (nyamir). He has a refined face, a small moustache, a diadem with a garuda ornament and a high crown on his head. His skin is light greenish-grey. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The man standing behind him on the far right makes the same gestures. He has a refined face, a double chignon with a garuda ornament at the back and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and jewelry characteristic of a royal personage. Another sash hangs over his left shoulder. His skin is light ochre. Two small fat men sit on their knees in front of the two standing man. The man on the left points with his right index-finger at the man on the right. They
face each other. His left arm hangs by his side (matéken). He has female eyes, a round nose, a kerchief round his head which has a tuft of hair on the top. His skin is light brown. He wears a short loincloth tucked up between his legs and a sash. The fat man on the right holds his right fist to his leg. His left arm hangs limp (matéken). He has female eyes, a fat, flat face, a kerchief round his head which has tuft of hair on the top. He wears a small grey, black and white checkered loincloth tucked up between his legs, and a sash round his waist. His skin is light greyish-green. A text in Balinese script in ink at the top in the centre says: ramadéwwa (Ramadéwa), lord Rama. At the top on the right is written: laksmannë Laksmana, at the bottom on the right: twalén, Twalén, and in the centre: mradah, Mredah. Close to the monkey is written: sang bayutmaja, (Sang Bayu tamaja), Bayu’s son. A meeting takes place between Rama, Laksmana and Anoman. It is probable that Anoman’s first visit is depicted here, as no rings or letters (tokens of con fidence) are exchanged. The first meeting is described in the OJ Ramayana VI: 133-147. The same scene is depicted in drawing No. 3390-105. Rama’s servant Mredah points at the other servant Twalén. He probably wants to express his surprise at the arrival of Anoman. Cod. Or. 3390-273 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.8 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, yellow, light brown, brown, light greyish-green, grey, white, black. Artist: no. 5. Origin: Badung Mentioned by Juynboll 1903: 86. Rama has shot the golden deer with an arrow. Twalén tries to catch it. Mredah watches The air has awon-awon ornaments (type I). There is a continuous rock orna ment at the bottom. A large rock is depicted on top of it on the far right. It has a bird’s head en profil (karang goak or curing) at the base. A tall man stands on the lefthand side. He faces right. He holds a bow in his left hand. With his right hand he makes a gesture which indicates that he has jus shot an arrow. The man has a refined face, a small moustache, a diadem and a high crown on his head. His skin is light greyish-green. His legs are slightly spread, his knees bent. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder- piece and another sash over his right shoulder. His jewelry is characteristic of that
of a royal personage. A small fat man stands behind him on the far left. He also faces right. His legs are spread. His left arm is stretched forwards, his right akim bo. He has female eyes, a round nose, a cap on his head and a tuft of hair on top. His skin is light brown. He wears a short loincloth tucked up between his legs and a sash round his waist. Another fat man sits on the ground on the right. He faces right, looking at a deer which he holds by its hind leg with his right hand. He sits on his right knee, his left leg is stretched out. His left hand rests on the rocks. He has female eyes, a flat, fat face, a cap on his head and a tuft of hair on top. His skin is brown. He wears a small black, grey and white loincloth tucked up be tween his legs and a sash round his waist. The body of a small deer is directed to the right, but its head is turned to the left. It has been hit in the right shoulder by an arrow shot from the left. Blood pours from the wound. It tries to climb the mountain, but it is held by the fat man. A text in Balinese script in ink at the top on the left says: rameyanna, Ramayana. Close to the tall standing man is written: ramadéwa (Ramadéwa), lord Rama. Below the small man is written: hi wrëdda (I Wredah), Wredah. Close to the fat kneeling man is written: i twalén (I Twalén), Twalén. At the top on the right: mrëicca dadi kidang kapannah, (Marica dadi kidang kapanah), Marica turns into a deer and gets shot. At the bottom on the right is written: giriséla (giri séla), rocky mountain. In Latin script in ink Van der Tuuk has add ed at the top on the right: Maritja’s verandering in een kidang om Sita door Rawana gemakkelijk te doen schaken, Marica’s change into a deer to facilitate Sita’s kidnapping by Rawana. Rama has shot the golden deer in the mountains. Twalén holds it by its hind leg. Mredah watches. This scene is described in the OJ Ramayana. In V: 13 Surpanaka, Rawana’s younger sister, advises Rawana to court Sita. She says that she is worthy to become his wife in place of Rama’s wife as Rawana is braver than Rama. In V: 20 Rawana promises Surpanaka that he will take revenge. He pays Marica a visit. He gives Rawana a warning that he should avoid any conflict with Rama, because he will certainly be on the losing side (V: 22-28). Rawana gets very angry. He draws his sword and threatens Marica. The latter then proposes a trick: he will transform himself into a golden deer and go into the forest. He will make sure that Rama and Laksmana leave Sita and go after the deer, so that Rawana can do what he wants with Sita. Rawana agrees. When Sita sees the beautiful deer, she asks Rama to catch it for her. Rama orders Laksmana to keep an eye on his wife. He goes after the animal. It goes far away and Rama gets angry because he cannot catch it. He finally decides to shoot it with an arrow. The animal cries like a human being when it is hit (V: 36-45). The same episode is depicted in Nos. 3390-112 and 284 but in a different way.
Cod. Or. 3390-274 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.2 x 42.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, yellow, blue-green, light brown, brown, light greyish-brown, light grey, white, black. Artist: no. 5. Origin: Badung. The sheet is torn at the bottom in the centre along the fold. The paint is dam aged. Mentioned by Juynboll 1903: 86. Reproduced by Noto Soeroto 1920: 264, pi. 6. Jatayu fights Rawana who has abducted Sita The drawing is covered with awon-awon ornaments (type I) indicating the sky. A large winged figure stands on the left, facing right. Its legs, which have bird’s claws and bird’s skin, are bent. Its left leg is stretched forwards. It holds its right fist in front of its body and stretches its left arm forwards (rajasinga). Its right thumb-nail is sharp and pointed. It has a bird’s beak, sharp teeth and teeth on its cheeks and eye-brows. Its wings and tail are directed upwards. It wears short trousers, a small loincloth tucked up between its legs, a girdle, a sash, a shoulder- piece and another sash over its right shoulder. Its jewelry is characteristic of that of a royal personage. It has a tuft of hair on its forehead and long curly hair at the back. It wears a diadem on its head. Its skin is light greyish-brown. A man flies through the air on the right. He faces left. He holds a woman and presses her against his body with his left arm. He has a sword in his right hand and he is ready to stab the bird with it. He has round bulging eyes, sharp eye-teeth, teeth on his cheeks and eye-brows, and a diadem with a high crown on his head. His skin is brown. His legs are spread, his knees bent. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece, and another sash over his left shoulder. His jewelry is that of a royal personage. The woman, as it were, sits on his hip. Her right leg is bent over her left. Her body is directed to the left, but her head is askew. She looks to the right. She holds her left hand close to her cheek, indicating that she is grieving. She holds her right hand close to her breast. Her skin is light salmon-pink. She has a refined face, long hair and a diadem with a garuda ornament on her head. She wears a skirt, a long loincloth, a girdle, a sash wrapped round her waist and another sash which covers her breasts. Her jewelry is that of a royal personage. A text in Balinese script in ink at the top on the left says: jattayu, Jatayu, and in the centre: rawanna, Rawana, and on the right: dewi sitta, (Dewi Sita), Sita.
Jatayu fights Rawana who holds Sita. Rawana handles a sword, while the bird uses its sharp, pointed thumb-nail as a weapon. Sita is distressed. The scene is described in the OJ Ramayana VI: 15-28. It is also depicted in Nos. 3390-115 and 285. Cod. Or. 3390-275 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.2 x 41.4 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light and dark blue, yellow, light salmon-pink, light brown, brown, light blue-green, light grey, grey, white, black. Artist: no. 5. Origin: Badung. Mentioned by Juynboll 1903: 86. Jatayu kneels in front of Rama to tell him of Sita’s abduction. Rama is attended by Mredah Awon-awon ornaments (type I) cover the sheet and indicate the sky. At the bot tom on the right there is a rock ornament. A winged figure sits on its right knee. It makes a sembah. It faces right. It has a bird’s beak, a tuft of hair on its forehead and long curly hair at the back of its head. It wears a diadem on its head. Its skin is light salmon-pink. It wears short trousers, a small loincloth tucked up between its legs, a girdle, a sash round its waist, a shoulder-piece and another sash over its right shoulder. Its tail and right wing are directed upwards, its left wing is downwards, which suggests that it has been cut off. Blood pours from the wound. A tall man stands on the right. He faces left. His knees are slightly bent (agem). He makes gestures which indicate that he is speaking. He has a refined face, a small moustache, a diadem with a garuda ornament at the back and a crown on his head. His skin is light salmon-pink. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece, another sash over his left shoulder and jewelry characteristic of that of a royal personage. A small, fat man stands at his feet in the centre. He faces left as well. He has female eyes, a round nose, and a cap on his head with a tuft of hair on the top. His skin is light brown. He wears a small loincloth tucked up between his legs and a sash round his waist. The loincloth is checkered black, grey and white. His left arm hangs by his side, while with his right hand he touches his forehead to express awe. A text in Balinese script in ink on the left says: jattayu, Jatayu, and in the cen tre at the top: raghu, tamma (Ragotama), the excellent descendent of Ragu, which is an epithet for Rama. At the bottom in the centre is written: i clulukan, I Clulukan, an epithet for Mredah. A cluluk is a small round metallophone with a knob in the centre used in a gong-orchestra. The round knob refers to the shape of Mredah’s nose.
Jatayu, whose wing is wounded, kneels in front of Rama. The bird talks with him. Rama is attended by Mredah. This scene refers to an episode described in the OJ Ramayana. In VI: 27-28 Jatayu’s wing is cut off by Rawana in a fight to free Sita. He cannot prevent Rawana from leaving with Sita. In VI: 33-50 Rama comes back after shooting the deer. He cannot find Sita. He meets Laksmana, who tells him why he has left Sita. Rama searches and complains. In VI: 51 he comes across the spot where the fight between Jatayu and Rawana took place. He finds many feathers. In VI: 66-75 he meets the bird Jatayu. At first Rama thinks that it was him who killed Sita. He wants to attack the bird, but Laksmana holds him back. The bird explains, dying, what happened. Rama takes care of the cremation of the bird after its death. In the drawing only Rama is present when the bird tells the story. The same episode is also depicted in No. 3390-279, but here Laksmana is also present. The scene is called patemon Rama ring Jatayu, the meeting of Rama and Jatayu, by the Balinese. Cod. Or. 3390-276 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours-, red, light red, pink, light blue, dark blue, light blue-green, yellow, light greyish-brown, light brown, brown, light salmon-pink, light greyish-green, white, black. Artist: no. 5. Origin.-. Badung. Mentioned by Juynboll 1903: 86. Rama has cut the head of the giant Dirgabahu. He changes into a woman and thanks Rama. Twalén touches the woman in surprise There are awon-awon ornaments at the top and in the centre (type I). There is a continuous rock ornament at the bottom. There are three holes in the rock on the right. A snake curls itself through them and looks at the scene from the right. A tall man stands on the right. He faces left. With his right hand he makes a gesture which indicates that he is speaking, while he holds his left arm akimbo. He has a refined face, a small moustache, a diadem with a garuda ornament at the back and a high crown on his head. His skin is light greyish-green. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A small, fat man sits on his knees in front of him. He faces left as well. He stretches his hands out to the woman sitting in front of him. He has a fat face, female eyes, a protruding mouth, a cap on his
head with a tuft of hair on the top. He wears a small black, grey and white checkered loincloth tucked up between his legs. His skin is light greyish-brown. A tall man stands on the far left. His body is en face. His legs are spread, his left arm raised while his right arm hangs by his side. His body is bent slightly to the left. His head has been cut off. Blood streams from the neck. His demonic head, which is depicted between his legs, is about to fall to the ground. It faces left. It has round, bulging eyes, a half-open mouth with sharp teeth, locks of curly hair and a diadem. The skin is light salmon-pink. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A small woman sits on her knees in the centre. She faces right. She makes a sembah. Her face, which is askew, is refined. She has long curly hair, and a diadem with a garuda ornament on her head. Her skin is light salmon-pink. She wears a long loincloth, a sash wrapped round her waist and covering her breasts, a girdle, a shoulder-piece and jewelry characteristic of that of a princess. A text in Balinese script in ink at the top on the right says: bhatara rama (Batara Rama), lord Rama. In the centre at the bottom is written: twalénang hordda (Twalén Nang Orda), Twalén the father of Orda. (Orda is another form of Wredah). At the top on the left is written: rasaksa dirggabawu, (raksasa Dirgabahu), the giant Dirgabahu (dlrghabahu (Skt) means having long arms). Close to the woman is written: dirggabahu dadi istri (Dirgabahu dadi istri), Digabahu becomes a woman. Rama has cut off the head of a tall giant called Dirgabahu. He changes into a beautiful woman and thanks Rama for the release. Twalén touches the woman in surprise. This scene refers to an episode described in the OJ Ramayana VI: 75-96. After the cremation of Jatayu, Rama continues his trip through the forest. He meets a hungry giant with long arms. The giant wants to attack Rama, but the latter cuts off his arms. ( In the drawing his head is cut off). The giant changes into a man, the son of Sri. He thanks Rama for the release. He tells Rama that as a punishment for bad behaviour he had had to live like a giant. He asks Rama where he is go ing. Rama tells about the abduction of his wife. The man advises Rama to go to the mountain Rsyamuka, where the monkey Sugriwa lives. He is as sad as Rama, because his wife Tara has also been kidnapped, namely by his elder brother Bali. If Rama helps Sugriwa, the monkey will help Rama to find his wife. It is strange that the giant, being a man, changes into a beautiful woman in the drawing. Another remarkable point is the appearance of the giant. In the OJ text he is called Dlrghabahu, with long arms. In the drawing he is indeed depicted with long arms. He may also be depicted without a head on his shoulders, but with a head on his chest (see No. 3390-246). He is then called Kabanda (Bah; Kabandha, OJ). In the Sanskrit Ramayana (III: 69) he is also called Kabandha. He is punished by the god Indra because he challenged the god. His head and
thighs were forced into his body by a blow from the god’s club. The demon re mained with long arms and a huge mouth in his belly. He could not recover his original form until Rama had cut off his arms. It is clear that the ideas of the artist differ from what is mentioned in the texts. Cod. Or. 3390-277 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, yellow, violet, light violet, light green, green, ochre, light grey, white, black. Artist: no. 7. Origin: Buléléng. The grey paint has disappeared in the centre close to the fold. Mentioned byjuynboll 1903: 86. Laksmana meets Rama who has just shot the golden deer. Twalén carries the deer on his back A man stands on the far left. He faces right. His legs are spread, his knees slightly bent (ngeed), as a token of honour. He makes a sembah (nakepang tangan) in front of the man on the right. He has a refined face, a double chignon with a garuda ornament at the back, and a diadem on his head. His skin is ochre. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and jewelry characteristic of that of a royal personage. Another man stands on the far right. He faces left. He makes gestures which indicate speech. He has a refined face, a diadem and a high crown on his head. His skin is light green. His legs are spread, his knees slightly bent. He wears trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A small, fat man stands in front of him in the centre. He faces left. He carries a deer on his back. He has female eyes, a flat, fat face, one flat, broad tooth in his mouth, and short straight hair. He wears a small black, grey and white checkered loincloth tucked up between his legs and a sash round his waist. His skin is light grey. A text in Balinese script in ink at the bottom on the right says: bhatara rama (Batara Rama), lord Rama. In the centre is written: towalén, Twalén and at the bottom on the left: truna laksmana, bachelor Laksmana. A meeting takes place between Laksmana and Rama, who is accompanied by his servant Twalén who carries a deer on his back. Rama speaks while Laksmana listens politely.
This scene refers to an episode described in the OJ Ramayana VI: 35-36. Rama returns after shooting the deer. He cannot find Sita. He meets Laksmana. He looks dishevelled. Rama concludes that this is because Sita is dead. Laksmana tells Rama what has happened, that he has left Sita out of faithfulness. The term truna, unmarried young man, is often used by the Balinese in combination with Laksmana. It denotes faithfulness to a brother, because were he married and had he a family, he would not be able to follow his brother in his wanderings. Cod. Or. 3390-278 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.7 cm. The sheet has been folded horizontally into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, yellow, light green, green, ochre, light grey, white, black. Artist: no. 7. Origin: Buléléng. Mentioned by Juynboll 1903: 86. Sita orders Laksmana to help Rama A woman stands on the left. She faces right. With her right hand she makes a gesture which indicates that she is speaking angrily, and she holds her left hand to her girdle (nabdab). Her head is askew. She has a refined face, long hair, a diadem and a chignon (kekendon) with a garuda ornament at the back of her head. She wears a skirt, a long loincloth, a sash round her waist, a girdle, another sash which covers her breasts, and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. Her skin is white. A man kneels on the righthand side. He faces left. He makes a sembah. He has a refined face, a double chignon with a garuda ornament at the back, and a diadem on his head. His skin is ochre. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: déwi sita (Déwi Sita), Sita. At the bottom on the right is written: sang laksmana (Sang Laksmana), Laksmana. Sita speaks angrily to Laksmana. He sits in front of her and makes a sembah. She orders him to do something. This scene refers to an episode described in the OJ Ramayana V: 45-60. Rama has shot the deer. When it dies it utters a human cry. Sita thinks that it is Rama who cried because he is in difficult circumstances. She orders Laksmana to go to help him. Laksmana explains that it is probably a
trick. It seems to him that the deer wants to lure Rama away from the hermitage for some reason and that it wants to be killed. Sita does not believe him. She is ob durate. She calls Laksmana a coward and suggests that he wants to remain close to her because he has fallen in love with her. Cod. Or. 3390-279 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.8 x 41.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light violet, violet, yellow, ochre, light green, green, light grey, white, black. Artist: no. 7. Origin-. Buléléng. The paint is slightly damaged along the fold. Mentioned by Juynboll 1903: 86. Jatayu kneels in front of Rama and Laksmana to tell them of Sita’s abduction A winged figure sits on its right knee on the lefthand side. It faces right. It makes a sembah. It has a bird’s beak, a chignon curled inwards at the back of its head, and a diadem on its head. Its eyes bulge, its teeth are sharp. Its wings and tail are turned downwards. It has bird’s claws and bird’s skin on its legs, It wears short trousers, a small loincloth tucked up between its legs, a girdle, a sash round its waist and another sash crossed over its chest. It also has shoulder ornaments. Its jewelry is that of a royal personage. Two men stand on the right. They face left. With his right hand the man in front makes a gesture which indicates that he is speaking, while he holds his left hand close to his waist (ngungkab suara). He has a refined face, a small moustache, a diadem with a large garuda ornament at the back and a high crown on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and another sash over his left shoulder. His skin is light green. His legs are spread, his left knee slightly raised. The man standing on the far right holds his caste-cord with his right hand. His left arm is akimbo on his sash (nabdab). His legs are slightly bent (agem). He has a refined face, his hair is styled in a double chignon with a garuda ornament at the back. His skin is ochre. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and jewelry characteristic of that of a royal personage. A text in Balinese script in ink at the bottom on the left says: paksi gëntayu, (paksi Gentayu), the bird Gentayu or Jatayu. At the bottom in the centre is writ ten: sang rama (Sang Rama), Rama. At the bottom on the right: sang raksmana (Sang Raksmana), Laksmana (r and 1 are interchangeable in Balinese).
Jatayu kneels in front of Rama and Laksmana and honours Rama with a sem- bah. Rama talks to him. This scene, in which Jatayu tells Rama and Laksmana of Sita’s abduction by Rawana is described in the OJ Ramayana VI: 66-75. It is also depicted in No. 3390-275 but there only Rama is present. This scene is called patemon Rama ring Jatayu, the meeting of Rama and Jatayu, by the Balinese. Cod. Or. 3390-280 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 42.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light red, pink, light violet, violet, yellow, light green, green, light grey, white, black. Artist: no. 7. Origin: Buléléng. Mentioned by Juynboll 1903: 86. Rawana, disguised as an ascetic, pays Sita a visit A woman stands on the left. She faces right. Her right arm hangs by her side, while she holds her left hand in front of her breast. Her attitude indicates that she is listening. She looks downward. She has a refined face, long hair, a chignon with a garuda ornament at the back of her head and a diadem. She wears a skirt, a long loincloth, a girdle, a sash wrapped round her waist, another sash which covers her breasts, and a shoulder-piece. Her jewelry is characteristic of a that of royal per sonage. Her skin is white. A man stands on the right. He faces left. His right leg is crippled. It is bent and slightly raised. He holds a bowl of flowers in both hands, and offers it to the woman on the left. He has a pointed face, a long nose, female eyes, a long beard and a turban on his head. His skin is light orange-red. He wears a short loincloth tucked up between his legs, a sash round his waist and a short coat with ‘half sleeves. A text in Balinese script in ink at the bottom on the left says: déwi sita (Déwi Sita), Sita. At the bottom on the right is written: jro dukuh (jero dukuh), hermit. The honorific jero is characteristic of North Bali. In Latin script in pencil Van der Tuuk has added, writing vertically on the right: lëlingsen i rawana (lelingsén I Rawana), Rawana’s metamorphosis. Rawana, disguised as a hermit, pays homage to Sita. The scene refers to an episode described in the OJ Ramayana V: 64-89 and VI: 1-4. Rawana, disguised as an ascetic, meets Sita. He flatters her and asks her to become his wife. The same scene is depicted in No. 3390-262. It is called Rawana dados pan- dita, Rawana becomes a priest, by the Balinese.
The figure of Jero Dukuh, or Baru, a crippled ascetic of the servant-type plays a role in many wayang stories. According to KBNWB III: 328 Rawana was nam ed Dukuh Suméru when he abducted Sita. The term jero dukuh in the drawing might refer to this name. In the North Balinese wayang Jero Dukuh is generally the name of the ascetic servant of non-divine beings, e.g. Anoman, whereas Baru is the name of the ascetic servant of the gods. However, Jero Dukuh is often con fused with Baru, as their appearance is almost the same. Cod. Or. 3390-281 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 42.1 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, pink, light violet, violet, yellow, ochre, light green, green, dark green, light grey, white, black. Artist: no. 7. Origin-. Buléléng. The sheet is torn in the centre along the fold. The green paint is slightly dam aged. Mentioned by Juynboll 1903: 86. Reproduced by Noto Soeroto 1920: 266, pi. 7. Anoman, sent as an envoy to Langka, meets Sita. He offers her Rama s ring as token of con fidence. Trijata, Sita’s royal servant, watches. Two lower ranking female servants sit in the centre. The one in front is called Madé Lenyog. Rdredah, Anoman s servant tries to pull her onto his lap A white monkey kneels on the left. He looks to the right. He makes gestures which indicate that he is speaking. He has a ring on his right thumb. His thumb nails are very long and sharp. His hair is styled in a large double chignon. He wears a small black, grey and white checkered loincloth tucked up between his legs and a sash round his waist. His armlets and wristlets have three sharp points (bajra). They face each other (menék—tuun). He has a bird’s head en profil (karang curing) as a decoration on his left knee. He wears shoulder ornaments, and his ear-jewels have flames. Tie wears a necklace which is a snake. A small, fat man kneels in the same way in front of him. He also faces right. He has a pro truding mouth with one flat tooth. His hair is short and bristly. His skin is dark green. He wears a short loincloth tucked up between his legs and a kerchief round his head. He pulls the arm and the leg of the woman sitting in front of him on the right, facing him. She holds his headdress with her right hand. She sits on her left knee. She has a refined face, and an asymmetric chignon (tetagelan) at the back of
her head. Her skin is ochre. She wears a long loincloth, wrapped loosely round her waist, a sash, and a kind of collar. Two other women sit behind her, facing left. They kneel. Their left arms hang limp, while they hold their right hands to their girdles. The woman kneeling in the centre wears a long loincloth, a sash, another sash covering her breasts and a kind of collar. Her hair is styled in a chignon (tetagelan). The woman kneeling on the far right wears a cap (kekendon). She has long hair. Her jewelry is characteristic of that of a royal per sonage. She wears the same clothes as the other women, but she has a shoulder- piece instead of a collar. They both have ochre coloured skin. Behind them on the right stands a woman, facing left. She holds a sword in her right hand. With her left hand she makes a gesture which indicates that she is speaking. Her face is white and refined. She has long hair, and a diadem with a garuda ornament on her head. She wears a long loincloth, a girdle, a sash, another sash which covers her breasts and a shoulder-piece. Her jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the left says: sanganoman (Sang Anoman), Anoman. In the centre at the bottom is written: horddah, Ordah, and further to the right: madé léhog, Madé Lényog. In Latin script in ink Van der Tuuk has ad ded: Made Lenjeg, Madé Lényeg. According to KBNWB II: 764 this should read lényog. In the wayang (in Buléléng) she is the female servant of Sita. In the centre at the top is written in Balinese script in ink: déwi sita (Déwi Sita), Sita; on the right is written in another handwriting: trijata, Trijata, and at the bottom close to the woman sitting in the centre: ni condong (ni condong), the female servant. Anoman kneels before Sita. He shows her the ring. Sita holds a sword, a sign of nervousness. She is accompanied by Trijata, a royal servant, and two servants of lower rank, called condong and Madé Lényog. Ordah (or Mredah), Anoman’s servant, tries to pull her on to his lap, but she resists. This scene is described in the OJ Ramayana VIII: 178 in the following way. Anoman has been watching Sita from a tree. Rawana comes to ask Sita to marry him. He threatens her when she refuses to do so. Rawana goes away angrily. Sita gets very sad. At that moment, Anoman comes down. He says that he wants to speak to Sita. She is reluctant to listen to him because she thinks that he is Rawana in disguise. Anoman kneels down in front of her. He tells her about Rama’s adventures. When he shows her Rama’s ring she believes him. She gives him a jewel and a drawing in which she is depicted looking very distressed. Anoman says farewell to her and goes away. According to oral and visual traditions Sita has a sword when Rawana meets her. She draws it when he tries to seduce her. She would rather kill herself than be unfaithful to her husband. When Anoman meets Sita in the drawing, she is also still holding the sword which suggests that Rawana has just left. This scene is called kutus Anoman, or Anoman duta, Anoman sent as an envoy, by the Balinese. It is also depicted, but in a slightly different way, in No. 3390-261.
The scene between the servant Ordah and the woman is an addition of the ar tist. The servant imitates the behaviour of Rawana: he tries to seduce a female servant, but like her mistress she refuses. Cod. Or. 3390-282 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.9 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold. Both drawings belong together. Polychrome, watercolours and ink. Colours: light red, bordeaux-red, light magenta, magenta, light blue, blue, yellow, light green, green, light salmon-pink, light grey, white, black. Artist: Probably I Ketut Gedé. Origin: Singaraja. The drawing is mentioned by Juynboll 1903: 86 and 1915: 8. The monkey Sugriwa and the demon Kumbakarna There are awon-awon ornaments at the top on the left (type III). A monkey stands in a dancing attitude on the left. He faces right. His legs are spread, his knees bent. His left knee is raised (nyingjing). His hands are raised and reach his shoulders (ngungkab suara), indicating that he wants to speak. He has long hair, a diadem and a kerchief (kekendon) with a garuda ornament on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, and a shoulder-piece. His jewelry is characteristic of that of a royal personage. His skin is light salmon-pink. A demon stands on the right. His body and head are en face. His head is askew, turned to the left. His legs are spread slightly, his knees bent, his toes curled (tampak sirang). He holds a double lance in his right hand (nggawa). He touches his diadem with his left hand (nabdab gelung). He has a demonic face with large bulging eyes, sharp fangs, teeth on his cheeks and eye-brows, a moustache, a beard, long hair and a diadem with a high crown on his head. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and a small sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the left says; sugriwwa, Sugriwa, and at the top on the right: kumbakarnna, Kumbarkarna. The monkey Sugriwa is depicted in a dancing attitude which expresses challenge close to Kumbakarna. This scene refers to an episode described in the OJ Ramayana XXII: 67-89. Rama orders Sugriwa to fight Kumbakarna. Sugriwa cuts off Kumbakarna’s nose and runs away with it. Laksmana and Rama finally shoot arrows at the demon which kill him. This scene is called siat Kumbakarna, the fight of Kumbakarna, by the Balinese.
Cod. Or. 3390-283 A drawing on Dutch paper, no marks. 34.7 x 43.4 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours: light red, light magenta, light blue, light green, green, light salmon-pink, light grey, yellow, white, black, gold. Artist: Probably I Ketut Gedé. Origin: Singaraja. The jewelry and the edges of the clothes are decorated with gold leaf, except a part of the edge of Anoman’s loincloth which is coloured yellow. Mentioned by Juynboll 1903: 86. Amman is sent to Langka as an envoy. Rama has given Amman his ring to give to Sita. Laksmana watches There are rock ornaments on the ground in the centre and on the right. A leafy tree is depicted in the centre on the rocks. Leaves and flowers are indicated by green and red dots. A white monkey sits on the left. He faces right. He makes gestures which indicate that he is speaking. He wears a ring on his right thumb. His thumb-nails are long and pointed. He has a double chignon on his head. His ear-jewels flame. He wears a necklace which is a snake. He wears a small black, grey and white checkered loincloth tucked up between his legs, and a sash. He wears a golden jewelled band round his knee. His wristlets, armlets and anklets have three sharp points (bajra) in an upward direction (menék). Two men stand on the right. They face left. The man in front on the left makes gestures which in dicate speech. He has a refined face wit a small moustache, long hair and a diadem with a high crown on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece, a caste-cord and another sash over his left shoulder. His skin is light green except for his left hand which has been left white. His jewelry is characteristic of that of a royal person. The man on the right also makes gestures which indicate speech. He has a refined face, a double chignon and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a shoulder-piece and jewelry characteristic of that of a royal personage. His skin is white. A text in Balinese script in ink at the top on the right says: ramaddéwwa, sarëng laksmanna, (Ramadéwa sareng Laksmana), lord Rama and Laksmana. On the left in the centre is written: marutisutta, (Maruti Suta), Maruti’s son. This is incorrect. It should be either Maruti, the son of Marut, or Marut suta, also meaning the son of Marut. Marut is an epithet for the god Bayu. The monkey Anoman kneels in front of Rama and Laksmana. Rama and Laksmana are arguing with Anoman, who wears a ring on his thumb. This
episode may refer to a passage mentioned in the OJ Ramayana VII: 49-52. Anoman is ordered to go to Langka as an envoy with Anggada, Nila, and Jam- bawan. Rama gives Anoman a ring to give to Sita as a token of confidence. The same scene is depicted in No. 3390-234. The scene is called Anoman duta or kutus Anoman, Anoman as an envoy, by the Balinese. Cod. Or. 3390-284 A drawing on Dutch paper, no marks. 21.7 x 34.8 cm. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours: light red, light magenta, light salmon-pink, light brown, light green, light blue-green, light grey, white, black, gold. Artist: Probably I Ketut Gedé. Origin: Singaraja. According to Juynboll 1911: 484, the sheet was originally foolscap size. One drawing has disappeared. Sita and Laksmana were represented. More information on the missing drawings is to be found on page 485. Mentioned by Juynboll 1903: 86. Rama has shot the golden deer with an arrow. It regains its original form which is that of the patih Marica The ground is indicated by light brown and light magenta. There are rock or naments on the right. In the background there are parallel curving lines, which represent hills, and small leafy trees. Leaves are indicated by green dots. A man stands on the left. He faces right. His legs are spread, his knees bent. He holds a bow in his left hand. He holds his right arm upwards, which suggests that he has just shot an arrow. The man has a refined face, a small moustache, long hair, and a diadem with a high crown on his head. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, and a shoulder-piece. His jewelry is characteristic of a royal personage. A small deer stands on the rocks on the right. Its body is turned to the right, but its head faces left. An arrow has been shot into its shoulder. Blood pours from of the wound. The upper part of the body of a demon emerges from behind the deer. It faces left. Its skin is white with blue and salmon-pink spots. With his right hand the demon makes a gesture which indicates that he is looking attentively (ulap- ulap) at something. He holds his left arm akimbo and he touches his sash (nyamir). He has a demonic face with bulging eyes, sharp teeth and eye-teeth and a tooth on his cheek. His mouth is half-open. He has long hair and a diadem with a garuda ornament at the back on his head. A text in Balinese script in ink on the left in the centre says: ramaddéwa, mëmanah kidang, (Ramadéwa mamanah kidang), Rama shoots at a deer. On the right is written: patih muricë, dadi kidang (Patih Marica dadi kidang), Patih
Marica changes into a deer. In fact it has to be the other way round. Rama has shot an arrow at the deer. When it penetrates, the deer changes into the patih of Rawana, called Marica. This scene is described in the OJ Ramayana V: 35-45. It is also depicted, but in a different way, in Nos. 3390-112 and 273. Cod. Or. 3390-285 A drawing on Dutch paper, no marks. 34.6 x 43.3 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours-, light red, light orange-red, light salmon-pink, yellow, light green, green, light blue, blue, light grey, white, black, gold. Artist: Probably I Ketut Gedé. Origin-. Singaraja. Mentioned by Juynboll 1903: 86. Jatayu fights Rawana who has abducted Sita The sheet is covered with awon-awon ornaments (type IV) to indicate the sky. A winged figure stands on the left facing right. He points with his left index-finger (nuding) at a man on the right. He holds a kris in his right hand. He has a bird’s beak, sharp teeth and eye-teeth, round eyes, and a diadem with a cap (kekendon) on his head. He has bird’s claws and bird’s skin on his legs. His wings and tail stand upright. His legs are green, but the colour of his body and face is light blue. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a caste-cord and a sash crossed over his chest. His jewelry is characteristic of that of a royal personage. A man flies through the air at the top on the right. He faces left. His legs are slightly bent. With his left hand he holds a woman on his hip while he has a sword in his right hand. He has round, bulging eyes, a heavy moustache, a small beard, sharp teeth and eye-teeth, a fang on his cheek, and a diadem with a high crown on his head. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, and a shoulder-piece. His jewelry is that of a royal personage. The woman faces left as well. She holds the sash round her breast with her left hand, while she holds her right hand to her girdle. Her head is askew. Her skin is white. She wears a long loincloth, a sash round her waist, a girdle, another sash with black and white batik pattern (batik Betawi) which covers her breasts, and a shoulder-piece. Her jewelry is that of a royal personage. She has a refined face, long hair and a diadem with a garuda ornament at the back on her head. A text in Balinese script in ink in the centre says: jatayu, ring madya ning ham- bara, (Jatayu ring madya ning ambara), Jatayu in the middle of the air. On the
righthand side is written: rawanna sarëng déwi sitta, ngagëm pdang, (Rawana sareng Déwi Sita ngagem pedang), Rawana with Sita; he holds a sword. Jatayu menaces Rawana who flies through the air with Sita in his arm. They both hold weapons. This scene is described in the OJ Ramayana VI: 15-28. It is also depicted in Nos. 3390-114 and 274. Cod. Or. 3390-286 Two drawings on Dutch paper, no marks. 43.5 x 34.8 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours', ligth red, light magenta, light salmon-pink, light green, green, light blue, dark blue, light grey, white, black, gold. Artist: Probably I Ketut Gedé. Origin'. Singaraja. Mentioned byjuynboll 1903: 86. Bottom: Rama and Laksmana split the upside-down demon Wirada in half A demonic being stands upside-down in the centre. His head and body are en face. His hands have very long, sharp finger-nails. His legs are spread apart. He has a demonic face with bulging eyes, large protruding teeth and large, sharp cur ly fangs, long curly locks of hair and a diadem on his head. His skin is light blue with dark blue spots. He wears a short loincloth tucked up between his legs. His legs are pulled apart by two men, one standing on either side of the demon. As a result the lower part of the demon’s body is split. Blood spouts from his back. The man on the right faces left. He holds the demon’s ankle with his left hand and the upper part of his leg with his right hand. He pushes his right foot against the demon’s arm. He has a refined face, a small moustache, long hair and a diadem with a high crown on his head. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and another sash over his left shoulder. His jewelry is that of a royal personage. The man on the left faces right. He holds the demon’s leg in the same way as the man on the right. He pushes the demon’s shoulder with his left foot. He has a refined face, a double chignon with a garuda ornament at the back, and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a gir dle, a sash, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a royal personage. His skin is white. A text in Balinese script in ink at the top on the right says: ramaddéwwa, Ramadéwa, lord Rama. At the top on the left is written: laksmanna, Laksmana
and in the centre: swiradë, masibak, (Swirada masibak), Swirada split in half. In Latin script in ink Van der Tuuk has added: Wirada, Wirada. By Swirada the demon Wirada is meant. Rama and Laksmana split an upside-down demon in half. This scene refers to an episode described in the OJ Ramayana IV: 4-8. Rama, Sita and Laksmana wander in the dangerous Dandaka forest. They have an encounter with a demon walking on his hands. He is called Wirada. He wants to fight them. Rama and Laksmana each grasp a leg. They start pulling. They split the demon’s body in half. The demon dies. Top\ two ascetics walk through the hills. They are going to perform ascetism The ground is indicated by light salmon-pink. A landscape with hills, indicated by curving lines, and trees is depicted. Small streams of water flow through the hills. Leaves of trees and flowers are indicated by means of small green and red dots. A man walks at the top on the left. He faces right. He leans on a walking- stick with his right hand and touches his headdress with his left hand. He looks downwards. His skin is light salmon-pink. He has a refined face, female eyes, a moustache and a diadem with a turban on his head. He wears long trousers, a long loincloth, a small one tucked up between his legs and a coat with long sleeves. Another man at the top on the right walks to the right, but his head is turned to the left. He looks downwards. He holds a long walking-stick with both hands. His skin is light salmon-pink. He is clad in the same way as the man on the left, but he also wears a caste-cord. A text in Balinese script in ink at the top in the centre says: watëk pare rësi, jagë ngwangun yasa, (watek para resi jaga ngwangun yasa), the host of sages goes to perform ascetism. Two ascetics are depicted walking quietly in a landscape with small streams and trees. They watch, on the way to a quiet place to perform ascetism, the fight depicted below. This scene may refer to a remark made by Surpanaka to Rawana in the OJ Ramayana V: 9. She tells her brother that the Dandaka forest is very peaceful now that Rama and Laksmana have defeated the demons who lived there. The sages perform their fire-offerings regularly, and are not disturbed by the demons. What is depicted in the drawing at the top can be regarded as a result of the actions of Rama and Laksmana in the drawing at the bottom. Cod. Or. 3390-287 Two drawings on Dutch paper, no marks. 43.3 x 37.7 cm. The sheet has been folded horizontally into two halves. There is a drawing on the top half and on the bottom half of the sheet. Polychrome, watercolours and ink. The jewelry is decorated with gold-leaf.
Colours-, light red, light magenta, light salmon-pink, light brown, light blue, blue, light green, green, light blue-green, light grey, white, black, gold. Insects have eaten the bottom of the sheet. Artist: Probably I Ketut Gedé. Origin: Singaraja. Mentioned by Juynboll 1903: 86. Top: Rama threatens Surpanaka who is depicted as a beautiful woman who kneels in front of him. Laksmana watches The ground is indicated by light grey. There are rock ornaments at the bottom and awon-awon ornaments (type IV) at the top. A man stands on the righthand side. He faces left. He points with his right index-finger (nuding) at a woman in the centre. His left hand is close to his chest, his sash hangs over his arm. His legs are spread, his knees bent. He has a refined face, a moustache, long hair, a diadem with a high crown on his head. His jewelry is characteristic of that of a royal personage. His skin is light green. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. A woman crouches in the centre. She faces right. She makes a sembah. Her skin is white. She has a refined face, long hair and a diadem with a garuda ornament at the back of her head. She wears a long loincloth, a sash wrapped round her waist, a girdle, a black and white Javanese batik sash (batik Betawi) which covers her breasts, and a shoulder-piece. Her jewelry is that of a royal personage. A man stands on the far left. He faces right. He makes gestures which indicate speech. His skin is white. He has a refined face. His hair is styled in a double chignon with a garuda ornament at the back. He has a diadem on his head. He wears long trousers, a small loincloth tucked up bet ween his legs, a girdle, a sash, a shoulder-piece, and another sash over his right shoulder. His jewelry is that of a royal personage. A text in Balinese script in ink at the top on the right says: ramadéwwa, Ramadéwa, lord Rama. In the centre is written: srupënaka, Surpanaka, and at the top on the left: laksmana, Laksmana. Rama threatens Surpanaka, who kneels in front of him. She makes a sembah. Laksmana, standing to one side, watches and speaks. This scene refers to an episode described in the OJ Ramayana IV: 27-42 and 48-55. Surpanaka, a spy and a younger sister of Rawana, wanders through the forest. She sees Laksmana and falls in love with him. She changes into a beautiful young girl. She meets Laksmana and talks to him. She asks him to marry her. Laksmana answers that he cannot marry such a beautiful girl. He advises her to go to his brother, for according to him only he is worthy of having such a beautiful girl as a wife. She goes to Rama. Rama says that he loves only Sita and does not need another wife. He advises her to go back to Laksmana. She goes to him, filled
with love, but she makes such obscene gestures that Laksmana concludes that she must be a bad creature, probably a giant transformed into a beautiful woman. He gets very angry and cuts off her nose. In the drawing it is Rama who gets angry and threatens her. Bottom: Surpanaka changes into her demonic form. She makes a threatening gesture The ground is indicated by light green. There are parallel curving lines in the background representing hills. They are covered by leafy trees. Two deer are depicted, one at the top and one at the bottom on the right. They run to the right fearfully, their heads turned to the left. They watch the scene. A woman stands on the left. She faces right. She points with her left index-finger (nuding) to the right. She holds her right hand to the diadem (nabdab gelung), on her head. Her skin is white. Her face is refined. She has long hair. She wears a skirt, a long loincloth, a sash wrapped round her waist, a girdle, another sash which covers her breasts, and a shoulder-piece. Her jewelry is that of a royal personage. The sash round her breasts has a black and white Javanese batik pattern (batik Betawi). A demonic woman stands close to her, and she as it were emerges from her. She faces right as well and stands in a dancing attitude. Her legs are spread, her knees bent. Her left leg is raised (nyingjing). Her nails are long and sharp. She has a demonic face with bulging eyes, sharp teeth and eye-teeth, and teeth on her cheeks. She has long hair, a chignon curled inwards at the back of her head and a diadem. Her skin is light salmon-pink. She has long, wrinkled breasts. She wears a long loincloth, which does not cover her hairy legs and thighs at the front, however a sash round her waist, a small sash crossed over her breast (slimpet) and a long sash, the ends of which hang over her arms. A text in Balinese script in ink at the top in the centre says: srupënaka malingsé (Surpanaka malingsé), Surpanaka changes into another form. Surpanaka takes her original form of a giant. She makes a threatening move ment. Two deer run away, looking back, because they are frightened. This scene refers to an episode described in the OJ Ramayana IV: 55-56. Sur panaka flies away when her nose is cut off. She is very angry. She changes into her demonic shape. She threatens Rama and Laksmana and says that they will be killed in a horrible way by her brother. Cod. Or. 3390-288 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light salmon-pink, salmon-pink, yellow, light violet, light brown, light green, white, black.

Artist and origin', the sheet is signed at the back in Balinese script in ink: gambar pakaryyan hida madé tlagha, saking sanür griya tlagha, nirguna, hinakaya; puput pasangon, 5, (gambar pakaryan Ida Madé Tlaga saking Sanur, griya Tlaga, nirguna, hinakaya; puput pasangon 5), the drawing is made by Ida Madé Tlaga of the griya Tlaga, Sanur, worthless, weak; paid five. The paint is damaged on the right at the top and in the centre. The sheet is torn to the right and to the left of the fold. The drawing is mentioned by Juynboll 1915: 6. Niwatakawaca fondles the nymph Supraba who sits on his lap The drawing is surrounded by a frame in ink. It is coloured with orange-red and salmon-pink. Light blue at the top indicates the air. A split stone gateway (candi bentar) with one-eyed ogre’s heads (karang bintulu) and karang goak (curing in North Bali) at the corners serves as the background. A demonic man sits in the centre on the left. He faces right. He holds a woman, and presses her to him. She sits on his lap on the right. She turns her head away from the man. He tries to pull up her loincloth with both hands, but she tries to stop him by holding his right wrist with her left hand. She holds her loincloth with her right hand. He has a demonic face with bulging eyes, a long nose, sharp teeth and eye-teeth, a tooth on his cheek and eyebrows, long hair, and a diadem and a high crown on his head. His skin is light salmon-pink. He wears short trousers, a sash, a shoulder- piece and another sash over his right shoulder. His jewelry is that of a royal per sonage. The sitting woman has one leg spread, directed to the left and one leg bent. The demon holds her by putting his legs over hers (ngilid). She has long hair, and a diadem with a garuda ornament on her head. Her face is refined. Her skin is white. She wears a skirt, a long loincloth, a sash round her waist and another sash over her shoulders. Her cloths are in disorder. Her jewelry is that of a royal personage. A text in Balinese script in ink at the top on the left says: wathakawaca (Watakawaca), the demon king Watakawaca, or Niwatakawaca. On the right is written: süprabha, Supraba. A text in Balinese script in pencil at the top in the frame says: wiwaha, (wiwaha), marriage, referring to the OJ Arjunawiwaha, Ar- juna’s marriage. The demon king Niwatakawaca has taken the nymph Supraba onto his lap. He fondles her and tries to undress her, but she resists. The scene is described in the OJ Arjunawiwaha XVIII: 8. Niwatakawaca, upon hearing that Supraba has come from Indra’s heaven goes to the pavilion in which she has taken up residence. She greets him. He takes her onto his lap. He tries to kiss her. In XIX: 5-9 she asks him for his secret. This scene is also depicted, but in a slightly different way, in Nos. 3390-292, 293.
Cod. Or. 3390-290 Four drawings on Dutch paper, watermark concordia, countermark V.d.L. 34 x 43 cm. The sheet has been folded vertically into two halves. There is a drawing on the left and on the right of the fold on the recto and verso sides of the sheet. Polychrome, watercolours and ink. Colours: red, light green, yellow, light brown, light ochre, light red, pink, white, light grey, black. Artist: no. 14. Origin: Buléléng. The sheet is torn in the centre along the fold. Verso, right: Arjuna The bottom of the drawing is decorated with stone ornamentation with curls. The rest of the sheet is covered with air-ornaments (awon-awon, type IV). A man stands and faces left. He holds his right hand in front of his chest and his left hand to his girdle. This means that he is silent. He has a refined face, a double chignon with a garuda ornament at the back and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, shoulder ornaments, and jewelry characteristic of that of a royal personage. His skin is white. A text in Balinese script in ink at the top says: sangarjunna (Sang Arjuna), Ar juna. Below this is written in another hand: sangngarjuna, (Sang Arjuna), Ar juna. Arjuna, standing unarmed faces left. He is silent. Verso, left', two demons, called the Red One and the Pink One are shot by arrows In order to view this drawing the sheet has to be turned. There are air or naments (type IV) at the bottom and at the top. Two demons are depicted. The one on the left faces right, but his body is depicted en face. He has been shot by three arrows to his chest, left shin-bone and right arm. His knees are bent. He holds a sword in his right hand. His left arm is bent. He makes a gesture which in dicates that he is speaking. His skin is pink. He has a demonic face with bulging eyes, a large nose, a half-open mouth with sharp teeth and fangs. His hair is long. He wears a diadem on his head. His clothes consist of short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, shoulder or naments. His jewelry is characteristic of that of a royal personage. The demon on the right sits leaning on his left knee. His body is directed to the left but his head is turned back to the right. He has been shot by three arrows, one to his shoulder, one to the face and one to the left leg. He holds a sword in his right hand, while he holds his left hand up and waves it (ulap-ulap). His skin is light orange-red. He
has a demonic face. His hair and his headdress are the same as those of the demon on the left. He wears short trousers, a small loincloth tucked up between his legs, a girdle, and his jewelry is characteristic of that of a royal personage. A text in Balinese script in ink in the centre says: butahabang, (buta abang), red demon, which refers to the demon on the right with light orange-red skin. A text at the bottom in the centre says: butadadu, (buta dadu), pink demon, which refers to the demon on the left wiht pink skin. Two demons of high rank shot by arrows are depicted. The demon on the left cries, the other one looks attentively. Both drawings may refer to scenes described in the OJ Arjunawiwaha. The heavenly army of Indra fights with the demonic army of Niwatakawaca. Arjuna is at first at the back of the army and does not yet fight (XXVI: 2). Many demons are killed (XXVI: 1). Recto, right: Arjuna is armed with a bow and arrow A stone ornament with jewels in its base indicates a floor. The rest of the sheet is covered with air ornaments (awon-awon, type IV). A man stands and faces left. He holds an arrow in his right hand and a bow in his left. He has a refined face. His hair is styled in a double chignon with a garuda ornament at the back. He has a diadem on his head. His skin is yellow and ochre. (His face and right arm are ochre). He wears long trousers, a short loincloth tucked up between his legs, a gir dle, a sash, shoulder ornaments. His jewelry is characteristic of that of royal per sonage. His legs are slightly spread, his knees bent. A text in Balinese script in ink at the top in the centre says: sangngarjunna ngagën panah (Sang Arjuna ngagem panah), Arjuna holds an arrow. Arjuna is depicted holding a bow and arrow. This scene and that depicted on the left probably refer to the following episode described in the OJ Arjunawiwaha XXVII: 1. Arjuna takes his place at the head of his army which is arrayed for battle. He utters the formula to evoke the pasupati-arrow. Demons surrounded by fire materialize. They burn the demonic army of Niwatakawaca. Recto, left: three demons are killed by fire and arrows Three demons are depicted one on top of the other. They are surrounded by air ornaments (type IV). There is a ball of fire at the bottom on the left. A demon crouches at the bottom. His body is directed to the left, but his head is turned to the right. He holds a sword in his right hand. His left arm is directed downwards. Two arrows have been shot to him, one into his left knee and one into his back. Blood pours from the wounds. His body is light orange with green spots. He wears a small loincloth tucked up between his legs, which does not, however hide his large penis. He also wears a band over his left shoulder.
He has a demonic face, with female eyes, protruding teeth, sharp fangs and a long tongue. A leg and a foot is mounted in his ear-lobe, and serves as an ear- jewel The demon in the centre lies prone. He holds a sword in his right hand. He holds his left hand up. He has bulging eyes, the pupils of which are directed up wards indicating that he is dead or dying. He is surrounded by fire. His skin is light green. He is naked. A small corpse is mounted in his ear-lobe and serves as an ear-jewel. One arrow has been shot through his left arm and one through his head. Blood pours from the wounds. The demon on the top faces the bottom. His head is to the right. He holds a club in his right hand. An arrow has been shot into his back. Blood pours from the wound. His skin is orange-red. He has bulging eyes, a half-open mouth with sharp teeth and fangs, a moustache and whiskers. He has tufts of hair on his head. A text in Balinese script in ink on the right says: basmibuta, (basmibuta), burned into ashes. At the bottom on the left is written: butagsëng, (buta geseng), a burned demon. At the bottom on the right Van der Tuuk has written in Latin script: de penis, the penis, referring to the demon’s extraordinarily large penis. Three demons, burned by fire and hit by arrows are depicted. This scene may refer to the episode described in the OJ Arjunawiwaha XVII: 1, which has been mentioned before. Arjuna’s fiery demons burn the demons of Niwatakawaca’s ar my to ashes. In the drawing the fiery demons are represented by balls of fire. Cod. Or. 3390-291 This drawing is missing. According to Juynboll 1911: 385 the nymphs Supraba and Tilotama trying to seduce Arjuna have been depicted. The drawing is men tioned by Juynboll 1915: 4. More information on the missing drawings is to be found on page 485. Cod. Or. 3390-292 Four drawings on Dutch paper, mark P.v.L. 42.8 x 34.4 cm. The sheet has been folded horizontally into two halves. On each side of the fold is a drawing on the recto and on the verso sides of the sheet. Ink, black and light grey. Artist: no. 13. Origin: unknown. Verso top: the god Indra, accompanied by his servant Barn, speaks to Arjuna, who is accom panied by Twalén, in Indra’s heaven There are four rock ornaments at the bottom. Two of them have a one-eyed ogre’s head at the base (karang bintulu). There are awon-awon ornaments (type VIII) in the centre and on the top and these represent the air. A lontar-palm
stands in a fence in the centre. Two pudak plants with flowers and buds grow on the trunk of the tree. A man standing on the left faces right. He makes gestures which indicate that he is speaking. His legs are slightly bent. He has a refined face with a small moustache, a high round crown and a diadem on his head. He wears long shorts, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A small man stands behind him on the far left. He holds a sirih-box made out of basketry (kampék) in his right hand, while his left arm hangs by his side. His right leg is crippled. He faces right. He has female eyes, a sunken face with a protruding chin, and a turban on his head. He wears a small loincloth tucked up between his legs and a kris on his back in his girdle. Another man, standing on the right, faces left. He touches his sash with his left hand and makes a gesture indicating that he is listening with his right hand. He has a refined face and a diadem and a turban on his head. He wears long shorts, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A small fat man sits leaning on his left knee in front of him. He also faces left. He makes gestures which indicate that he is meditating (mamusti). He has female eyes, and a half-open mouth with one broad tooth. His hair is tied in a pony-tail. He wears a short black and white checkered loincloth tucked up between his legs. A text in Balinese script in ink at the top on the left says: batarahiran (Batara iran). This is probably a misspelling as in No. 3390-241. In Latin script in ink Van der Tuuk has added: Indra. At the top on the left is written in Balinese script in ink: maka, serving as, close to the air ornament. It is not clear to what this word refers. One could perhaps assume that the word refers to the first syllables of the canto in which the episode depicted in the drawing is described, but this is not the case. The canto in question, canto XIV of the OJ Arjunawawiwaha starts with ‘kadi harsaning’ and not with ‘maka’. Close to the man on the far left is writ ten in Balinese script in ink: baru, and in Latin script Van der Tuuk has added: Baru. This means follower. It is the name of the servant of an ascetic in the wayang. According to KBNWB IV: 869 “Baru is always the servant of a god. There is another servant figure with the outward appearance of an ascetic who is called Jero Dukuh. He is in particular Anoman’s servant, but since he resembles Baru so closely, he is often confused with the servant of the gods”. Close to the man standing on the right is written in Balinese script in ink: rajuna, Arjuna, and close to the fat man: towalén, Twalén. The god Indra, accompanied by his servant Baru, speaks to Arjuna in Indra’s heaven. They stand in the air. Arjuna is accompanied by his servant Twalén. Ar juna wears the headdress of an ascetic which refers to the fact that he has just finished his ascetism. Twalén makes a gesture indicative of meditation which ac cords well with meeting a god. The scene refers to episodes described in the OJ
Arjunawiwaha. In XII: 9 Arjuna, after finishing his ascetism and after getting the pasupati-arrow from the god Siwa, is invited to visit Indra’s heaven. In XIV: 9-20 Indra meets other gods and sages. Arjuna greets Indra humbly upon his ar rival. They talk about the demon king Niwatakawaca. He wants to destroy heaven. Niwatakawaca has to be defeated, but he is invulnerable except that he has an ‘Achilles heel’. This has to be discovered. It is decided to use a trick. The nymph Supraba is to go to Niwatakawaca’s palace with Arjuna. The king is in love with her, but Indra turned down his proposal. For this reason Niwatakawaca wants to destroy heaven. Supraba now has to act as if she had fled to him from heaven. She has to offer her body to Niwatakawaca and meanwhile try to find out his secret. Arjuna will be nearby listening secretly to their conversation. Verso, bottom: Niwatakawaca fondles the nymph Supraba on his lap\ Arjuna watches and listens, and holds an arrow. Another nymph watches too There are four rock ornaments topped with petals at the bottom. A pavilion with a stone base and four poles supporting a tiled roof is depicted in the centre. Pudak plants and flowers grow on both sides of the pavilion; so do two lontar- trees. A demonic man sits in the pavilion holding a woman on his lap. His body is en face, but his head is directed to the right. He has bulging eyes, sharp teeth and fangs, a tooth on his cheek and a diadem with a high round crown on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a shoulder-piece, and another sash over his right shoulder. His jewelry is that of a royal personage. The woman on his lap faces left. The man holds her thigh with his right hand and one of her breasts with his left hand. She holds his right elbow and his left wrist. She has a refined face, long hair, a diadem with a garuda orna ment at the back on her head. She wears a long loincloth which is tucked up, un covering her legs, a sash wrapped round her waist, a shoulder-piece. Her jewelry is that of a princess. A man stands on the right behind the tree. He faces left. He holds an arrow above his head with his right hand. He touches his girdle with his left hand. He has a refined face and a double chignon with a garuda ornament at the back and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a royal personage. A woman stands on the far left. She faces right. She has her right hand in front of her breast, while her left arm hangs by her side. She has a refined face, a chignon curled inwards, characteristic of nymphs, and a diadem on her head. She wears a skirt, a long loincloth, a sash wrapped round her waist, a shoulder-piece and a sash over her right shoulder. Her jewelry is characteristic of that of a royal personage. A text in Balinese script in ink in the centre says: miwakat, by which Niwatakawaca is meant. At the top on the right is written: rajuna, Arjuna, and on the left: kéran (it should be kéndran), heavenly nymph.
Niwatakawaca sits in a pavilion fondling the nymph Supraba who is sitting on his lap. Supraba is sitting at ease. Arjuna watches and holds an arrow which he is ready to discharge. A heavenly nymph, belonging to the harem of the demon, stands to one side. This scene refers to episodes described in the OJ Arjunawiwaha. In XVII: 2-9 Supraba and Arjuna enter the garden of Niwatakawaca’s harem. Many nymphs, gifts to the demon king, are present. Supraba retires to a pavilion. Arjuna makes himself invisible with black charcoal given to him by Indra. Supraba makes herself known to the nymphs. In XVIII two of them go to fetch Niwatakawaca while one nymph remains and talks with Supraba. In XVIII 8-12 Niwatakawaca goes to the pavilion. He takes Supraba onto his lap. He tries to kiss her. In XIX Supraba talks to him in a sweet way. In XIX: 5-9 she asks him for his secret. He tells her that he has got supernatural powers seated in his tongue. Arjuna listens attentively. The same episode is depicted in Nos. 3390-289 and 293 but in a slightly different way. Recto, top'. Arjuna devastates the gateway of Niwatakawaca’s palace. Foreign visitors of the women’s quarters are disturbed Four rock ornaments are depicted at the bottom on the left. There are stone or naments in the centre and on the right at the bottom and the stereobates of a small and of a large pavilion. The air has awon-awon ornaments (type VIII). A gateway is depicted on the left. It has two closed doors and a stepped roof sur mounted with a top-piece.' It has several ornaments, for instance, karang bintulu, and karang manuk. Two monkeys sit to either side of the top-piece. A small pavilion is depicted in the centre. It has two poles supporting a tiled roof. Small curtains (ider-ider) hang from the roof. The pavilion on the right is large, and has a double roof. It is also decorated with ider-ider. A parrot sits on a perch which hangs from the roof. Two women sit in the pavilion in the centre. Their bodies are directed to the right, but their heads are turned to the left. The woman on the right wears a skirt, a long loincloth, a sash round her waist and another sash over her shoulders. Her hair is styled in a chignon at the back of her head which is characteristic of a female servant. It is adorned with a flower. The woman holds a flower in her left hand. Her right arm hangs by her side. The woman on the left has a chignon curled inwards, which is characteristic of a nymph. She wears a skirt, a long loincloth, a sash round her waist and another sash round her neck. She also wears a small diadem on her head. Her arms are stretched out in front of her. A man sits behind her on the lefthand side. He touches one of her breasts with his right hand. He looks backwards to the left with a disturbed look on his face. He sits half on his right knee. He has female eyes, a curled nose and a beard with whiskers. He wears a hat, long trousers, a long jacket with buttons and he has a sabre in the girdle round his waist. He looks European. Three men stand in
the pavilion on the far right. They look at the women in the centre. The man on the left has female eyes, whiskers, a moustache, a beard, short hair and a flower behind his ear. He has a cap on his head. He wears shoes, long trousers, and a “jas tutup”, a coat with a high collar, held closed by buttons. He holds a long pipe in his right hand. He looks European. The two other men have slanting eyes, beards, moustaches and braids at the back of their heads. They wear hats, shoes, long trousers and “jas tutup” with buttons. One of them holds a pipe and the other holds a kind of bag. They look Chinese. A tall man stands on the far left. He faces right. He holds a rock ornament in the shape of a karang manuk above his head in his right hand. His left hand is stretched out in front of him. His legs are slightly spread, his knees bent. He has a refined face, a double chignon with a garuda ornament at the back, and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the left says: rajuna, Arjuna. Close to the woman sitting on the right in the pavilion is written: panerowan (panjroan), female servant. In the pavilion on the right has been written in Balinese script by Van der Tuuk: cina, Chinese. Women’s quarters consisting of two pavilions, are depicted. A European man fondles a nymph, but he is disturbed by the man on the left. A servant accom panies the nymph. Three foreigners, a European and two Chinese, look at the women. The men stand in a second, large pavilion. The man on the far left, representing Arjuna, is about to throw away a piece of the gateway. The scene refers to an episode described in the OJ Arjunawiwaha XIX: 10-12. As soon as Arjuna hears the secret of Niwatakawaca he jumps up towards the gateway and crushes it. Everyone in the palace is shocked. The scene is situated in a royal palace visited by foreigners. This probably refers to the daily life in the great palaces at the time the artist was drawing. Foreign dealers, especially Chinese selling earthenware and Europeans selling weapons, were received in palaces; dance-performances, with young girls, were shown to them. After the performance they got the opportunity to retreat with one of the girls. Dutch soldiers were also associated with girls and drinking by the Balinese. Nieuwenkamp 1922: 95 mentions that he saw on a wall in the house of a priest in Dénpasar a drawing depicting Dutch soldiers sporting with Balinese girls and drinking from square bottles (jenever). Recto, bottom: Supraba, who is carried by two servants, and Arjuna at the moment they fly away from Niwatakawaca’s palace There are stone ornaments at the bottom on the left. There are small stripes on the top of the drawing indicating wind or rain. The air is indicated by awon-awon
ornaments (type VIII). A tree with flowers and buds is depicted in the centre. It is surrounded by a fence. Butterflies fly around the tree. A snake s tail and animal heads peep from holes in the trunk of the tree. A little bird sits on a branch on the left on the lower side of the trunk. Pudak plants grow around the trunk. Flowers and creepers are depicted at the bottom on both sides of the fence. A man stands in the air on the left. He faces right. He holds his girdle with his left hand and with his right hand he makes a gesture which indicates that he is speaking. He has a refined face, a double chignon with a garuda ornament at the back, and a diadem on his head. He wears a long loincloth, which does not however cover his left leg, a small loincloth with long ends hanging down, a sash round his waist, a kris on his back in his girdle, and shoulder ornaments. His jewelry is characteristic of that of a royal personage. A woman stands on the right. She faces left. She is held by two women by her feet. She makes a gesture with her right hand and holds her sash with her left hand. She has a refined face, a chignon curled inwards at the back of her head, and a diadem on her head. She wears a skirt, a long loincloth, a sash round her waist, another sash which covers her breasts and shoulder ornaments. Her jewelry is characteristic of a princess. Two small women sit on their knees at her feet. They face left. The woman on the far right is very small. She has a refined face. Her hair is tied in a pony-tail. She wears a skirt, a long loincloth, a sash round her waist and a necklace. The woman on the left is taller. She has a chignon at the back of her head with a flower in it. She wears a skirt, a long loincloth, a sash round her waist, and another sash round her neck. A text in Balinese script in ink by Van der Tuuk on the left says: rejuna, Ar- juna. It should be noticed, however, that the fact that Arjuna wears a kris, and the way the loincloth is wrapped round his body are most unusual and not at all characteristic of Arjuna. In the centre at the bottom Van der Tuuk has written in Balinese script in ink: condong (condong), servant, and on the right: suprabha, Supraba. At the bottom on the far right he has written: panarowan (panjroan), servant. Arjuna, clad in an unusual way, and the nymph Supraba, carried by two female servants are depicted in the air. In this scene it is probable that the mo ment when they leave Niwatakawaca’s palace is depicted. This scene is described in the OJ Arjunawiwaha XIX: 12. Niwatakawaca has put his beloved nymph on the floor for a while, as he is disturbed by Arjuna s behaviour. At that moment Supraba flies away. Arjuna flies towards her through the air. It can be shown that the handwriting is Van der Tuuk’s by comparing the script with transcriptions of Balinese texts made by him. The handwriting is very clumsy and bears more resemblance to Javanese script than to Balinese. Cod. Or. 3390-293 A drawing on Dutch paper, watermark concordia, countermark VdL. 34 x 42 cm.
The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, pink, light salmon-pink, light brown, brown, yellow, light greyish-brown, light green, green, light violet, dark blue, grey, white, black. Artist: no. 5. Origin: Badung. The sketches in pencil are still visible. The bird depicted in the centre of the fold is damaged. The drawing is mentioned by Juynboll 1915: 6. Niwatakawaca fondles the nymph Supraba who sits on his lap while Arjuna listens secretly to their conversation. He rests his hand on the head of his servant Mredah There is a floor ornament with meanders at the bottom indicating a stone floor. There are awon-awon ornaments (type I) a the top and in the centre. A creeper with flowers is depicted on the left. There is a large pavilion with four poles in stereobates in the centre. A floor is mounted halfway up. The roof of the pavilion is tiled. A small curtain (ider-ider) hangs from the roof. A perch upon which there sits a parrot is mounted in the centre. A pile of seven bolsters (galeng matumpuk pitu) lies in the pavilion on the left. A gateway with a decorated door is depicted to the right of the pavilion. The top of a tree can be seen behind the gateway. A demonic man sits on the couch in the pavilion. He has a woman on his lap. The man sits on the right. His body is en face, but his head is turned to the left. He tries to tuck up the loincloth of the woman with his right hand and he holds her left leg with his left hand. His head is close to her face. He has bulging eyes, sharp teeth and eye-teeth, teeth on his cheeks and eyebrows, and a diadem with a large round crown on his head. His hair is long and curly. His skin is light greyish- brown. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The woman who sits on the left holds her head askew, and turned to the left. Her body is en face. Her left leg is stretched out, while her right leg is bent. She pushes away the man’s hairy arm with her left hand. Her skin is light salmon-pink. She has a refined face, long hair, and a diadem on her head. She wears a long loincloth wrapped loosely round her legs, a sash round her waist, and a shoulder-piece. Her jewelry is characteristic of that of a princess. A man stands on the far right. He faces left. He holds his right hand in front of his body and touches the hair of the small figure standing at his feet with his left hand. He has a refined face, a double chignon with a garuda ornament at the back, and a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece and another sash over his left shoulder. His skin is light salmon-pink.
The small fat man standing at his feet faces left as well. He holds his left hand to his thigh and stretches his right arm out in front of his body. His skin is light brown. He has female eyes, a cap on his head with a small tuft of hair on top and he wears a small loincloth tucked up between his legs. A text in Balinese script in ink at the top on the left says: balé, hmas ring tam- ma, (balé mas ring taman), a golden pavilion in a garden. At the top on the left in the pavilion is written: suprëbha, dutta, (Supraba duta), Supraba as an envoy. Close to the bird is written: nga, paksi kdëng, (nga. paksi kedeng), a bird called parrot. (Usually the word atat is used). In the centre of the pavilion is written: prabfm nimantakka, (prabu Nimantaka), the king of Nimantaka. In the OJ Ar- junawiwaha there is a country called Manimantaka. It is ruled by Niwatakawaca. On the right in the centre is written: sangngarjuna (Sang Arjuna), Arjuna. Close to the tree is written: tarü sarpakésara, (taru sarpakésara), by which the nagasari-tree is meant. Close to the small man is written: i wredah (I Wredah), Wredah. The demon king Niwatakawaca fondles the nymph Supraba in a golden pavilion. Arjuna watches, standing close to the gateway. He rests his hand on the head of his servant Wredah. This scene refers to an episode mentioned in the OJ Arjunawiwaha. In XVIII: 9-12 Niwatakawaca goes to the pavilion in which Supraba is seated. He takes her onto his lap. He tries to kiss her. In XIX. 1-5 she talks in a sweet way to him. In XIX: 5-9 she asks him for his secret. He tells her that as a result of his ascetism the god Rudra has given him supernatural power which is seated in his tongue. Arjuna stands close to the pavilion. He listens secretly. This scene is also depicted, but in a slightly different way, in Nos. 3390-289 and 292. This scene is called patemon Supraba, a love scene with Supraba, by the Balinese. Cod. Or. 3390-294 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.7 x 42.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: dark red, pink, light blue, blue, yellow, light brown, brown, light greyish- brown, light grey, grey, dark green, black, white. Artist: no. 5. Origin-. Badung. The drawing is mentioned by Juynboll 1915: 5.
Siwa points at Arjuna who holds an arrow, while a swine lies dead in front of them. Siwa’s servant Délem is about to draw his kns and fight Arjuna’s servant Twalén The ground is represented with continuous rock ornaments. There are awon- awon ornaments (type I) at the top. A man stands on the left. He faces right. He holds an arrow in his left hand and a bow in his right hand. He has a refined face, a diadem and a turban on his head and he wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash, a short jacket with long sleeves and shoulder ornaments, and a sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A small fat man sits at his feet on his knees. He faces right. He holds his right hand to his girdle and touches the animal in the centre with his left hand. He has female eyes, a half-open mouth with one flat tooth, a cap and a tuft of hair on top of his head. He wears a small black and white checkered loincloth tucked up between his legs. A swine lies in the centre. Its head is directed to the left. The pupil of its eye is turned upward, indicating that it is dead. A small stream of blood pours from its stomach. A small fat man sits on its back. His body is en face, but his head is directed to the left. He is about to draw his kris with his right hand, and holds the end of the sheath behind his back with his left hand (nabdab urangka). His skin is light salmon-pink. He has bulging eyes, a fat face, a cap on his head with a round tuft of hair on the top. He wears a small loincloth tucked up between his legs. A man stands on the far right. He faces left. He points (nuding) with the index-finger of his right hand at a man who stands on the left. He holds a bow in his left hand. His skin is light salmon- pink. He has a refined face, a small moustache, a diadem and a high crown on his head. He wears short trousers, a small loincloth tucked up between his legs, a gir dle, a sash, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink at the top on the left says: dananjaya, (Danan- jaya), an epithet for Arjuna. In the centre at the bottom is written: i tuwalén, (I Twalén), Twalén, and: hi momosya muka, (I Momo Si Muka), Momo Si Muka. On the right is written: i délem (I Délem), Délem, and at the top on the right: hyang siwa, marupa kirathta, (Hyang Siwa marupa kirata), Siwa in the shape of a hunter. The god Siwa, disguised as a hunter, menaces Arjuna who is clad like an ascetic. Siwa holds a bow while Arjuna holds a bow and an arrow. A swine, called Momo Si Muka after the patih of the demon king Niwatakawaca, lies dead on the ground. Arjuna’s servant Twalén touches the animal. Siwa’s servant Délem sits on its back and is about to draw his kris to fight Twalén. This scene refers to an episode described in the OJ Arjunawiwaha VIII: 3-8. Arjuna has shot an arrow at the swine who represents Niwatakawaca’s patih Momo Si Mu(r)ka in disguise. Arjuna’s arrow has joined Siwa’s. The latter is disguised as a hunter. Arjuna takes the arrow out of the dead swine, thinking it is his. At that moment
Siwa speaks to him. He questions Arjuna about what he is doing. He claims the arrow is his. They start quarrelling about their perspective rights over the dead swine. While Siwa quarrels with Arjuna, Siwa’s servant Délem imitates the behaviour of his lord. He is about to draw his kris and fight Arjuna’s servant Twalén. The servants also claim rights over the dead swine. Cod. Or. 3390-295 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, light red, light salmon-pink, light brown, brown, light greyish- brown, yellow, dark green, light and dark blue, light grey, white, black. Artist: no. 5. Origin: Badung. The sheet is torn in the centre along the fold. Arjuna and his servants kneel in front of the god Rudra who is accompanied by his wife Girin- draputri. They sit on a lion The air is indicated by awon-awon ornaments (type I). There is a continuous rock ornament on the ground. A man and a woman who sit on a lion saddled with a lotus cushion are depicted at the top on the left. They are surrounded by a nim bus. The man sitting in front of the lion faces right. He has four arms. He holds a rosary in his first left hand while his second left hand rests on his lap, touching the knee of the woman who sits behind him. He makes a gesture which indicates that he is granting something with his first right hand. His second right hand is round the woman’s body. He has a refined face, a small moustache, a diadem and a high, round crown on his head. His skin is light salmon-pink. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and a sash over his right shoulder. His jewelry is characteristic of that of a royal personage. The woman sits on her knees on the man’s lap. Her body is directed to the right, but her head is askew, directed to the left. She touches the left arm of the man with her left hand and she holds her right hand in front of her. Her skin is light salmon-pink. She has a refined face, a diadem and a high crown on her head. She wears a skirt, a long loincloth, a sash twisted round her body, a girdle, a shoulder-piece and a sash over her right shoulder. Her jewelry is that of a royal personage. The lion has a fiery head and tail. Three men sit on the right. They face left. The man in the centre sits leaning on his left knee. He makes a sembah. His skin is light salmon-pink. He has a refined face and wears a double chignon and a garuda ornament at the back of his
head. He also wears a diadem. His clothes consist of short trousers, a small loincloth tucked up between his legs, a sash round his waist, a shoulder-piece, and another sash over his left shoulder. His jewelry is that of a prince. A small fat man sits on both knees in front of him. He makes a sembah, holding his hands above his head. He has a cap on his head and a tuft of hair on the top. He wears a small loincloth tucked up between his legs. His skin is light salmon-pink. Another fat man sits on his knees on the far right. He makes a sembah with his hands above his head. He has a cap on his head which has a tuft of hair on the top. He wears a small black, grey and white checkered loincloth tucked up between his legs. His skin is light greyish-brown. A text in Balinese script in ink at the top on the left says: hyang girindraputri, the goddess Girindraputri, an epithet for Urria. In the centre is written: hyang ludrë (Hyang Ludra), the god Ludra, or Rudra (r and 1 are interchangeable in Balinese). This is a manifestation of the god Siwa. It is connected with the South- West. Below the lion is written: padmasingngasannamanik (padma singasana manik), a jewelled lion-throne with a lotus cushion. Close to the man in the centre is written: sangngarjunna, (Sang Arjuna), Arjuna, and: om, a holy syllable. At the bottom in the centre is written: hiwrëddah (I Wredah), and close to the figure on the far right: hituwalén (I Twalén), Twalén. At the top on the right is written: wiwahha, (wiwaha), marriage. This refers to the OJ kakawin Arjunawiwaha, Ar juna’s marriage. Arjuna and his servants pay homage to the god Rudra, a manifestation of Siwa, and his wife Girindraputri. The gods sit on a jewelled lion-throne with a lotus-cushion, represented by a lion with a lotus-saddle. Rudra, however, has four arms and holds a rosary, which is characteristic of the manifestation of Siwa as Batara Guru. The scene refers to an episode described in the OJ Arjunawiwaha IX: 4-5. Ar juna wrestles with the hunter. At the moment when he wants to throw the figure away—while they are both lying on the ground—he holds him by his feet. The figure changes into the god Rudra, as he is called in the text. Arjuna immediately kneels and honours the god with a sembah and utters the correct formulas. They indeed begin with om (sembah ning anatha) in X: 1. The holy syllable in the drawing refers to this. Cod. Or. 3390-296 This drawing is missing. According to Juynboll 1911: 296 Arjuna fondling Supraba has been depicted. Ménaka was crying. This refers to an episode described in the Arjunawiwaha XXX. Having defeated Niwatakawaca, Arjuna goes to Indra’s heaven. He is honoured by the gods and the ascetics. As a reward he is allowed to make love with the seven nymphs. Ménaka the female leader of the goddesses, takes care of the distribu tion. Supraba is first. The text does not mention that Ménaka cries. More information on the missing drawings is to be found on page 485.
Cod. Or. 3390-297 A drawing on Dutch paper, no marks. 55.5 x 74.3 cm. The sheet has been folded vertically into three and horizontally into two. Polychrome, watercolours and ink. Colours: red, pink, light blue, dark blue, light blue-green, light yellow, ochre, green, light greyish-yellow, light grey, light greyish-brown, brown, white, black. Artist: no. 5. Origin-. Badung. The paint on the folds is damaged in several places. There are also holes in the paper. The sheet has been glued onto a piece of paper. The drawing is mentioned in Juynboll 1915: 8. Arjuna, riding in his chariot, which is driven by the charioteer Matali and drawn by a horse, has shot an arrow into the mouth of the demon Niwatakawaca, who stands in his chariot. It is driven by a servant. The chariot is drawn by two tigers There are air ornaments (awon-awon type I) in the centre and at the top of the sheet. There are two rock ornaments at the bottom on the left. A two-wheeled chariot is depicted on the left, only one wheel of which is shown in the drawing. The chariot is drawn by two horses. They face right. The chariot has an or namented back-piece with a lotus flower on the top. Two men sit on the chariot. They face right. The man in front holds a whip in his right hand. He holds his left hand out in front of him. He has a refined face. His hair is styled in a chignon of the Panji-type. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs, a girdle and a shoulder-piece. His jewelry is characteristic of that of a royal personage. The man behind him holds a bow in his left hand. His right hand is directed backwards in an attitude which indicates that he has just shot an arrow (manantang). He also holds a double lance against his chest under his arms. He wears short trousers, a small loincloth tucked up be tween his legs, a girdle, a shoulder-piece and a sash over his right shoulder. His jewelry is that of a royal personage. His skin is light yellow. There are two open parasols and two spears with flags in the background which indicate that we are dealing with people of high rank. A tall demonic man stands on a chariot on the right. His body is en face, but his head is directed to the left. His left knee is bent and raised. His left hand is akimbo and his right hand is directed upwards. This is an attitude which indicates boastfulness and laughter (majejingking). The end of an arrow shot from the left is in his mouth. He has a demonic face with bulging eyes, sharp teeth and eye-teeth, and teeth on his cheeks. He has a diadem and a round crown with a garuda ornament at the back on his head. His skin is light greyish-brown. He wears short trousers, a small loincloth tucked up between his
i legs with long end hanging down, a sash, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A small fat man stands at his feet in front of the chariot. His body is turned to the right, but his head is directed to the left. His legs are spread, his left knee is bent. His right arm is raised, while his left is held akimbo. His hands are clenched into fists. He has a round bulging eye, sharp teeth and fangs and a tuft of hair on top of his head. His skin is light greyish-yellow. He wears a short loincloth tucked up be tween his legs and a sash. He has been bitten in his chest by the horse of the chariot on the left. Only one wheel of the chariot, which is supposed to have two wheels, is depicted. It is drawn by two black and white spotted tigers. Their bodies are directed to the left, but their heads are en face. They resemble barong-masks. They have bulging eyes, sharp teeth and fangs in their mouths and on their cheeks, small horns and curly hair. There are two poles bearing pennants (umbul- umbul) in the background in the centre and an open parasol close to the head of the demon, which indicate that we are dealing with a person of high rank. A text in Balinese script in ink on the left says: sangkrëiti (Sang Kirti), the Famous One, an epithet for Arjuna. In the centre is written: sratti mëtali (sarati Matali), Matali the charioteer, and close to the lances with the flags: duaja, ban ners. A text in Balinese script in ink on the right says: watakwacca (Watakawaca), Watakawaca, but he is also called Niwatakawaca. Close to the small standing man is written: sratti (sarati), charioteer. Close to the poles with the flags is written: tunggül (tunggul), banners. These are more usually called umbul-umbul. Arjuna rides in his chariot which Matali drives. He leans backwards a little and he has just shot an arrow at the demon king Niwatakawaca. Niwatakawaca stands in his chariot which is driven by a charioteer of the servant-type. Niwatakawaca has been hit in the mouth by an arrow. This scene refers to episodes described in the OJ Arjunawiwaha. In XXIII: 8 is mentioned that Arjuna rides in a chariot driven by Matali. In XXVII: 2-7 the fight of Arjuna and Niwatakawaca is described. At first they are equal in strength. At one point Arjuna pretends to be losing. A great part of his army flees. Niwatakawaca starts shouting and scream ing at Arjuna. Arjuna pretends to fall onto his back, but in fact he bends his bow. Niwatakawaca is now shouting, his mouth wide-open. Arjuna shoots his arrow. The vulnerable spot on the tongue is hit. Niwatakawaca dies. This episode is called siat Watakawaca, the fight of (Ni)watakawaca, by the Balinese. Cod. Or. 3390-298 Two drawings on Dutch paper, watermark pro patria, countermark VdL. 42.4 x 33.1 cm.
The sheet is folded horizontally into two halves. There is a drawing on the top half and one on the bottom half of the sheet. The drawing on the top is upside- down. Polychrome, watercolours and ink. Colours: red, yellow, light magenta, light salmon-pink, light brown, light green, green, blue-green, light blue-green, light grey, black, white. Artist'. I Ketut Gedé. Origin'. Singaraja Bottom'. Radén Sarka throws Juarsa from a boat into a swamp. Sara Ulan watches and cries Light blue-green lines and parallel curving light green lines indicate the sea. The tail of a fish protrudes on the left. The ground is indicated by light salmon- pink on the left and on the right. Two leafy trees grow on the left, one at the top and one at the bottom. A small boat with two masts and two outriggers is depicted in the centre. There is a flag on the top of the mast at the front. A sail is mounted on the two masts. The ship sails to the left. A man sits at the back of the boat. He faces left. He holds a paddle in his left hand and makes a gesture indicative of speach with his right hand. He has bulging eyes, a moustache, long hair, a diadem on his head and a kerchief (kekendon) with a garuda ornament round his head. He wears a short jacket with long sleeves, a long loincloth and a sash. He looks at the legs of a man protruding from the water on the left. The man must have been wearing long trousers, and a small loincloth tucked up between his legs with long ends. A woman sits on the ground on the far right. She kneels and faces left. Her head is askew. She holds her right hand against her cheek as a sign of grief, while her left arm rests in her lap. Her skin is white. She has a refined face, long hair, a diadem and a large garuda ornament on her head. She wears a long loincloth, a sash round her waist, another sash which covers her breasts, a shoulder-piece and a caste-cord. Her jewelry is that of a princess. A text in Balinese script in ink at the top in the centre says: brawah hagung, misi sampan panéwwa, lahutkë i jwarsë, sarëng hi sarë ulan, néwwa sampan, lahut katuludang, labuh ring tngahing brawah, trus ka saptëptëlë, ring gnah sang antaboga, (brawah agung, misi sampan panyéwa, laut teka I Juarsa sareng I Sara Ulan, nyéwa sampan, laut katuludang, labuh ring tengah ing brawah, terus ka sapta patala ring genah sang Antaboga), a large swamp with a boat to rent. Then I Juarsa and Sara Ulan arrive, they hire a boat. Then (I Juarsa) is pushed over board. He falls into the swamp and arrives in the Netherworld where Antaboga resides. In the centre in the sail is written: radénsarkë, nuludang i jwarsa, (Raden Sarka nuludang I Juarsa), Radén Sarka pushes I Juarsa overboard. At the top on the right is written: hi sara ulan nangis ngënot hi jwarsa, labuh, (I Sara Ulan nangis ngenot I Juarsa labuh), Sara Ulan weeps when she sees that Juarsa falls. Radén Sarka sitting in his sailing boat has just pushed I Juarsa overboard and looks at him. Sara Ulan sits on land. She weeps.
This scene refers to an episode described in the kidung Juarsa. In Cod. Or. 10.345, 11: 5-9 a story resembling the scene in the drawing is told. The man throwing Juarsa overboard in the text is called a brahman. His name is not men tioned. He meets Juarsa shortly after the latter has been brought to life again. Juarsa wants to cross some water. Sara Ulan remains on land. The brahman gives him a lift, but throws Juarsa overboard after taking a ruby from him. The brahman goes back to Sara Ulan. He forces her to join him and to go to the coun try of Burham. The king has no wife and Sara Ulan is supposed to become his wife. Top: Sara Ulan threatens Raden Sarka. He sits in a tree and cannot come down, since there is a bush of thorns at the bottom There is a large rock ornament at the bottom in the centre. The base is a one- eyed ogre’s head (karang bintulu). A rock ornament with an ogre’s head without a lower jaw en face is depicted at the bottom on the right (karang rupa). A small leafy tree stands at the bottom on the left. A large leafy tree with fruit is depicted between the two rock ornaments. Creepers with thorns grow around the trunk. A man sits in the tree. He holds the branches with both hands. He looks downwards, facing left. His appearance is similar to that of the man in the boat in the drawing at the bottom. A woman stands on the left. She faces right. She points with her left index- finger at the man in the tree (nuding). She holds a sword in her right hand. She has a refined face, long hair, and a diadem with a garuda ornament on her head. She wears a skirt, a long loincloth, a girdle, a sash, another sash round her waist, and a shoulder-piece. Her jewelry is that of a princess. Her skin is white. A text in Balinese script in ink at the top on the left says: i sarë wulan, nundén radén sarka menék, ngalihbyuh kayu; lahut bongkol kayuné, kahangasin bahan dwi; (I Sara Wulan nundén Radén Sarka menék ngalih biu kayu laut bongkol kayuné kangasin ban dui), Sara Ulan orders Radén Sarka to climb the tree to pick bananas for her. The foot of the tree is then entwined with a crown of thorns. Sara Ulan, armed with a sword, threatens Radén Sarka. He sits in a tree (not a banana-tree) the trunk of which is entwined with a creeper. This scene refers to an episode described in the kidung Juarsa 11: 9-12 (Cod. Or. 10.345). The brahman forces Sara Ulan to join him. She pretends to follow him. On seeing a sawo-tree (the fruit of which looks like that of the tree in the drawing), she says that she desperately needs to eat some or she will die. The man climbs the tree, and bends over to pick the fruit. Sara Ulan runs away. This version of the text differs slightly from what is depicted in the drawing. Cod. Or. 3390-299 A drawing on Dutch paper, no marks. 55.5 x 74.5 cm.
The sheet has been folded vertically into three and horizontally into two. Polychrome, watercolours and ink. Colours: red, pink, yellow, light yellow, dark green, blue, dark blue, light brown, brown, light greyish-brown, ochre, black, white. Artist: no. 5. Origin: Badung. There are some holes along the folds, an especially large one at the bottom in the centre. Rawana is emprisoned. He weeps as does his patih Prahasta. His servants Délem and Sangut are hand-cuffed. Arjuna Sahasrabahu holds his dead wife Indrawati. Her servants Soka, Dapa and Bramita have killed themselves. Another servant pretends to stab herself. Twalén and Mredah kneel close to the servants There are two rock ornaments at the bottom on the right. Air ornaments (awon-awon, type I) cover the sheet. There are vertical bars at the top on the right. A man sits behind them on his left knee. He faces left. He holds his right hand close to his cheek which signifies grief. He holds his sash (nyamir) with his left hand. He has a demonic face with bulging eyes, sharp eye-teeth and teeth on his cheeks and eyebrows. He has a moustache and whiskers. He has a diadem and a high crown with a garuda ornament on his head. His skin is light greyish- brown. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. Another man sits leaning on his left knee on the far right close to the bars. He faces left. He holds his right hand close to his face, and presses his sash against his cheek in grief. He holds his girdle (nabdab) with his left hand. He has a demonic face with round eyes, sharp eye-teeth, teeth on his cheeks and eyebrows. He has a diadem and a coif curled inwards with a garuda ornament on his head. His skin is light brown. He wears short trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder-piece, another sash over his left shoulder while his jewelry is characteristic of that of a royal personage. Two small men sit leaning on their left knees at the bottom on the right. They face left. They are chained together. The figure in front, on the left, has a flat round face with bulging eyes, a half-open mouth with flat teeth, a cap on his head with a tuft of hair on the top. His hands are hand-cuffed. He has a ring round his neck with a chain and a padlock in it. His skin is light brown. He wears a short loincloth tucked up be tween his legs, and a sash. The other man behind him, on the right, has round eyes, and a protruding mouth with two flat teeth. He has a cap on his head with a tuft of hair on the top. His skin is light brown. He is also hand-cuffed and he has a ring round his neck too. The chain on the right is also fastened with a padlock. He wears a short loincloth tucked up between his legs and a sash. A pavilion with four poles supporting a tiled roof is depicted on the left. A man sits crosslegged in the
pavilion. He holds a woman on his lap. The man’s body is en face, and his head is directed to the left. He has his right arm round the woman’s shoulders and he holds the end of his sash (nyamir) with his left hand. He has a refined face. He wears a diadem on his head. His hair is styled in a double chignon with a garuda ornament at the back. His skin is ochre. He wears short trousers, a small loincloth tucked up between his legs with long ends hanging down, a sash, a girdle, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The woman hangs on his arm. Her legs point to the right. Her head is askew. Her eyes are closed. Her right arm hangs down, while she holds her left arm to her side. She has long hair and a diadem with a garuda ornament on her head. Her skin is light yellow. She wears a skirt, a long loincloth, a sash round her waist, another sash which covers her breasts, a girdle and a shoulder-piece. There is a small bloody wound in her left shoulder, just above her breast. Two women are lying on their backs on the far left, close to the pavilion. Their eyes are closed. They have also been wounded in their left shoulders. Blood pours from the wounds. They have refined faces, long hair and small diadems on their heads. They wear skirts, long loincloths, sashes round their waists covering their breasts, girdles and small necklaces. Their skin is light yellow. They both wear flat shoulder ornaments. A fat man kneels at the bottom on the left. He sits in front of a woman lying on her back. He faces left. He covers his right eye with his hand in grief. He holds his left hand close to the woman’s breast. He has female eyes, a cap on his head with a tuft of hair on the top. His skin is light brown. He wears a small loincloth tucked up between his legs and a sash. The woman’s legs point to the right, while her head is on the left. Her eyes are closed. She has long, loose locks of hair. She is wounded in her left breast. Blood pours from the wound. Her skin is light yellow. She wears a long loincloth, a sash round her waist which covers her breasts; her jewelry is simple. She has flat shoulder ornaments. Another fat man kneels in the centre at the bottom. He sits behind a woman. He faces left. He holds the woman, who leans against his chest. With his right hand he tries to take the kris with which the woman is trying to stab herself. His left hand is close to her shoulder. He has a large, flat face with female eyes, a half-open mouth with two flat teeth, a cap on his head with a tuft of hair on the top. His skin is light greyish- brown. He wears a small black, grey and white checkered loincloth tucked up be tween his legs. The woman sits on the ground, facing left. She holds the kris with both hands. The pointed end, however, is not stuck into her breasts, but pro trudes from under her arm. The woman has large, oval shaped eyes and a small jewel on her forehead. Her nose is large. Her hair is long. She wears a skirt and a long white batik loincloth with a “picis” pattern (batik Betawi) and a small sash round her waist. Her skin is brown.
A text in Balinese script in ink written on the fence says: hi rawanna makrangkéng (I Rawana makrangkéng), Rawana behind prison bars. At the top on the right is written: patih prasta, ya sdih, (Patih Pra(ha)sta ya sedih), Patih Pra(ha)sta is sad. At the bottom on the right close to the fat man in front is writ ten: hidélëm manté, (I Délem manté), Délem in chains, and close to the man behind him: hi gulü, dawa, manté, (I Gulu Dawa manté), Gulu Dawa (an epithet for Sangut) in chains. At the top on the left above the pavilion is written: balé mürddamannik, (balé murda manik), which is a pavilion used in a palace for the lying in state of the deceased. On the right in the pavilion is written: prabhü, ring mayaspati, hi rajunna sahasrëabuja, (prabu ring Mayaspati, I Arjuna Sahasrabuja), the king of Mayaspati, Arjuna Sahasrabuja. He is usually called Sahasrabahu (bahu and buja mean arm, hence Arjuna with a thousand arms). In the pavilion close to the woman on the left is written: déwindrawatti, (Déwi In- drawati), Indrawati. Close to both women on the left: pajrowwan hi dapa (pan- jroan I Dapa), female servant I Dapa (an abbreviation of Padapa), and on the right hi sokka, (I Soka), Soka (an abbreviation of Angsoka or Asoka). Close to the woman at the bottom on the left: panjrowan his brëmitta (panjroan I Bramita), female servant I Bramita and close to the small fat man: hi wrëdah sdih (I Wredah sedih), Wredah is sad. Close to the woman with the kris in the centre is written: hi condong, (i condong), the female servant, and close to the kneeling man behind her: hi twalén (I Twalén), Twalén. Rawana has been emprisoned. He is sad, his patih Prasta also. Many women have been killed: Indrawati, her servants Dapa and Soka, and her inferior ser vants Bramita and the condong. Rawana’s servants Délem and Sangut have been chained up. Twalén and Mredah kneel behind the female servants. Arjuna Sahasrabahu holds Indrawati. This scene refers to episodes described in the OJ Arjunawijaya: 62-64. Rawana has attacked Arjuna Sahasrabahu, the king of the Héhaya. Arjuna has left his wife, queen Citrawati, on the bank of the river Narmada. In 62.9 Rawana is defeated by Arjuna Sahasrabahu and bound with an iron chain. His minister Prahasta does not flee, but sits close to Rawana. He asks Arjuna Sahasrabahu that Rawana be treated leniently. In 62.11 Prahasta sits weeping at his master’s feet and reproaches him for his bad behaviour. In 63.4 Rawana now wishes to surrender to Arjuna Sahasrabahu. The latter pays no attention to him, but puts him into a cage. In 63.7 Arjuna Sahasrabahu returns to the bank of the river Nar mada, where he had left his queen. She had promised him to welcome him on his return, but she does not show up. Arjuna Sahasrabahu finds her dead and her ser vants and maids too (63.8). In 64.1 a servant informs the king what has hap pened. A demon disguised as one of the kings’s servants had come and told the queen that Arjuna had been slain. She stabbed herself to death. In 64.4 Arjuna Sahasrabahu is overwhelmed by grief.
In the drawing two episodes are depicted: the slain Rawana has been put into a cage and weeps as does his patih Prahasta, and the king Arjuna Saharabahu holding his dead wife. She is called Indrawati instead of Citrawati in the drawing. The balé murda manik belongs in palaces. It may also be called balé gajah. It has one couch (rongan) in the centre. It is used only for deceased lying in state. Another pavilion which can be used for this purpose is the balé gedé. It has two couches (rongan). Cod. Or. 3390-300 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 41.4 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue-green, blue-green, yellow, light brown, light greyish- yellow, light grey, white, black. Artist: no. 5. Origin: Badung. The sages Sri Walka and Anggira perform a homa-offering. The sage Rawéya, who has turned into a parrot, falls in the fire and thus obtains release. King Sri Ajnyadéwa watches. Twalén honours him A large building is depicted with four poles in stereobates, and part of a roof. Halfway up the poles a (wooden) floor is constructed. A large pot with a fire has been placed in the middle of the floor. A black pigeon lies in the fire. A pot and two cups have been placed in the foreground in front of the fire-pit. A man sits crosslegged on the floor to the left of the fire. He faces right. With his right hand he makes a gesture which indicates that he is speaking and with his left hand a gesture indicative of meditation (mamusti). He has a refined face; he has a diadem and a turban on his head. He wears short trousers, a loincloth, a sash, a long coat with long sleeves, a caste-cord and a sash over his right shoulder. His skin is light brown. Another man sits crosslegged to the right of the fire-pit. He faces left. He holds a flower in his right hand and makes a gesture (mudra) with his left hand. He has round eyes, a sharp nose, a moustache, whiskers, a diadem and a turban on his head. He wears trousers, a sash, a long coat with long sleeves, and another sash over his left shoulder. His skin is light greyish-yellow. A white dog lies on the ground under the floor as it were in the middle of it. A man sits on the ground on his left knee on the right. He faces left. He touches his necklace with his right hand (nabdab) while his left arm hangs by his side (matéken). He faces left. He has a refined face, a moustache, whiskers, a high crown and a diadem with a garuda ornament on his head. His skin is light brown. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a
shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A fat man sits on his knees on the ground on the left. He faces right. He makes a sembah. He has female eyes, a half-open mouth with a flat tooth, a cap on his head with a tuft of hair on it. His skin is light greyish-green. He wears a short loincloth tucked up between his legs and a sash round his waist. It is patterned with black, grey and white checks. A text in Balinese script in ink in the pavilion on the left says: bëgawan sriwalka, marëp kawuh (Bagawan Sri Walka marep kauh), the sage Sri Walka faces West. On the far left Van der Tuuk has added in Latin script in ink: Sriwalka. In the centre is written in Balinese script in ink: bagawan rawé dadi pékat (Bagawan Rawé dadi pékat), the sage Rawé turns into a parrot. In Latin script Van der Tuuk has written in ink and in pencil: pakunda, fire-pot. On the far right is written in Balinese script in ink: bhëgawan hanggira marap kanghin pakundané, (Bagawan Anggira marep kangin pakundané), the sage Anggira faces the fire-pot at the East. At the top on the right Van der Tuuk has added in Latin script in ink: Anggira marep kangin (Anggira marep kangin), and at the bottom on the left: bhagawan Rawèja dadi pekat (Bagawan Rawéya dadi pékat), and: uit de Kamandaka, from the Kamandaka. Close to the sitting man in the centre is written in Balinese script in ink: ratü sri hajnadéwa (ratu Sri Ajnyadéwa), king Ajnyadéwa. At the bottom in the centre is written in Balinese script in ink: cingcing mdëm, (cicing medem), a sleeping dog. In Latin script in pencil Van der Tuuk has added: mdëm (medem), sleeps. Close to the fat, kneel ing man on the left is written in Balinese script in ink: hi twalén (I Twalén), Twalén. Two priests, the sage Sri Walka on the left and the sage Anggira on the right, sit in a pavilion. They perform a (homa) fire-offering in a pot with fire. They are clad like officiating priests and their gestures are those of priests performing a ritual. Their paraphernalia (siwopakarana) are placed in front of them. They consist of a cup for grains of white rice (bija) and a cup for water with sandelwood (yéh candana; cf. Sukawati 1941: 33). Another sage, Rawé, has turned into a parrot, and has fallen in the fire. A king, called Sri Ajnyadéwa, is a witness. He sits in front of the pavilion on the ground. The servant Twalén honours him with a sembah. This scene refers to an episode described in the Nit ip ray a: 16-21 (Cod. Or. 16.403). This text may also be called Kamandaka Ra- janïti (Cod. Or. 16.205; cf. KBNWB II: 333 and Brandes 1903, II: 194). Kaman daka (OJ) is the name of a sage who tells a king how he has to behave as a sovereign and rule his kingdom. In such a Nlti (Nltipraya or Rajanlti) fables are introduced in which animals act as judges. In the aforementioned Nltipraya the sage Rawéya plays the role of adviser to king Suparkadéwa of Ayodya. A second sage, Ratnabumi is the king’s priest (purohita). Suparkadéwa has received lessons in behaviour from the sage Radéya. When Radéya dies he goes to Indra’s heaven (Cod. Or. 16.403: 16). Rawéya picks a nagasari flower in Indra’s garden.
He throws it down, and it falls in front of Indra who has just arrived. Indra sup poses that a parrot has dropped the flower. Rawéya announces that he has done it and asks Indra to forgive him. Indra however curses Rawéya. He will become a parrot for some time until he is redeemed (lukat). The parrot flies away. It arrives at the sea-shore. It is caught by a sea-trader and sold to the king. Suparkadéwa is very happy with the bird. It makes itself known to the king. It advises the king on how to rule his kingdom and tells him also how life is in Indra’s heaven. It finally gives recipes of various sorts of incense and informs the king about their origin. The king then holds a (homa) fire-offering prepared by his priests. The parrot throws itself in the fire-pot (kunda) and thus re-enters heaven. In the drawing the king who witnesses the offering-ceremony is called Ajnyadéwa instead of Suparkadéwa. The priests who officiate are called Walka and Anggira. By Walka Yajnawalkya (OJ) is meant. He is a famous sage who plays an important role in the OJ Brahmandapurana 27-31. He wins a dispute with the braggart-sage Sakalya. Anggira is a divine sage (rajarsi) created by the god Brahma (OJ Brahmandapurana: 7). The sage who changes into a parrot is called Rawé in the drawing instead of Rawéya. Cod. Or. 3390-301 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.4 x 42.2 cm. The sheet is folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, light blue, blue, light green, light greyish-green, light yellow, yellow, light brown, brown, black, white. Artist: no. 5. Origin: Badung. Rawana fights the king of Kalingga and the king of Singgala The air is represented by awon-awon ornaments (type I). A man stands in the centre. His head is askew, his legs are spread. His body is en face. He stands behind two men. He holds them by the neck. The man in the centre has bulging eyes, sharp eye-teeth, a tooth on his cheek and eyebrows, a moustache, whiskers, long hair, a diadem with a garuda ornament and a high crown on his head. His skin is light brown. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece, and a sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The man on the left stands, his body en face, his head directed to the right. His knees are bent, his left knee raised (nyingjing). He holds a double lance in his right hand. He pushes the up per arm of the man in the centre with his left hand. He has bulging eyes, a moustache, whiskers, a diadem on his head and a chignon curled inwards with a
garuda ornament at the back. His skin is light greyish-green. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder- piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. The man on the right stands en face. His legs are spread, his knees bent (agem). He holds a double lance in his left hand, while with his left fist he points to the left. He has bulging eyes, a moustache, whiskers, a diadem and a kerchief (tekes) round his head. His skin is light yellow. He wears short trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and a sash over his right shoulder. His jewelry is characteristic of that of a royal per sonage. A text in Balinese script in ink in the centre at the top says: sang dasasya, (Sang Dasasya), Dasasya, which is an epithet for Rawana. A text on the left reads: ratü kalingga (ratu Kalingga), the king of Kalingga, and in the centre: ratu singgala, (ratu Singgala), the king of Singgala. Rawana fights two kings, Kalingga on the left and Singgala on the right. They are both armed with a double lance. This scene refers to an episode described in the OJ Arjunawijaya: 52. When Arjuna Sahasrabahu remains with his wife on the bank of the river Nar mada the queen wants to bathe but finds that the water is too deep. Arjuna Sahasrabahu assumes another form and dams the river, so that she can bathe. At the same time Rawana is worshipping a lingga on an island upstream. The water rises because of the dam and puts Rawana and his demons to flight. Patih Prahasta explains what has caused the flood to Rawana. Rawana gets very angry. He wants to attack Arjuna Sahasrabahu. Prahasta advises his lord to give up this plan (42.5). He tells him about Arjuna’s divine power. He enumerates the mighty kings who give tribute to Arjuna Sahasrabahu. In 42.7 Dharmaghosa, the king of Kalingga, and Ghorabala, the king of Singhala are mentioned. Rawana does not listen to the advise. He makes himself ready to attack (46). In 46.9-10 the kings of Kalingga and Singgala, Arjuna’s allies, are fully attired and ready for the battle. In 52.2 the kings attack Rawana hard, but Rawana seizes them both, one in each hand. In 52.3 he seizes them by their throats. In 52.4 they continue to strike him, but they are forced backwards and pressed right down to the ground. They are defeated. Cod. Or. 3390-302 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42.2 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours, ink and gold. The jewelry of the figures is decorated with gold leaf. Colours-, light red, pink, light and dark green, light brown, yellow, light grey, white, black, and gold.

the right is written: hi détya hastra, nga, ngamah sangjatta, (I Détya Astra nga. n gam ah sanjata), the Détya called Astra eats weapons. A note written in Latin script in ink on the verso side of the sheet says: Detya astra n manteri door Salya voortgebracht en door Ardjuna gedood, Détya Astra is a minister, created by Salya and killed by Arjuna. KBNWB I: 218 gives the same text, but says that the demon is not killed by Arjuna but by Yudistira. Van der Tuuk adds that “Détya Astra also plays a role in the wayang and is shown in the drawings surrounded by various kinds of ogres”. Arjuna shoots arrows at a demon called Astra. He has arrows in his mouth. The arrows aimed at his body did not hit him, since they are bent double. The folk, clad like ordinary Balinese, run away in terror. Some of them are already dead. The black, grey and white checkered trousers of the demon are characteristic of the style of Buléléng, and so is the hairdress of the demon. The identification of this scene gives some problems, because Arjuna fights demons on several occasions. The scene might refer to an episode described in the OJ Arjunawiwaha XXVII: 2-7. Arjuna is to defeat the demon Niwatakawaca and his army. They fight for a long time, but they are both equal in strength. Ar juna acts as if he were losing strength. His army is put to flight. Niwatakawaca feels triumphant. Arjuna pretends to fall onto his back. Niwatakawaca comes close to him. He starts aluring him, his mouth wide-open. Arjuna, who has already bent his bow, shoots arrows into the mouth. The vulnerable spot of the demon is hit. He dies. Détya Astra might well be a minister of the Détya King Niwatakawaca, who is killed by Arjuna in the same way as his Lord will be killed. Another possibility is that a fight from the Bharatayuddha as performed in the North Balinese wayang is represented. Since Salya is killed by Yudistira (BY XLIL8) it would be understandable if his minister, Détya Astra, were to be killed by the same person, namely Yudistira. This is also suggested in the text of the die tionary, in contrast to the text on the drawing. It is obvious that Van der Tuuk entertained the same doubts as we have and changed Arjuna into Yudistira in the final version of his dictionary. In the written versions of the BY Arjuna does not fight demons although this may well have been the case in the wayang versions of the BY in North Bali at that time. Cod. Or. 3390-303 A drawing on Dutch paper, watermark pro patria, countermark VdL. 33.9 x 42.3 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours: light red, light magenta, magenta, light salmon-pink, light brown, light green, dark green, light grey, white, black, gold. Artist: I Ketut Gedé. Origin: Singaraja.
The sheet is torn in the centre at the bottom along the fold. The red paint is damaged at the bottom and at the top close to the fold. The left half of the drawing is reproduced by Nieuwenkamp 1906-1910: 64, and 1919: pi. 8. Nakula kneels in front of Salya. Salya restrains his wife from stabbing herself to death and em braces her The floor is indicated by a stone ornament. A leafy tree with fruit is depicted on the right. An owl sits in the centre of the tree. A creeper with flowers grows from a stone pot on the far right. A pavilion with four poles in stereobates which support a tiled roof is depicted on the left. A plant grows in front of the pavilion on the right. A man and a woman stand inside the pavilion. The man, standing on the left, holds the woman from behind. He has placed his left leg round the lower part of her body. This attitude, which is a sign of love, is called ngilid. He touches her right breast with his left hand and pushes her right hand in which she holds a kris pointing upwards away. They both face right. The man has a refined face, a moustache, a diadem with a garuda ornament at the back on his head and long hair. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, and a shoulder-piece. His jewelry is that of a royal personage. The woman holds his left arm with her left hand. She has a re fined face. She wears a diadem on her head, a skirt, a long loincloth, a sash round her waist, a girdle, a shoulder-piece and another sash hanging from her left shoulder. Her jewelry is that of a princess. Her skin is white. Another man sits leaning on his left knee on the right. He faces left. He makes a sembah in front of the couple on the left. He has a refined face, a double chignon with a garuda orna ment at the back, and a diadem on his head. His skin is light salmon-pink. He wears long trousers, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and another sash over his left shoulder. A text in Balinese script in ink in the centre says: salya satyawati ngawë kris (Salya, Satyawati ngaba kris), Salya, Satyawati holds a kris. On the right is writ ten: nakulë, Nakula. Nakula kneels in front of a pavilion inside which Salya and Satyawati stand. Nakula honours them with a sembah. Salya restrains his wife from stabbing herself to death with a kris. While doing so he makes love to her. This scene refers to various episodes described in the OJ Bharatayuddha. Salya has become commander-in-chief of the Korawa party. In XXXVI: 4 he thinks of the Pan- dawa party, particularly of Nakula, since he loves him very much. In XXXVI: 9-18 Salya, just home from his inauguration, is visited by Nakula. He kneels down in front of Salya. He refuses to fight Salya in the war and he asks Salya to kill him beforehand with a weapon. Salya refuses to do so. He says that he will fight Yudistira later on and that he will be killed by his book-arrow. Nakula final-
ly leaves. In XXXVII: 11 Satyawati tells her husband that she wants to kill herself then. She does not want to see her husband dead, killed in the battle. She takes a kris and points it at her breast (XXXVIII: 1). Salya restrains her. He talks to her and makes love to her. Three scenes are combined in this drawing: the visit of Nakula; Salya prevents his wife from killing herself and Salya makes love to Satyawati. Cod. Or. 3390-304 A drawing on Dutch paper, watermark concordia, countermark VdL. 33.9 x 42.1 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. The jewelry is coloured with gold leaf. Colours-, light red, light magenta, light green, dark green, light brown, brown- grey, light grey, grey, white, black, gold. Artist: I Ketut Gedé. Origin: Singaraja. The red paint is damaged at the bottom. The sheet has been repaired by being glued onto a piece of paper at the back along the fold. The drawing is reproduced in Juynboll 1903: pi. IX and by Nieuwenkamp 1906-1910: 22. It is also reproduced by Nieuwenkamp 1919: 198, pi. 10. Salya is hit by Yudistira’s book-arrow. Yudistira holds a bow. His servant Twalén pays homage to Salya The air is indicated by awon-awon ornaments (type IV). There is a large semicircular object surrounded by jewels and petals at the top in the centre. It represents the sun. There is a rock ornament with leaves and stalks at the bottom in the centre. A man stands on the left. He faces right. He makes a gesture in dicative of meditation (mamusti) with both hands. He has a large weapon in the shape of a lontar-book with letters in his chest. A stream of blood pours from the wound. The man has a refined face, a moustache, long hair and a diadem with a garuda ornament at the back on his head. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a sash, a shoulder- piece and a sash over his right shoulder. His jewelry is characteristic of a royal personage. Another man stands on the far right. He faces left. He holds a bow in his left hand. His right hand is raised. He has a refined face, a moustache, a chignon curled inwards at the back of his head, and a small diadem on his forehead. His skin is white. He wears long trousers, a long loincloth, a small loincloth tucked up between his legs, a girdle, a sash and a shoulder-piece. Another sash hangs over his left shoulder. A small fat man sits leaning on his left knee at his feet. He faces left. He makes a sembah and holds a flower in his hands. The stream of blood from the man on the left just touches his head. He has female

Bima and Sakuni, each of them armed with a club, face each other. Their servants hold their weapons ready for use Two vertical rows of rocks are depicted in the centre. Small trees grow on top of them. A large tree grows at the top on the right. Six tall black monkeys play in it. There is an air ornament (awon-awon, type III) at the top on the left. A tall man stands on the right. He faces left. He holds a club in his right hand. He holds his left fist to his girdle. The nails of his thumbs are long and pointed. He has bulging eyes, a moustache, a large double chignon and a small diadem on his forehead. His skin is light grey. He wears a small black, light grey and white checkered loincloth tucked up between his legs with long ends hanging down, and a sash round his waist. He wears a necklace which is a snake. His anklets, wristlets and armlets have three sharp points (bajra); those on the armlets point downwards (tuun). He has a golden band with jewelry on his left knee. His ear-jewels are decorated with flames. A small, fat man sits at his feet, further to the left. His body is en face, but his head is turned to the left. He holds a penis-shaped arrow in his right hand. The arrow has a sharp point at one end. His left arm hangs by his side. The man has female eyes, a half-open mouth with broad teeth and a moustache. He wears a short black, grey and white checkered loincloth tucked up between his legs. His skin is light grey. A tall man stands on the left. He faces right. He holds a club in his right hand. He waves his left hand (ulap-ulap). He has large almond-shaped eyes, a moustache, a chignon curled inwards at the back of his head with a garuda orna ment. He wears a diadem on his head. His skin is light brown. He wears long trousers, a small loincloth tucked up between his legs, a sash, and a shoulder- piece. His jewelry is that of a royal personage. A small fat man stands at his feet further to the right. He faces right. He holds a round shield in his left hand and a kris ready for use in his right hand. His legs are wide apart, his knees bent. He has bulging eyes, each looking in a different direction, a small pointed beard, a moustache, a chignon curled upwards at the back of his head. His skin is light brown. He wears a short loincloth tucked up between his legs and a black, grey and white checkered sash round his waist with long ends hanging down. Another sash hangs over his right shoulder. A text in Balinese script in ink at the top on the right says: wrëkodara; ngawë gade (Wrëkodara ngaba gada), Wrekodara holds a club. On the right in the cen tre is written: twalén ngagëm sliksik, (Twalén ngagem sliksik), Twalén handles a penis-arrow. In the centre to the right of the tree is written: taru waringin, madaging hijah, (taru waringin madaging ijah), a waringin-tree with small black monkeys. To the left of the tree is written: délëm ngaba kris tkén tamyang (Délem ngaba kris tekén tamiang), Délem holds a kris and a shield. At the top on the left is written: sang sakunni ngabë gadë, (Sang Sakuni ngaba gada), Sakuni holds a club. In the centre is written: pangkung, a dry river.
Bima and Sakuni who stand in front of a dry river face each other. They are both armed with clubs. Sakuni makes a gesture indicating that he is looking atten tively at something. Their servants hold their weapons ready for use. This scene refers to an episode described in the OJ Bharatayuddha XLIII: 4-5. The Pan- dawa, i.e. Bima chase the Korawa after Salya’s death. Bima meets Sakuni, who is very afraid. He is pulled by his hair. Sakuni cries and screams. Bima starts scolding him, because it was he who in the past always came up with all kinds of ruses and tricks to kill the Pandawa. Cod. Or. 3390-306 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34.3 x 41.5 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours: light red, light magenta, yellow, light green, dark green, light blue, light grey, light brownish-grey, light brown, brown, white, black, gold. Artist: I Ketut Gedé. Origin: Singaraja. The paint is damaged at the bottom and in the centre along the fold. The right half of the drawing is reproduced by Nieuwenkamp 1906-1910: 65. Bima crushes Sakuni into pieces. The servants (Gedé Barakan, Sangut, Délem, Twalén, Tolê) fight each other as well The air is represented by awon-awon ornaments (type VIII). A man stands on the far right. He faces left. He pushes down someone who sits in front of him on the ground. At the same time he holds an arm and a leg in his left hand. He has bulging eyes, a moustache, a large double chignon and a small diadem on his forehead. His skin is light grey. He wears a small black, grey and white checkered loincloth tucked up between his legs and a sash round his waist. He wears a necklace which is a snake. His wristlets, armlets and anklets have three sharp points (bajra). Those on the armlets point downwards. He wears a bejewelled band round his left knee. The man in front of him has almond-shaped eyes. The pupils are turned upwards which indicates that he is dead. His body is en face, but his head is turned upwards. His right arm hangs by his side, his right leg is bent. His left arm and leg have been cut off. His head is partly severed from his neck. He wears long trousers, a small loincloth tucked up between his legs, and a sash round his waist. His jewelry is that of a royal personage. Blood pours from his neck and chest. Five small men Fight each other on the left. There are two men at the bottom facing each other. The man on the right grasps the neck and the head of the man on the left. He has female eyes, and a half-open mouth with flat teeth. His hair is tied in a pony-tail on the top of his head. His skin is light brown- a
grey. He wears a short black, grey and white checkered loincloth tucked up be tween his legs. The man on the left stabs him with his kris, but the top of it is bent double. He holds the back of his opponent with his left hand. He has round eyes, the pupils of which each look in different directions. He has a tuft of hair on the top of his head. His moustache is large. His skin is light brown. He wears a short loincloth tucked up between his legs. Two men, above them, are held by a third man standing in the centre. The man on the left holds a cleaver in his right hand. He grasps at the pony-tail of the man at the bottom on the right. He has a pro truding mouth, round eyes which look bewildered, and a tuft of hair on his forehead. He faces right. His skin is light green. He wears a small loincloth tucked up between his legs. The figure on the right is only partly visible. He looks to the left. He tries to push away the cleaver with his left hand, and holds the tuft of hair of the green figure on the lefthand side. He has female eyes, a protruding mouth and short bristly hair. His skin is light grey. The man above them in the centre looks to the right. He holds the bristly hair of the man on the right and the hair-lock of the man on the left. He has a protruding mouth, which is half-open. He has large, flat teeth. His hair is long. He wears a kerchief (udeng) round his head. It is decorated with dots of gold. A decoration of dots in gold and in silver is presently characteristic of the style of Nagasepa in Buléléng. His skin is light magenta. A text in Balinese script in ink at the top on the right says: bima, Bima. In the centre at the top is written: sëkuni masëmpalsëmpal (Sakuni masempal-sempal), Sakuni chopped into pieces. At the top on the left is written: puniki gdé barakan, nga, (puniki Gedé Barakan, nga.), this is Gedé Barakan. In Latin script in ink Van der Tuuk has added: gëde brangkangan, Gedé Brangkangan. In KBNWB IV: 906 Gedé Brangkangan is mentioned as ‘the name of a servant in the wayang’. I do not understand why Van der Tuuk reads brangkangan instead of Barakan. Gedé Barakan is still known as a servant in the North Balinese wayang, contrary to Gedé Brangkangan. Close to the green man on the left is written; hi séngut (I Séngut), Séngut or Sangut. In the centre, further down, is written: hi tolé, I Tolé, and: twalén, Twalén, and: délëm, Délem. Tolé is the son of Twalén in the wayang in Buléléng. Bima crushes Sakuni and he has cut him into pieces. Blood pours from the neck and the chest. The servants of the righthand and of the lefthand party fight as well. Twalén fights Délem who holds a kris. Sangut who holds a cleaver fights Tolé. Gedé Barakan tries to separate them. This scene refers to an episode described in the OJ Bharatayuddha XLIII: 6. Bima crushes Sakuni with his club. He sucks the blood from the corpse, tears it into five pieces which he throws away. A gedé is a servant of a particular hero of the third party in the wayang of Buléléng (Hinzler 1981: 54, 256). Gedé Barakan is a special servant of Sakuni in the drawing. Such a figure is called Gedé, Large, because he is tall. When the
i third party only has one servant, this figure does not wear a jacket, but he must have a small beard made of goat’s skin, and his skin should be black or brown. He is called Gedé Dangdang Ireng or Kenyot (ireng means black). When the hero of the third party has two servants, the second one should be a little smaller than the first one, should wear a jacket, and have a pointed chin and reddish skin. His name may be Gedé Dangdang Bang, Gedé Barakan (bang and barak mean red) or Tonglang (inf. I Ketut Suwidja, B.A.). Cod. Or. 3390-307 A drawing on Dutch paper, watermark pro patria, countermark VdL. 34 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. The jewelry is decorated with gold leaf. Colours', light red, light magenta, light salmon-pink, light brown, light green, green, dark green, light blue, light grey, white, black, and gold. Artist: Probably I Ketut Gedé. Origin: Singaraja. The sheet is torn at the bottom along the fold. The paint is damaged. Nakula is ordered by Yudistira, in the presence of Kresna, to pay Salya a visit. Twalén and Nakula honour Yudistira with a sembah. Mredah watches The floor is indicated by a stone ornament. A turret, part of a wall, is depicted on the lefthand side. A large leafy tree with a stag-horn fern on the trunk is depicted in the centre. An owl sits in the middle of the tree. Three small bats hang upside-down from the branches on the left and on the right. A man stands on the left. He faces right. He makes gestures indicative of speech. He has a refined face, a small moustache, a chignon curled inwards at the back of his head. His skin is white. He wears long trousers, a small loincloth tucked up between his legs, a sash, a girdle, a shoulder-piece and another sash over his right shoulder. His jewelry is characteristic of that of a royal personage. A small fat man sits close to his feet. He faces him. He makes a sembah. He has female eyes, large, flat teeth and a tuft of hair on top of his head. He wears a black, grey and white checkered loincloth tucked up between his legs. His skin is light grey. A man stands on the far right facing left. He makes gestures indicative of speech. He has a refined face, a moustache, long hair, a diadem and a high crown on his head. His skin is light green. The lower part of his body is only partly visible, because two men are depicted in front of him. He wears long trousers, a small loincloth tucked up be tween his legs, a girdle, a sash, a shoulder-piece and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A small fat man crouches at his feet on the far right. He faces left. A small rock ornament is depicted at his feet. He holds a sirih-box made of basketry (kampék) with both
hands. He has female eyes, large, fat lips, broad teeth and a tuft of hair on his head. He wears a short loincloth tucked up between his legs. His skin is light brown. In front of him sits another man leaning on his left knee. He makes a sem- bah. He faces left. He has a refined face. His hair is styled in a double chignon with a garuda ornament at the back. He has a diadem on his head. He wears long trousers, a small loincloth tucked up between his legs, a girdle, a shoulder-piece, a sash round his waist and another sash over his shoulder. His jewelry is characteristic of that of a royal personage. His skin is light salmon-pink. A text in Balinese script in ink at the top on the left says: waringin misi clepuk (waringin misi clepuk) a waringin-tree and an owl. Close to the man standing on the left is written: yudistira, Yudistira, and close to the sitting man at his feet: twalén, Twalén. At the top on the right is written: késawwa, Késawa, an epithet for Kresna. On the far right in the centre: mrëdah, Mredah and close to the man in front: nakulë, Nakula. Yudistira and Kresna talk to each other. Nakula kneels and honours Yudistira with a sembah. The servants Twalén and Mredah do so as well. This scene refers to an episode described in the OJ Bharatayuddha XXXVI: 1-2. The Pandawa have heard that Salya is to be appointed commander-in-chief of the Korawa par ty. They want to know whether this is true and they discuss how to defeat him. It is Kresna’s idea to have Nakula sent to Salya to inform him what is going to hap pen. Nakula is chosen, because he is very close to Salya. At the top on the right of the verso side of the sheet is written in Latin script in ink by Rouffaer: (laatste nummer), last number. Van der Tuuk has written in Latin script in ink at the top on the left of the verso side of the sheet: Nakula & Krësna Judhisthira Salja (crossed out) trachtende te bewegen Salja te bestrijden, Nakula and Kresna; Yudistira trying to force (Nakula) to fight Salya. Cod. Or. 17.994-1 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.5 x 41.7 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light magenta, light green, dark green, light blue, sky-blue, light salmon-pink, grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. Corrections have been made in white paint to remove black blots of ink on the left of the sheet and at the bottom on the left. The sheet is damaged at the bottom on the left in the centre, and on the right, and at the top in the centre. The sheet has been glued onto a piece of thin transparent textile.
The demon Kalaraja watches Arjuna who has been seized by the demon Kalatama A demon stands on the right facing left. He waves with his right hand (ulap- ulap), which indicates that he is watching something attentively. His left elbow is raised (nyiku). His legs are spread, his knees bent. His right knee is raised (nying- jing). He has a demonic face with bulging eyes, large sharp teeth and eye-teeth, fangs on his cheeks and a full moustache. His hair is long and curly. He wears a high crown, a diadem and a garuda ornament at the back on his head. His clothes consist of long trousers with stripes, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a shoulder-piece. His jewelry is that of a royal personage. His skin is light salmon-pink. Another demon stands to the left. His forehead and temples are bald, but he has curly hair at the back of his head and at the back of his left arm. He has bulg ing eyes, large, sharp teeth and eye-teeth, fangs on his cheeks, a large moustache and a beard. His hairy legs are spread apart, his toes curled (tampak sirang). He holds the wrists of a man with both hands and presses the man’s body to his right hip. He is clad in a short loincloth, a small loincloth tucked up between his legs, a sash round his waist, a girdle and a sash round his neck. His jewelry consists of wristlets and anklets. His skin is light salmon-pink with light green spots. The figure on his hip faces right. He has a refined face. His hair is styled in a double chignon. He wears a diadem with a garuda ornament at the back on his head. He wears long trousers with a floral pattern, a small loincloth tucked up between his legs, a sash round his waist, a girdle, a shoulder-piece and a sash over his chest. His jewelry is that of a royal personage. His skin is light salmon-pink. A pot with flowers stands between the two demons in the centre. The floor is in dicated by red on the right of the fold. A text in Balinese script in ink at the top on the right says: détyakalërajë, (Détya Kalaraja), the demon Kalaraja. At the top on the left is written: détyakalëtama, nggawa.u.. (damaged) yyajunna, (Détya Kalatama ngawa .. Ar juna), the demon Kalatama carries .. Arjuna. Van der Tuuk has written in English in Latin script in ink at the top on the left: the giant Kalatama, and at the top on the right: d (corrected into) the giant Kalaradja (Kalaraja). At the top on the right has also been written by him: ... (damaged) cf. uit de Pralabda, ... cf from the Pralabda. A demon called Kalaraja watches another demon Kalatama who carries the prince Arjuna. This scene refers to an episode described in the OJ Arjuna Pralabdha III: 3 (Cod. Or. 4060). In canto I king Anggadipa kills his wife Prinasi and afterwards he commits suicide when he has discovered that a god disguised as Arjuna has seduced her. In canto II the demon Kalaraja, who reigns in Langsyapura over the demons, and who is Anggadipa’s foster-brother, decides to take revenge. He goes with his army to Indraprasta, where the Pandawa live. He sends his patih
Kalatamah (OJ, Kalatama in Balinese) with a letter to Yudistira. The letter says that Arjuna has seduced Prinasi and has destroyed Anggadipa’s palace. In canto III: 3 Kalaraja kills Arjuna. According to the artist in the drawing Kalatama first seizes Arjuna and brings him then to his lord Kalaraja. Cod. Or. 17.994-2 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.2 x 41.7 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: light red, light blue, sky-blue, dark blue, light salmon-pink, grey, white, black. Artist: I Ketut Gedé. Origin: Singaraja. The sketches in pencil are visible. The jewelry, which is usually done in yellow, has not yet been coloured. Corrections have been made in white paint at the top and at the bottom in the centre to remove blots of ink. The sheet is damaged at the four edges and at the bottom in the centre. It is torn in the centre along the fold. The demon Kalaraja threatens Arjuna who is bound to a kepuh-tree The air is indicated by awon-awon ornamentation (type III). There are rock ornaments at the bottom on the left and in the centre. A blue leafy tree stands to the left. A naked male ghost sits on a branch at the top on the right. His body is half blue, half light salmon-pink. He looks down at a man who is bound to the tree. He has bulging eyes and locks of hair on his head. He holds his right hand round the trunk of the tree and his left hand on the branch. A leg-ghost is depicted on the far right. At the top on the left sits an owl, also looking down. An arm- ghost and an intestine-ghost with little arms and hands are depicted in the branch below. They also look at the man. A bier made out of bamboo and basketry rests against the trunk of the tree on the left. A man is bound to the tree. He stands to the right of the trunk and faces right. He has a refined face. His hair is styled in a double chignon. He wears a diadem on his head. His clothes consist of long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece and another sash over his right shoulder. His jewelry is that of a prince. His skin is light salmon-pink. His arms are around the trunk of the tree and his wrists are bound by a piece of rope. A demon stands to the right. He faces left. His legs are spread, his right leg is raised (nyingjing). He points with his left index-finger at the man bound to the tree (nuding). He holds a double lance over his head with his right hand and points with it in the direction of the man bound to the tree. He has a demonic face, with bulging eyes, fangs, also on
his cheeks and eyebrows. His hair is long. He wears a diadem with a garuda orna ment and a high crown on his head. His skin is light salmon-pink. His clothes consist of long trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, a second sash crossed over his chest and another sash over his left shoulder. His jewelry is characteristic of that of a royal personage. A text in Balinese script in ink on the left in the centre says: puhan këpuh, misi tonë, (punyan kepuh misi tonya), a tree of hell with ghosts. Below it is written: papagë, (pepaga), bier. Van der Tuuk has written in Latin script in ink vertically on the left: a tree filled wiht ghosts. On the right is written in Balinese script in ink: détya kalaraja, (Détya Kalaraja), the demon Kalaraja. Van der Tuuk has added in Latin script in ink: kalaradja, Kalaraja. At the top on the right he has written: uit, and above it in English: from, de Pralabda (a balinese poem), from the Pralabda, a Balinese poem. The demon Kalaraja menaces Arjuna and threatens him with a lance. Arjuna has been bound to a kepuh-tree, which has been given ghosts and a bier. Such a tree grows on a cremation-ground. This scene refers to an episode described in the OJ Arjuna Pralabdha III: 3 (Cod. Or. 4060). It is said only in this text that the demon Kalaraja kills Arjuna and that Arjuna’s soul then goes to heaven where it meets the souls of Prinasi and Anggadipa. The scene in the drawing follows upon what is depicted in No. 17.994-1. The situation of Arjuna refers to that of his younger brother Sadéwa as described in the OJ Sudamala II: 21-22, 28. The female demon Durga threatens Sadéwa in the cremation-ground. He is bound to a kepuh-tree. It is probable that the artist wanted to refer purposely to this situation by depicting Arjuna in the same posi tion. Cod. Or. 17.994-3 A drawing on Dutch paper, watermark concordia, countermark VdL. 34.3 x 42 cm. The sheet has been folded vertically into two halves. Polychrome, watercolours and ink. Colours: red, pink, dark blue, light blue, blue, dark green, light blue-green, yellow, brown, light brown, white, grey, black. Artist: no. 5. Origin: Badung. Sketches in pencil at the bottom and on the right have been corrected by white paint. The sheet is damaged at the edges, and at the top and at the bottom in the centre. It has been repaired by gluing it onto a piece of transparent textile.
Karna sits on the ground and is about to shoot an arrow at Gatotkaca. The latter is depicted in his demonic form {murti) and holds a double lance and a club The air is indicated by awon-awon ornamentation (type I). A man sits on the left. He faces right. His left leg is stretched forwards, his right leg is bent. He holds a bow in his left hand and an arrow in his right hand. The bow is bent. The man is about to shoot. His face is refined, his eyes are small and almond-shaped. He wears a diadem with a garuda ornament and a high round crown on his head. His skin is light brown. He wears short trousers, a small loincloth tucked up be tween his legs, a girdle, a sash round his waist, a shoulder-piece, and another sash over his right shoulder. His jewelry is that of a royal personage. There is a ball of fire in the centre close to the pointed end of the arrow. A tall man stands on the right. His head and his body are en face. His head is askew. His legs are spread, his left knee is raised and bent (nyingjing). He holds a double lance in his left hand and presses it to his chest. He holds a club over his head in his right hand. He has a demonic face with bulging eyes, fangs, also on his cheeks. He has long locks of hair. He wears a diadem on his head. His clothes consist of short trousers, a small loincloth tucked up between his legs, a girdle, a sash round his waist, a shoulder-piece, a sash crossed over his chest, and another one over his left shoulder. His jewelry is that of a royal personage. His skin is light brown. A text in Balinese script in ink in the centre on the left says: karnna, Karna. Van der Tuuk has added in Latin script in ink on top of it: karna, Karna. At the top on the left he has written: Ghatotkacha, Gatotkaca. At the top in the centre is written in Balinese script in ink: ghatotgaca mamurtti (Gatotkaca mamurti), Gatotkaca takes the form of a demon. In the centre close to the fireball Van der Tuuk has written in English in Latin script in ink: Ghatotkacha (Gatotkaca) assuming a monstrous form. Close to the fireball is written in Balinese script in ink: brahmamastra, (brahmastra), fiery arrow. Karna sitting on the ground on the left is about to shoot a fiery arrow at Gatotkaca who has the form of a demon. He holds a double lance and a club. This scene refers to an episode described in the OJ Bharatayuddha XIX: 2. Kresna has decided that it is now Gatotkaca’s turn to fight Karna. Gatotkaca has made himself invisible and flies in the air, after Karna has destroyed Gatotkaca’s chariot and killed his charioteer. Karna orders Gatotkaca to descend. Gatotkaca gets furious. He takes the form of a demon (pamurtian or murti). He shouts ter ribly. He looks like the god of Death. Kama, furious too, shoots arrows in the direction of the shouts. The arrows miss Gatotkaca, since he is still invisible, and they burn to ashes.
The Missing Drawings. A postscript. As has already been mentioned, three and a half folios with drawings have been lost. These are numbered as Or. 3390-258, 291, 296 and half of 284. They are described briefly in Juynboll 1911: 483-485, but they are missing in the series of black and white negatives B 59-62 which Dr. P. Voorhoeve had made in 1951/2 when he was appointed Curator of the Oriental Department of the Leiden University Library. We therefore can only conclude that the three and a half folios disappeared between 1911 and 1951/2. From the descriptions given by Juynboll we get some idea of what was represented in these drawings: lovers (Or. 3390-258 by Ida Madé Tlaga from Sanur, Or. 3390-296 by an unknown artist), the temptation of Arjuna by two nymphs (Or. 3390-291 by an unknown artist), and the shooting of the golden deer (Or. 3390-284 by Ketut Gedé from Singaraja). So the majority of the missing drawings contain so-called erotic scenes, and, of course, one wants to know more details about them. The person who undubitably saw these missing drawings was Nieuwenkamp. He studied the drawings before 1903 and copied many of them, as they were published in his books and articles (Nieuwenkamp 1906-1910 and the two other publications based on it from 1910 and 1922, Nieuwenkamp 1919, 1924/25 and 1929) and references to these copies are made in the descriptions of the drawings from the Van der Tuuk Collection. It was not known whether Nieuwenkamp made more copies which were not published. Recently, however, three small wooden panels with drawings in Balinese style have been found, which obviously belonged to Nieuwenkamp. The smallest panel (22.9 x 18.6 cm, see photograph No. 51) of yellow Nangka-wood contains a copy of part of drawing No. 3390-143 made by Ketut Gedé from Singaraja. It represents a naked woman who is being caught by a crab in her vagina while a man, who is coming to rescue her, is caught in his mouth by it. In the drawing on paper some more details are to be found (a spout, the man himself is depicted in full) and what is added in the panel drawing but not represented in the drawing on paper are the grass motifs. Such ornaments always occur in traditional drawings and we may conclude that the maker of the panel belonged to that group of artists. Based on the style and the material, it is not unlikely that the drawing on the wooden panel was made in Bali by a Balinese, and the only way he could have seen the representation of the original drawing is by means of a copy on paper made by Nieuwenkamp. In the two other panels (34.7 x 21.2 cm, see photograph No. 52 and 28 x 21.5 cm, see photograph No. 53) what we may call erotic scenes are depicted as well. The scenes are drawn by the same Balinese hand, but not by the same traditional artist as the first panel, and the wood of the panels is similar as well. Both panels contain the numbers 23 in pencil written in the centre on the left as a possible in dication that they belonged to the same series. In the largest panel two Chinese
men courting two girls are depicted (see photograph No. 52). The girl at the top wears Balinese clothes, shoes (tlumpah), and her hairdo is that of a Balinese ser vant. The girl at the bottom wears only an open jacket with long sleeves, a sash, shoes, while her hair is done in a knot of a type not worn by Balinese women. Both couples are lying on a couch decked with a mat and (bottom) cushions while a short curtain (ider-ider) is hanging from the roof at the top. On the other panel is depicted a Dutchman touching the vagina of a girl while carrying her over his shoulder (see photograph No. 53). The girl’s upper clothes and her hairdo are those of a Balinese of the lower class, but she is also wearing shoes. Shoes were only worn by Europeans and Chinese in drawings at that time, so it is probable that the girl is not Balinese. Now it is tempting to assume that the two lastmentioned panels were made in the same way as the first, namely by a Balinese craftsmen from copies on paper of drawings from the Van der Tuuk Collection in Leiden. And, if we assume that this is true, they might have been made from drawings or details of the drawings which are missing, since we do not meet these scenes in the drawings from the Collection. However, it is also possible that the representations on the panels were made from scenes on drawings from Kamasan. Kamasan drawings on which Europeans and Chinese may be expected are those representing the ‘lan ding of the King of Malayu in Tuban’. In these drawings Dutchmen carrying boxes with money ashore, non-Balinese soldiers, festive meals among the Dutch with abundant food, music and dancing-girls are often depicted. In this at mosphere the two larger panels can be placed as well, and then our theory about originals from the Van der Tuuk Collection is no longer valid. If, however, we assume that this is not the case and suggest that drawings from the Van der Tuuk Collection were the original for the panel-drawings, there are the following possibilities. The artist made an exact copy of the model or part of the model, or he gave a free interpretation of it, or he added or left out only a few details. Let us consider now first which artists from the Van der Tuuk Collection can be considered. Artists who can be considered in the first place as possible examples for the panel-drawings are those who represented foreigners and/or erotic scenes. Artist No. 13 from South or North Bah with Or. 3390-292 in which courting Europeans and Chinese are depicted in a drawing representing a scene from the Arjunawiwaha; Artist No. 3 from North Bali with Or. 3390-240A in which Euro pean and other non-Balinese soldiers are depicted in a scene representing part of the Ramayana; Artist No. 4, Ketut Gedé from Singaraja who depicts foreigners and Chinese and erotic scenes with Balinese (Or. 3390-41, 125, 192, 256, 143), artist No. 10, Ida Madé Tlaga from Sanur representing erotic scenes with Balinese (Or. 3390-257, 259, 289) and artist No. 5 from Badung with two love- scenes (Or. 3390-135, 293) can also be regarded. The panel-drawings cannot refer to the missing part of Or. 3390-284, because the subject depicted, namely the golden deer being shot by Rama, does not give
an opportunity to express it in an erotic scene. The missing drawing Or. 3390-258 must have been made by Ida Made Tlaga, as can be deduced from Juynboll 1911: 483. Both wooden panels are painted in the traditional way: there are grass or naments, there are couches with mats, cushions and ider-ider curtains. If Ida Madé Tlaga made these grass ornaments in the same way, can we see similarities in Tlaga’s style and that of the panel-drawings? Tlaga does not draw grass or naments at all, and the hands, ears, bodies and clothes of his figures differ com pletely from those of the persons in the panels. The composition of his drawings is also rather stereotyped and he never depicts scenes with many figures. However, we have seen that in the first panel grass ornaments have been added by the artist of the panel and the style of Tlaga could have been changed somewhat by the artist of the panels. But the changes are too great, moreover, the fact that Tlaga does not depict foreigners at all leads us to the conclusion that his drawings cannot have been the original for the panels. This leaves us with drawings Nos. Or. 3390-291 and 296 only. The way the cushions, curtains, couches and clothes as well as the faces are depicted in the panels because of their traditional characteristics do not point to Ketut Gedé from Singaraja either. Although the drawings by artist No. 5 from Badung show traditional characteristics similar to the panel-drawings, the clothes of his figures and the composition of his scenes show differences from the panel-drawings which are too great, so that this artist must be excluded. Artists No. 3 and No. 13 may now be considered as possible examples for the panel-drawings. Of artist No. 13 only drawings in black and white are known and the missing drawings (Or. 3390-291 and 296) are not described by Juynboll as black and white like the other drawings by this artist (Or. 3390-241 and 292 a-d). If we assume that this artist only worked in black and white, he can be excluded and the anonymous artist No. 3 remains as the most likely person for the model of the drawings on the two larger panels. The question of whether the two scenes on the panel-drawings were taken from one original or from two different drawings must be left open unless more material from Nieuwenkamp is found.
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Wastan kekletjan- Cod. Or. 18.841 (21), Description of 24 Balinese games based on material collected by Schwartz, 11 pp. Wollaston, A. N. 1897 Dictionary of National Biography, Ed. S. Lee, Vol. XLIX: 290-291, Smith, Elder & Co, London. Zoete, B. de, Spies, W. repr. 1973 Dance and Drama in Bali, Oxford University Press, Kuala Lumpur. Zoetmulder, P. J. . 1974 Kalangwan, a Survey of Old Javanese Literature, KITLV, Translation Series 16, Nyhoif, fhe Hague. Zoetmulder, P. J., Robson, S. O. 1982 Old Javanese-English Dictionary, KITLV, Nijhoff, The Hague.
INDEX This Index contains names (personal names, geographical names and names of texts) and terms in Balinese and Old Javanese. Some of the terms are provided with explanations in English. The numbers refer to the numbers of the drawings; numbers printed in italics indicate that the figure concerned is depicted in that drawing.
Arjunawijaya kakawin Or. 3390, 47, 48, 138, 299, 301. Arjunawiwaha kakawin -, Or. 3390, 38, 216, 230, 241, 243, 246, 288, 289, 290, 292-297, 302. Arya Sentong Or. 3390, 22; photogr. No. 23. Asak Or. 3390, 41, 228. asibak corner-piece, Or. 3390, 23. asti elephant, see gajah. asti buta-, see buta asti. asti karang-, see karang asti. Astina Or. 3390, 150, 153, 164, 171, 176. asu see cicing. Aswatama Or. 3390, 146, 148, 158, 162, 170. atat green parrot, Or. 3390, 239, 293, 300. atma soul, Or. 3390, 11. Atma Prasangsa Or. 3390, 1. Awangga Or. 3390, 153. awon-awon an ornament that indicates air, Or. 3390, 29, 31, 32, 36, 38, 55, 68-70, 79, 87, 91, 101, 106-109, 117, 118, 120, 122, 126, 132, 134, 135, 145-148, 150, 169-181, 187-190, 200-202, 204, 208, 209, 211, 212, 214-216, 218-221, 223, 224, 237, 238, 240, 241, 243-245, 251, 269, 270, 272-276, 282, 285, 287, 290, 292-295, 297, 299, 301, 302, 304-306; Or. 17.994, 2, 3. Ayodya Or. 3390, 55. badong a broad necklace, Or. 3390, 10, 142, 239. Badung Or. 3390, 8, 11, 20, 23, 36, 38, 44, 55-104, 118, 134, 135, 145-148, 150, 169-179, 187-190, 197, 200-202, 204, 212, 214-216, 225, 240 A, 244, 245, 255, 269, 270, 272-276, 293-295, 297, 299-301; Or. 17.944, 3; photogr. Nos. 8, 9, 16, 18-21, 28, 33, 37, 45. Bagadata Or. 3390, 148, 162. Bagendra Or. 3390, 126, 132. Bagus Umbara geguritan -, Or. 3390, 44, 104, 255. bajra thunderbolt, a three-pointed ornament, Or. 3390, 28, 58, 80, 106, 108, 120, 148, 151, 173-175, 208, 216, 233, 236, 238, 239, 243, 247, 261, 267, 271, 272, 281, 283, 302, 305, 306. Bajramusd Or. 3390, 71, 107. baka = cangak, crane, Or. 3390, 195. Bakung, Or. 3390, 13. Baladéwa Or. 3390, 159, 165, 167. bale pavilion, couch, Or. 3390, 8, 39, 52, 225, 244, 293. balé agung Or. 3390, 26. balé gajah see balé murda manik. balé kulkul alarm tower, Or. 3390, 2, 18, 20; photogr. Nos. 19, 21, 24, 33. balé lembu agung Or. 3390, 169. balé murda manik = balé gajah, a pavilion used for the lying in state of a deceased, Or. 3390, 299. balé si lunglung Or. 3390, 253. balé singasari Or. 3390, 18. Bali Or. 3390, 49, 60, 79, 110, 111, 113, 264-266, 269, 276. balian Or. 3390, 244. balung tikel curved line, ‘curved bones’, Or. 3390, 3. Banaspati Or. 3390, 14. Banaspatiraja Or. 3390, 14. Bandéswarya Patih -, see Patih Bandéswarya. bandrolan a lance with feathers, Or. 3390, 245. bangbang = wangbang, someone who belongs to the class of brahmans, Or. 3390, 162, 244. bangkal see bangkung. bangkung = bangkal, pig, Or. 3390, 14, 144. Bangli Or. 3390, 4, 8, 18, 44. bangul a bamboo ladder, Or. 3390, 182, 185. Banjar Or. 3390, 8, 12, 13, 22, 249; photogr. Nos. 22, 43. Banjar Kangin photogr. Nos. 8, 20, 28, 37, 45. Banjar Tegal Or. 3390, 42. Banyuning = Bejuning, Or. 3390, 1, 2, 8, 18. Banyuwangi Or. 3390, 52. baris a ritual war dance, Or. 3390, 42, 44, 242, 254, 255. baris biasa Or. 3390, 242. baris dadap Or. 3390, 44. baris demang Or. 3390, 42\ photogr. No. 39. baris kupu atarung Or. 3390, 254, 255. baris panah Or. 3390, 44. baris prési Or. 3390, 44. barong see also karang barong asibak, Or. 3390, 14, 27, 125, 217, 297. barong macan photogr. No. 14. barong két see also két, Or. 3390, 14; photogr. No. 13. Baru see also jero dukuh, Or. 3390, 280, 292. basma see cundang. Basudéwa Or. 3390, 165. Batavia photogr. Nos. 39, 42. batik Betawi Or. 3390, 52, 59, 63, 79, 117, 126, 146, 155, 177, 184, 244, 256, 267, 285, 287, 299. batik Rembang Or. 3390, 52, 53, 155, 175, 230.
Batubulan Or. 3390, 2, 8. bawa = ketu, turban, priest’s mitre, Or. 3390, 28, 36, 47, 61, 90, 100, 145, 154, 167, 169, 171, 176, 180, 199-201, 205, 241, 264-266, 269, 286, 292, 294, 300. Bawasu = Wibawasu, Or. 3390, 201-203. bawi swine, see also céléng, karang bawi, and karang uek, Or. 3390, 4, 15. bawi karang -, see karang bawi, see also karang uek. Bawimuka Or. 3390, 109, 237. Baya Or. 3390, 86. Bayan Or. 3390, 53. Bayu see also Marut, Or. 3390, 8, 58, 233 234, 272, 283. Bayusuta see Anoman. be fish, Or. 3390, 49, 195, 269. Bebali Or. 3390, 44. bebanyolan Or. 3390, 14, 161, 226, 227 241 260. bébas a ceremony accompanying the abduc tion of a bride, Or. 3390, 44. bebataran pot, fence around a plant or a tree, Or. 3390, 53, 118, 170, 224, 225. bebengkulan a martial art, Or. 3390, 41. bedawang nala fiery tortoise, see also empas, kacapa, kekua and penyu, Or. 3390, 81, 217, 248. beduda karang -, see karang beduda. béji holy bathing place, Or. 3390, 51. Bejuning see Banyuning. bekel headman of a club, Or. 3390, 131. bénté see mabénté. beri a bird, Or. 3390, 218. Besakih Or. 3390, 8. betukan karang see karang betukan. Bharatayuddha kakawin -, = Baratayuda, Or. 3390, 16, 29-35, 104, 128, 131, 138, 145-150, 153-160, 162-164, 166-168, 170-179, 303-307; Or. 17.994, 3. Bhomakawya Or. 3390, 257, 259. Bhrgu Or. 3390, 130. Biasa = Abiasa, Or. 3390, 205. Bila Or. 3390, 1, 4, 8, 50. Bima = Bimaséna = Werkodara, see also karang Bima, Or. 3390, 19, 29, 80, 129, 146, 148, 151, 152, 153, 160, 163, 167, 175, 305, 306. Bima karang -, see karang Bima. Bimamuka = Bimawaktra, Or. 3390, 80. Bimanyu see Abimanyu. Bimaséna see Bima. Bima Swarga Or. 3390, 1, 77. Bimawaktra see Bimamuka. bina karang -, see karang bina. bintulu karang -, see karang bintulu. Bisana see Wibisana. Bisma Or. 3390, 145, 154, 164, 177. blagbag kind of pillory, Or. 3390, 192. Blahbatuh Or. 3390, 44, 54, 161, 255. Blambangan Or. 3390, 45, 240 A. Blayu Or. 3390, 18. bligo buta -, see buta bligo. Boda Kling photogr. Nos. 40, 41. Boga see Antaboga. Boga karang -, see karang Boga, see also An taboga. bojog monkey, see also Késari, lutung, oré, Pragusa and Wanari, Or. 3390, 183 188 190, 191. Boma see also karang Boma, Or. 3390 18 23, 130, 250, 257, 259. Boma karang -, see karang Boma, see also Boma. bonang Or. 3390, 44. Bragedab Istri -, = Siti Bagedab, Or 3390 214. Brahma Or. 3390, 8, 90, 95, 97, 99, 121, 162 198, 208, 244, 256, 265, 300. brahman Or. 3390, 11, 28, 51, 129, 146, 156 162, 166, 169, 184, 187, 190, 193, 194,’ 206’ 228, 242, 244, 252, 253, 298; photogr. No’ 42. Brahmandapurana Or. 3390, 300. brahmastra a fiery arrow, Or. 3390, 173, 174\ Or. 17.994, 3. bramara bee, Or. 3390, 39. Bramita Or. 3390, 299. Bramita Patih -, see Patih Bramita. Bratan Or. 3390, 9, 127-130, 246, 248, 256. Bratayuda see Bharatayuddha. Brayut Or. 3390, 246. brekutut turtledove, Or. 3390, 180. bréng see also karang bréng, Or. 3390, 253. bréng karang -, see karang bréng. buah areca palm-tree, Or. 3390, 225. Bualu Or. 3390, 14. bucu corner, corner-piece, Or. 3390, 2. Bugbugan Or. 3390, 22; photogr. No. 23. Buginese Or. 3390, 240 A. buja arm ghost, see also tangan-tangan, Or. 3390, 173. bujing karang -, see karang bujing. Buléléng Or. 3390, 1-28, 32, 41, 44, 49, 50, 54, 105, 110-116, 131, 133, 141, 151-168, 225-243, 248-250, 267, 268, 271, 278-281, 290, 304, 306; photogr. Nos. 1-4, 6, 7, 11, 15, 22, 26, 27, 31, 32, 35, 36, 43, 44. Bulian Or. 3390, 8. Bungkulan Or. 3390, 3, 16, 18, 236 A; photogr. Nos. 2, 15.
bun tan pa wit creeper, Or. 3390, 47, 53, 131, 139, 140, 142, 199. Burisrawa Or. 3390, 19, 155, 178. bebuta see buta. buta = bebuta, demon, Or. 3390, 29, 34, 39, 115, 132, 173, 226, 227, 240, 255, 290; Or. 17.994, 2. buta abang Or. 3390, 132, 290. buta asti Or. 3390, 1. buta bligo Or. 3390, 1. buta dadu Or. 3390, 290. buta énggér Or. 3390, 10. buta ijo Or. 3390, 132. buta jereng Or. 3390, 1. buta kalageni Or. 3390, 7. buta kemong Or. 3390, 7. buta nawa sari to stretch one hand up and to hold the other hand in front of the girdle, Or. 3390, 107, 124, 125, 134, 266. buta pécéng see karang buta pécéng. buta pepengkah see also karang pepengkah, Or. 3390, 1, 246. buta sorot Or. 3390, 29. buta suah Or. 3390, 7. buta sungsang see also karang buta sungsang, Or. 3390, 22, 39; photogr. No. 22. buta térong Or. 3390, 7. buta wilis see karang buta pécéng. caket pinang-cutter, Or. 3390, 213. cakupan tangan to cross one’s fingers over each other, Or. 3390, 115. Calon Arang Or. 3390, 8, 14, 209, 252, 255. Canda Pinggala see also karang Canda Ping- gala, Or. 3390, 129. candi agung a high crown, Or. 3390, 156, 231. candi bentar split gateway, Or. 3390, 28, 289; photogr. Nos. 12, 18. candi ijo see puspa ijo. candi kurung = gelung kurung, a round crown, Or. 3390, 18, 29, 86, 160, 173, 179, 198, 210, 241, 243. candi rebah a large garuda ornament on the back of one’s head, Or. 3390, 146, 156, 170, 177. candra the moon, Or. 3390, 39. Candra Or. 3390, 20. candrahasa Or. 3390, 114, 223. Candra Kirana = Tuan Déwi, Or. 3390, 126. candra sangkala a hidden date, see also wewatekan, Or. 3390, 39; photogr. No. 38. candu pure opium, Or. 3390, 161. cangak see baka. cangklong opium pipe, Or. 3390, 42, 44, 54, 143, 144, 161, 242. Capakala Or. 3390, 200. capil kind of hat, Or. 3390, 29, 125, 182, 183, 185, 186, 191, 240 A, 302. caratan pot, holy water sprinkler, Or. 3390, 10, 116. caturwinasa a charm, Or. 3390, 239. caul Or. 3390, 90, 92, 96, 100, 102, 104. cawiri karang -, see karang cawiri. cecekakan sarcophagus, Or. 3390, 253. celak penis, Or. 3390, 144. céléng pig, fang, see also bawi, karang bawi and karang uek, Or. 3390, 144, 241, 249, 250, 294. Cemara Or. 3390, 42. céngcéng Or. 3390, 41, 44, 50, 125, 252. cepuk a kind of ikat textile, Or. 3390, 11. cicing = asu, dog, see also Sélog, Or. 3390, 143, 240 A, 244, 245, 256, 300. Cina Chinese, Or. 3390, 240 A, 256, 292. Citranggada Or. 3390, 216. Citrawad see Indrawati. clepuk owl, Or. 3390, 307. clepuk karang -, see karang clepuk. clepuk tunu owl, see also karang clepuk, Or. 3390, 189. Clulukan see Mredah. Condong female servant, see also panjroan, Or. 3390, 53, 126, 131, 165, 241, 254, 259, 260, 281, 292, 299. cudamanik see cundang. cumangkirang Or. 3390, 44. cundang = basma = cudamanik, a spot on the forehead of refined persons, Or. 3390, 3, 55, 57, 169, 248. Cupak Or. 3390, 213. Cupak geguritan -, Or. 3390, 213. Cupak kidung -, Or. 3390, 213. curing karang -, see karang curing. Dadong Tamlingan Or. 3390, 190. Daha = Kadiri, Or. 3390, 52, 126, 134, 213, 245. damar lamp, Or. 3390, 224. damar kurung see also pelita sari, Or. 3390, 251, 255. Dananjaya see Arjuna. Danawa Raja karang -, see karang Danawa Raja, see also Rawana. Danéswara see Wésrawana. Danurdara Or. 3390, 83. Dapa Or. 3390, 299. Dari see Dedari Darimuka see Dariwadana.
É Dariwadana = Darimuka, Or. 3390, 81. Darma Or. 3390, 151. Darmajati see Durmajati. Darmaswami Or. 3390, 129, 184, 187, 192-194. Darmatanaya see Yudistira. Darmawangsa see Yudistira. Dasarata Or. 3390, 55, 56. Dasagriwa see Rawana. Dasamuka see Rawana. Dasanana see Rawana. Dasasirsa see Rawana. Dasasya see Rawana. Dasawaktra see Rawana. dastar kerchief, Or. 3390, 39, 228, 244. dedampar a seat with legs, Or. 3390, 213. Dedari = Dari, nymph, see also vidyadharï, karang dedari and Sang Hyang Dedari, Or. 3390, 221, 228, 241, 288. dedari karang -, see karang dedari. dedari kéndran see Supraba. dedeling karang -, see karang dedeling. Délem = Mélem = Grindem, Or. 3390, 36, 38, 118, 131, 146, 157, 170, 227, 228, 237, 240, 243, 260, 267, 268, 294, 299, 305, 306. demang a court functionary, Or. 3390, 42, 53, 102, 142. Demang Ampuhan Or. 3390, 210, 211. Demang Singasari Or. 3390, 142. demung a court official, Or. 3390, 42, 53. Denpasar Or. 3390, 9, 14, 292; photogr. No. 9. de(m)pat karang see karang de(m)pat. Détya Astra Or. 3390, 302. Détya Orta = Orta, Or. 3390, 216. Détya Pad see also Niwatakawaca, Or. 3390, 243, 288. Détya Prabu Or. 3390, 243. déwayadnya temple festival, Or. 3390, 14, 42, 44, 51, 133, 242, 252, 256. Déwi Prinasi see Prinasi. Dharlmuka Or. 3390, 80. dipa karang -, see karang dipa. Dirgabahu see also karang lawéan and Kabanda, Or. 3390, 246, 276. domba karang -, see karang domba. dosa wrong, Or. 3390, 43. Drawalika see Ardawalika. Drawida Or. 3390, 73. Drestadyumna Or. 3390, 154, 158, 169. Drestarasta Or. 3390, 150, 153, 168. Drona Or. 3390, 146, 154, 156, 162, 166, 170. Dropadi = Drupadi, Or. 3390, 158, 169. Drupada Or. 3390, 158, 169. Drupadi see Dropadi.
gandrung a travestite dancer, Or. 3390, 50, 254. gangsa Or. 3390, 50, 125. gangsing a die with a handle used in maclebontang, Or. 3390, 54. ganitri a priest’s chain, Or. 3390, 205, 264-266. Garuda = Winatéya, Or. 3390, 64, 201, 203-206, 214, 218. garoda waringin-tree, see also waringin, Or. 3390, 270. garuda mungkur an ornament in the shape of a small garuda-head on the back of one’s head, Or. 3390, 10, 17, 18, 47, 56-59, 61, 89, 102, 110, 113, 115, 117, 118, 121-123, 126, 128, 130-132, 135-138, 145-150, 152-155, 158, 160, 162-167, 169-173, 176, 177, 179-181, 197-200, 202, 204-207, 209, 211, 214, 216, 218-221, 223, 224, 229-235, 237-241, 244, 245, 249, 250, 257, 261, 263, 264-266, 270-272, 274-282, 284-287, 289, 290, 292, 293, 295, 297-301, 303-305, 307; 17.994, 1, 2. Garuda Nebus Biang geguritan -, Or. 3390, 201-206. Gatotkaca Or. 3390, 1, 29, 30-32, 34, 35, 131, 152, 179, 208; 17.994, 3. Gatotkacasraya kakwin -, Or. 3390, 136, 152. Gawaksa Or. 3390, 62, 237. gébér ‘lobe’ of a gateway in South Bali, Or. 3390, 3. gebug see maéndé. Gedé Barakan Or. 3390, 306. gedong Or. 3390, 8, 18, 252. Gegelang Or. 3390, 42, 52, 53, 134, 135, 139-141, 213. gegudén a female court dancer, Or. 3390, 254. gegudrug a clownish figure, Or. 3390, 254. gelap karang see karang gelap. gelap masesirig karang -, see karang gelap masesirig. gelap ngaepang karang -, see karang gelap ngaepang. Gélgél Or. 3390, 3, 8, 9, 14, 20, 23; photogr. Nos. 5, 12, 13, 24, 30. Gelidir Or. 3390, 244, 245. gelung buana lukar Or. 3390, 30, 80, 148, 151, 175, 179, 216. gelung kekelingan Or. 3390, 33, 151. gelung kori Or. 3390, 3. gelung kurung see candi kurung. gelung Panji see also Panji-type, Or. 3390, 42, 141. gelung Panji maringgit Or. 3390, 134, 139, 142, 245. gendér Or. 3390, 44, 50. geni fire, Or. 3390, 39. geni karang -, see karang geni, see also geni. genta a priest’s bell, Or. 3390, 10, 28, 196. Gentayu see Jatayu. Gianyar Or. 3390, 1, 14, 20, 23, 169, 249; photogr. Nos. 10, 14, 17, 25, 29, 36. Girah = Jirah, see also rangdeng Girah and karang rangda, Or. 3390, 8, 10, 14. Girimuka Or. 3390, 237. Girindraputri = Giriputri = Uma, Or. 3390, 86, 87, 200, 207, 209, 295. Giriputri see Girindraputri. goak = gagak, crow, see also karang goak, Or. 3390, 62, 190, 194, 237, 240 A, 256. goak karang -, see karang goak, see also karang goak asibak and goak. Gokarna Or. 3390, 97, 121. golok a butcher’s knife, Or. 3390, 144. Gomuka Or. 3390, 48. gong Or. 3390, 125. gong cenik Or. 3390, 44. gong cumangkirang Or. 3390, 44. gopura gateway, see also paduraksa, Or. 3390, 184. Gramani Or. 3390, 47, 87, 89, 92. gramus Or. 3390, 29. Grantang Or. 3390, 213. Grindem see Délem. gringsing a textile made in Tenganan Pa- gringsingan, Or. 3390, 11. griya Pratoda Or. 3390, 55-104. griyaTlaga Or. 3390, 136-138, 149, 182, 203, 205, 206, 213, 257-266, 289. grombong trough, pit into which a faithful wife jumps when her husband has died, Or. 3390, 147. Gulu Dawa see Sangut. Gunawati geguritan 3390, 185, 196. gunung mountain, Or. 3390, 39. Gunung Sari see Malayu. gupek to beat a drum with the hands, Or. 3390, 50. Hariwamsa Or. 3390, 159. Harsawijaya = Wijaya, Or. 3390, 245. Himagiri Or. 3390, 238. homa a fire offering, Or. 3390, 184, 300. ibingan onlookers in a travestite dance per formance, Or. 3390, 50. Ibrapuspa Or. 3390, 171, 174. Ida Made Tlaga Or. 3390, 136-138, 149, 182, 203, 205, 206, 213, 257-266, 289.
Ida Putu Héma Or. 3390, 55-104. ider-ider small curtain hanging from a roof, Or. 3390, 104, 239, 257, 292, 293. ikat a textile, Or. 3390, 11. Indian pattern Or. 3390, 88, 90, 92, 96, 100, 104, 135, 147, 169, 170, 176. Indra = Surapati, Or. 3390, 68, 99, 131, 148, 160, 180, 181, 198, 204, 207, 216, 219, 230, 232, 241, 243, 246, 254, 276, 288-290, 292, 296, 300. Indrajanu Or. 3390, 68. Indrajit see Méganada. Indraprasta Or. 3390, 131; Or. 17.994, 1. Indrawati = Citrawati, Or. 3390, 138, 299. inya Or. 3390, 135. Irawan Or. 3390, 128. Irawana see Érawana. Istri Bragedab see Bragedab. Istri Tanjung see Sri Tanjung. Iswara see also Siwa, Or. 3390, 8, 256. jaba Or. 3390, 51, 53, 253. jaé karang -, see karang jaé. Jagaraga Or. 3390, 3, 8, 22, 23; photogr. Nos. 3, 27. jagung gémbal Or. 3390, 248. jai a large Chinese coin with a red rim, see also képéng, Or. 3390, 54. jaka palm-tree, Or. 3390, 25, 50, 182, 185, 228. Jamadagni Or. 3390, 130. Jambawan Or. 3390, 61, 233, 234, 283. jambot coif on one’s forehead, see also jam- bul, Or. 3390, 115, 118, 131, 170, 243. jambul a knot of hair on top of the head, see also jambot, Or. 3390, 53, 115, 118, 131, 170, 243. Jambulmali Or. 3390, 106. Janaka Or. 3390, 57. Janggala see Koripan. janggi bat, Or. 3390, 54. Jatayu = Gentayu, Or. 3390, 114, 121, 271, 274, 275, 276, 279, 285. Jayadrata Or. 3390, 155, 157, 158. Jayantaka Or. 3390, 99. Jayaprana geguritan -, Or. 3390, 11. Jayaséna Or. 3390, 168. Jayastra Or. 3390, 134. jégog = tégog, Or. 3390, 44. Jembrana Or. 3390, 10, 256. jereng buta -, see buta jereng. jero dukuh Or. 3390, 280. Jerubud Or. 3390, 134. Jirah see Girah. Jogor Manik Or. 3390, 11. Juarsa Or. 3390, 37, 40, 45, 298. Juarsa kidung Or. 3390, 37, 40, 45, 298. Julah Or. 3390, 44. jun inem a water pot, Or. 3390, 180. juru banging a bidder at the malobang play, Or. 3390, 43. Jurudéh Or. 3390, 139. juru gambel musicians, Or. 3390, 50. juru pasangin a bidder at the macontok kobok and macontok pulangan plays, Or. 3390, 43 54. Kaba-Kaba Or. 3390, 44. Kabanda see also Dirgabahu and karang la- wéan, Or. 3390, 246, 276. kacapa tortoise, see also empas, penyu, kekua and bedawang nala, Or. 3390, 201-203, 205. kadga sword, Or. 3390, 181. Kadiri see Daha. Kadru Or. 3390, 130, 204. kain wangsul sacred kain, Or. 3390, 11. kakap a squirrel, see also semal, Or. 3390, 225, 233. Kala son of Siwa, a demon in general, see also karang kala, Or. 3390, 23, 69, 128, 200, 248, 252. Kala Dremba Or. 3390, 210. kalageni Or. 3390, 7. kala karang -, see karang kala. Kala Muka Or. 3390, 210. Kalapurana Or. 3390, 200. Kala Rahu = Rahu, see also karang Kala Rahu and karang de(m)pat, Or. 3390, 20, 248, 249. Kalaraja Or. 17.994, 1, 2. Kalatama Or. 17.994, 1. Kalawaktra Or. 3390, 69. Kalingga Or. 3390, 301. Kama = Smara = Puspacapa, Or. 3390, 198, 199, 208, 231. Kamandaka see also Tantri Kamandaka and Kamandaka RajanTti, Or. 3390, 300. Kamandaka Rajanlti Or. 3990, 300. Kamasan Or. 3390, 47, 216. Kampana = Akampana, Or. 3390, 119. kampék bag for sirih utensils, Or. 3390, 115, 150, 292, 307. kanda empat the ‘Four Brothers’, Or. 3390, 14. kantong panah a tube with arrows, Or. 3390, 186. Kanwa Or. 3390, 171. Kanyéri Misa-, see Misa Kanyéri, see also Semar. kapakan wing, Or. 3390, 3. kapindra karang -, see karang kapindra, see also Sugriwa.
karang ornament with theriomorphic or human beings, Or. 3390, 2, 3, 8, 14, 127, 130, 249. karang Andaka see also Nandaka, Or. 3390, 129. Karang Asem Or. 3390, 11, 42, 127, 169, 228, 239, 240 A; photogr. Nos. 40, 41. karang asti see also gajah, Or. 3390, 1, 2, 23, 24, 46, 127, 250-, photogr. Nos. 31-33. karang barong asibak Or. 3390, 14; photogr. Nos. 13, 14. karang bawi see also karang uek, bawi and céleng, Or. 3390, 15, 23, 130, 249. karang beduda Or. 3390, 249. karang betukan Or. 3390, 246. karang Bima Or. 3390, 129. karang bina Or. 3390, 129. karang bintulu Or. 3390, 23, 24, 26, 46, 105, 110, 111, 114-116, 127, 130, 151, 158, 162-164, 168, 199, 236, 236 A, 241, 249, 271, 289, 292, 298; photogr. Nos. 27-30. karang Boga see also Antaboga, Or. 3390, 130. karang Boma see also Boma, Or. 3390, 18, 23, 51, 130, 250, 257; photogr. Nos. 15-18. karang Boma asibak Or. 3390, 18; photogr. No. 18. karang bréng see also bréng, Or. 3390, 9. karang bujing Or. 3390, 13. karang buta pécéng = karang buta wilis, Or. 3390, 19. karang buta sungsang see also buta sungsang, Or. 3390, 46. karang buta wilis see karang buta pécéng. karang Canda Pinggala see also Canda Ping- gala, Or. 3390, 129. karang cawiri Or. 3390, 23, 46, 127, 250. karang clepuk = karang garuda, see also clepuk tunu, Or. 3390, 250] photogr. Nos. 45, 46. karang curing Or. 3390, 5, 17, 23, 24, 26, 30-32 46, 105, 106, 127, 130, 165, 194, 195, 198, 236, 236 A, 241, 250, 251, 273, 281, 289; photogr. Nos. 4, 26, 27. karang danawa Raja see also Rawana, Or. 3390, 250. karang dedari see also Dedari, vidyadhari and Sang Hyang Dedari, Or. 3390, 128. karang dedeling Or. 3390, 19. karang de(m)pat see also karang Kala Rahu and Kala Rahu, Or. 3390, 249. karang dipa Or. 3390, 127, 130. karang domba see also karang Menda, Or. 3390, 249. karang empas see also empas, kacapa, penyu, kekua and bedawang nala, Or. 3390, 248. karang gajah mina see also gajah mina and karang mina, Or. 3390, 46, 129. karang garuda = karang clepuk. karang gelap Or. 3390, 46, 130, 250] photogr. No. 21. karang gelap masesirig Or. 3390, 20; photogr. No. 21. karang gelap ngaepang Or. 3390, 20; photogr. No. 21. karang geni Or. 3390, 2. karang goak see also karang goak asibak and goak, Or. 3390, 17, 23, 241, 273, 289. karang goak asibak Or. 3390, 23; photogr. No. 24. karang jaé Or. 3390, 23; photogr. Nos. 19, 25. karang Kala see also Kala, Or. 3390, 128. karang Kala Rahu see also Kala Rahu, Or. 3390, 20, 248] photogr. Nos. 13, 21. karang kapindra see also Sugriwa, Or. 3390, 128. karang katunggéng see also karang tledu, Or. 3390, 246, 249. karang klesih Or. 3390, 248. karang kumangmang Or. 3390, 46. karang kuuk Or. 3390, 246. karang lawéan see also Dirgabahu and Ka- banda, Or. 3390, 246. karang lipan Or. 3390, 249. karang Ludra see also Rudra, Or. 3390, 248. karang manuk Or. 3390, 17, 23, 105, 110-112, 115, 127, 157, 164, 190, 250, 292. karang Mén Bajra see also Mén Bajra, Or. 3390, 246. karang ménda see also Ménda and karang domba, Or. 3390, 12, 129, 249, 250. karang mina see also gajah mina and karang gajah mina, Or. 3390, 129. karang mretiu Or. 3390, 46, 128. karang musi Or. 3390, 129. karang paksi see also karang manuk and paksi, Or. 3390, 127. karang patra see also patra, Or. 3390, 250. karang pepengkah see also buta pepengkah, Or. 3390, 246. karang Rama Parasu see also Rama Parasu, Or. 3390, 130. karang rangda see also rangdeng Girah and Girah, Or. 3390, 8, 249] photogr. No. 43. karang rerangut, Or. 3390, 249. karang rupa Or. 3390, 17, 46, 51, 127, 250, 298. karang rupa asibak Or. 3390, 2. karang rupanala Or. 3390, 2. karang saé see also saé, Or. 3390, 9, 12, 13, 18, 23, 127, 249] photogr. Nos. 8-10, 12.
karang sarpa see also naga and Antaboga, Or. 3390, 249. karang senuk see also senuk, Or. 3390, 4, 15. karang Srenggi see also Srenggi, Or. 3390, 128. karang tamaja Or. 3390, 248. karang tapel Or. 3390, 2; photogr. Nos, 13, 14. karang tledu see also karang katunggéng, Or. 3390, 249. karang tranggana Or. 3390, 128. karang trewélu Or. 3390, 249. karang udang see also udang, Or. 3390, 249. karang uek see also karang bawi, bawi and céléng, Or. 3390, 130. karang uled Or. 3390, 249. karang Yama see also Yama, Or. 3390, 248. karang yuyu see also yuyu, Or. 3390, 249. karna ear, Or. 3390, 39. karna wing of a gateway, Or. 3390, 3. Karna = Radéya = Suryatmaja, Or. 3390, 16, 29 , 30 , 31, 32, 33-35, 153, 170, 173, 174, 177, 179; Or. 17.994, 3. Kartika the Pleiades, Or. 3390, 128. kasar coarse, Or. 3390, 151. kastuba tree, Or. 3390, 37, 215. kasur mattress, Or. 3390, 244. Kasyapa Or. 3390, 201, 205. katunggéng karang -, see karang katunggéng. kebo a court functionary in charge of matters to do with the army, Or. 3390, 140, 212. Kebo Anabhrang see Nabrang. Kebo Angun-Angun Or. 3390, 140. Kebo Katrangan Or. 3390, 137. kedis bird, see also manuk, paksi and karang manuk, Or. 3390, 180. kedis blekok a kind of crane, Or. 3390, 288. Kékasi Or. 3390, 47, 91, 93, 94, 97, 98, 100, 121. Kékékan geguritan Or. 3390, 14. kekendon Or. 3390, 10, 71, 109-111, 113-116, 128, 129, 131, 135, 154, 155, 158, 162, 165, 168, 204, 207, 209, 211, 237, 238, 240, 271, 278, 281, 282, 285, 298. kekua see also empas, kacapa, penyu and bedawang nala, Or. 3390, 14. Keling see Koripan. kembang musi name of the fourth cushion in a pile of cushions (galeng matumpuk), Or. 3390, 104. kemit name of the third cushion in a pile of cushions (galeng matumpuk), Or. 3390, 104. kemong a musical instrument, Or. 3390, 7, 50. kemong buta -, see buta kemong. kempul Or. 3390, 41, 44, 50, 125, 252. kendang Or. 3390, 9, 44, 50, 125, 252. kéndran see Supraba. képéng see also jai, Or. 3390, 43, 54. kepuh Or. 3390, 253, 255; Or. 17.994, 2. Késalya Or. 3390, 55. késari a monkey, see also bojog, lutung, oré, Pragusa and Wanari, Or. 3390, 66. Késari Or. 3390, 182, 189, 190. Késawa see Kresna. Kesiman Or. 3390, 8, 20; photogr. No. 21. két see also barong két, Or. 3390, 14. Kétol Or. 3390, 244. ketu see bawa. ketuk Or. 3390, 228. Kétumati Or. 3390, 91, 92, 98, 102, 103, 106. Ketut Gedé Or. 3390, 29-35, 37, 39-54, 106-109, 117, 119-126, 132, 133, 143, 144, 180, 181, 183-186, 191-196, 198, 199, 207-211, 217-224, 242, 247, 251-256, 282-288, 298, 302-307; Or. 17.994, 1, 2. Ketut Kamanirak Or. 3390, 187. kidang deer, Or. 3390 , 4, 112, 273, 275 , 277, 278, 284. kinnara kinnari, a celestial creature: half man, half-bird, Or. 3390, 16. Kirti see Arjuna. Kiskinda Or. 3390, 49, 61, 79, 264, 265. kléntangan Or. 3390, 44. Klépékan Or. 3390, 44. klesih karang -, see karang klesih. kléték stick with a lasso, Or. 3390, 131, 187, 192. Klika Or. 3390, 209. kloping the sheath of the bud of the coconut flower, Or. 3390, 147, 225. klukuh a sack for keeping palm-wine, Or. 3390, 182, 185. Klungkung Or. 3390, 2, 8, 11, 13, 20, 23, 24, 43, 104, 144; photogr. Nos. 5, 12, 13, 24, 30. Kokaja Or. 3390, 257. Koran reading Or. 3390, 256. Korawa Or. 3390, 19, 29, 33, 104, 145-147, 150, 153-155, 162, 163, 166, 168-170, 177, 178, 209, 303-305, 307. Korawasrama Or. 3390, 8. kori agung a gateway, photogr. No. 17. kori cecandian a gateway with a roof and doors to a temple, photogr. Nos. 5, 16. Koripan = Keling = Janggala, Or. 3390, 42, 52, 134. Krambitan Or. 3390, 11, 14, 22, 39, 44, 246; photogr. No. 38. Krepa Or. 3390, 154, 156. Kresna = Késawa, Or. 3390, 18, 33, 35, 43, 117, 128, 146, 150, 152, 153, 157, 160, 165, 167, 171, 173, 174, 176, 177, 208, 304, 307; Pr. 17.994, 3.
Kretawarma Or. 3390, 168. Krobokan Or. 3390, 1, 3, 5, 8, 23, 26; photogr. Nos. 4, 6, 7, 31, 35. ksatriya Or. 3390, 11, 51, 130, 169, 251, 253. ksatriya dalem Or. 3390, 51. kuaca sleeveless jacket, Or. 3390, 41, 44, 131, 133, 212, 215, 242. kucit piglet, Or. 3390, 143. kuda horse, Or. 3390, 37, 39, 131, 171, 173, 174, 212, 215, 218, 220, 240 A, 247, 297. Kuda Angling Baya Or. 3390, 126, 132. Kuda Nirarsa Or. 3390, 141. Kuda Senetan Or. 3390, 52. kumangmang karang -, see karang kumang- mang. Kumbakarna Or. 3390, 47, 62, 68, 71, 72, 91, 94, 100, 121, 282. Kumuda Or. 3 3 90 , 74. Kunjara Or. 3390, 36. Kunti Or. 3390, 153, 165, 176, 209. Kuta Or. 3390, 43. kupakan patra punggel open work with petals and leaves, Or. 3390, 24. kuping nyingnying curl, ‘curled ear of a small mouse’, Or. 3390, 3. kupu atarung Or. 3390, 254. kuta Mesir pattern Or. 3390, 36, 56, 60-62, 71, 74, 75, 78, 79, 82, 86, 91, 97-99, 134, 135, 147, 150, 169, 171, 172, 187, 192, 197, 200, 245, 270. kuuk karang -, see karang kuuk. Laksmana Or. 3390, 56, 105, 110, 111, 112, 117, 121, 233, 237-239, 262, 270, 272, 273, 275, 277-279, 282, 283, 286, 287. Laksmana Kumara Or. 3390, 152, 160, 178. Lambodara = Pralambodara, Or. 3390, 63. Lambusah = Alambusa, Or. 3390, 30, 34. Langka Or. 3390, 48, 58-61, 64, 65, 69, 71, 72, 75, 115, 116, 118, 120, 233, 234, 261-263, 271, 281, 283. Langkésari = Rangkésari, Or. 3390, 52, 53, 135. Langlang Duta Or. 3390, 219, 221, 224. Lasem Or. 3390, 42, 134, 139. lata a liane, Or. 3390, 270. lawéan karang -, see karang lawéan. léak Or. 3390, 125. légong Or. 3390, 50. lekad sanan empeg Or. 3390, 11. lelancang sirih-bowl, Or. 3390, 53, 213, 221, 245. lelipi see naga. lelucon Or. 3390, 143, 161, 226, 227, 241, 254, 260. lémat a wooden sword, Or. 3390, 42. Lembana = Alambana, Or. 3390, 30, 34. lembu bull, see also sampi, Nandin and wresaba, Or. 3390, 14, 36, 169, 185, 200, 253. Liku a wife of lower rank, Or. 3390, 42, 134. Limbur Or. 3390, 11, 224. lipan karang -, see karang lipan. Lombok Or. 3390, 41, 43-45, 240 A. lookcan Or. 3390, 52. Lotama = Nilotama, Or. 3390, 221, 241. Ludra see Rudra. Luhganda Or. 3390, 234 A. Lumbra Or. 3390, 84. lungka-lungka large cushions to sit on, Or. 3390, 52, 264. lutung black money, see also bojog, Késari, oré, Pragusa and wanari, Or. 3390, 182, 184, 193. mabéla ritual suicide, to stab oneself to death, Or. 3390, 138, 147. mabénté = bénté = magulet, game of skill, Or. 3390, 43. macan = mong = samong, tiger, see also Késari, Or. 3390, 4, 14, 125, 182, 183, 184, 185, 187, 188-189, 193, 196, 297. macingcingan to tuck up one’s clothes, Or. 3390, 25. maclebontang a game of dice, Or. 3390, 54. macongnal = masadah, a game of skill, Or. 3390, 43. macontok kobok gambling, Or. 3390, 43. macontok pulang gambling, Or. 3390, 54. Mada Or. 3390, 86, 87, 89. madat to smoke a blend of opium and tobac co, Or. 3390, 161. madééng a procession to a holy spring to fetch water for the preparation of holy water used for a cremation, Or. 3390, 44. Madé Lényog Or 3390, 281. Madra prabu -, see Salya. Madri Or. 3390, 170. maduita a spelling-rule, Or. 3390, 38, 39. Madukara Or. 3390, 131, 136-138, 197. Madura Or. 3390, 187, 190, 192, 193, 212, 244, 245. maéndé = éndé = gebug = magebug, a martial art. Or. 3390, 41. magebug see maéndé. magrumbungan = makepung, buffalo-races, Or. 3390, 10. magulet see mabénté. Mahabharata Or. 3390, 160, 208. Mahadéwa see also Siwa, Or. 3390, 231. Mahaméru see Méru. Majapahit Or. 3390, 245.
majejegang to point down with a hand, the fingers spread, Or. 3390, 102. majejingking one hand akimbo, one hand directed upwards, Or. 3390, 297. makara a fish-elephant, Or. 3390, 46, 178. makeber to fly, Or. 3390, 70. makepung see magrumbungan. makerat-keratan to face each other angrily, Or. 3390, 44. makiis Or. 3390, 44, 51, 252. makirim Or. 3390, 251. Malat kidung-, Or. 3390, 42, 52, 53, 131, 133-142. Malaya Or. 3390, 79. Malayu = Gunung Sari, Or. 3390, 42, 52, 53, 135, 139. Mali Or. 3390, 87, 88. maligya Or. 3390, 239, 251. malobang gambling, Or. 3390, 43. Malwa Or. 3390, 129, 148. Malyawan Or. 87, 89. Mamang Si Mu(r)ka = Momo Si Mu(r)ka = Murka, Or. 3390, 38, 241, 243, 294. mamukur Or. 3390, 251. mamusti Or. 3390, 53, 131, 147, 199, 239, 241, 269, 292, 300, 304. Manceti see Manjeti. Mandara Or. 3390, 86, 87. Mandodari Or. 3390, 99. Mandüka Prakarana Or. 3390, 36, 182, 186, lèè, 190. Mangabal Or. 3390, 135. Mangut see Sangut. Manjeti = Manceti, Or. 3390, 214, 215. manuk see paksi, see also kedis. manuk karang -, see karang manuk. manuk puter see paksi puter. manusayadnya Or. 3390, 11, 14. mapandes tooth-filing ceremony, Or. 3390, 104. mapekik to arrange the girdle, Or. 3390, 103, 156. mapotong ayam Or. 3390, 256. Marica Or. 3390, 112, 273, 284. Marut see also Bayu, Or. 3390, 120, 233-234, 236, 238, 271, 283. Maruti see Anoman. Marut Suta see Anoman. Marutisuta see Anoman. masadah see macongnal. masatia ritual suicide, to jump into a fire, Or. 3390, 147. Mas Tilar Nagari Or. 3390, 218, 220, 221. mata eye, Or. 3390, 39. Matahasti Or. 3390, 76. Matali Or. 3390, 297. Mataram Or. 3390, 42, 44, 134, 139, 240 A. matédoh to sit, one leg crossed over the other, Or. 3390, 131, 234 A. matéken one arme pendent, Or. 3390, 50, 57, 62, 66, 81, 86, 91, 110, 111, 115, 120, 122, 133, 135, 146, 147, 155, 163-165, 167-169, 171, 176, 179, 180, 218, 221, 233, 234 A, 254, 255, 270, 272, 300. matimpah to place one knee over the other, Or. 3390, 241. matimpuh to kneel (for a woman), Or. 3390, 131, 234 A, 255. matur to speak to a higher ranking person, Or. 3390, 118, 213. Méganada = Indrajit, Or. 3390, 99, 115, 120, 236, 237, 239, 240, 267. Mégantaka Or. 3390, 218, 220-222, 223, 230. Mégantaka geguritan-, Or. 218-224, 230. meka mirror, Or. 3390, 52. Mélem see Délem. Ménaka Or. 3390, 296. Mén Ambarsari Or. 3390, 254, 255. Mén Bajra Or. 3390, 246, 249, photogr. No. 44. Mén Bajra karang -, see karang Mén Bajra, see also Mén Bajra. Ménda see also karang ménda and Mésimuka, Or. 3390, 71, 107. ménda karang see karang ménda. Mendem Sawa Upacara -, Or. 3390, 11. menék to point upwards Or. 3390, 58, 105, 120, 148, 151, 236, 239, 249, 261, 267, 271, 272, 281, 283. Mén Gelabig Or. 3390, 116. Mengut see Sangut. Mengwi Or. 3390, 44, 240 A. Ménmén I Mredah Or. 3390, 270. Mén Nyempéng Or. 3390, 214. meras cucu an offering ceremony at a burial or a cremation, Or. 3390, 11. Méru = Mahaméru, Or. 3390, 8, 78, 86, 87, 190. Mésimuka see also Ménda and karang mén da, Or. 3390, 107. mina karang -, see karang mina. minarupa luh Or. 3390, 21. minarupa muani Or. 3390, 21. Misa Kanyéri see Semar. Misa Prabangsa see Prabangsa. Mitila Or. 3390, 57. mlaspas a ritual inauguration of a shrine, a building, a well or an object, photogr. No. 40. Momo Si Mu(r)ka see Mamang Si Mu(r)ka. mong see macan. Mrajapati Or. 3390, 14.
Mredah = I Clulukan = Ordah = Wana = Wredah, Or. 3390, 33, 116, 131, 147, 161, 175, 176, 178, 237, 243, 270-273, 275, 281, 293, 295, 299, 307. mretiu karang-, see karang mretiu. Murka see Mamang Si Mu(r)ka. murti see pamurtian. musi karang-, see karang musi. Muslim Or. 3390, 37, 134, 192, 240 A, 256. muan banyak with the beak of a brown goose, Or. 3390, 3. nabah to raise one leg, Or. 3390, 32, 70, 72, 75. nabdab to touch (the chest, etc.), Or. 3390, 58, 60, 61, 63, 66-69, 74, 80, 94, 97, 99, 105, 111, 117, 118, 122-124, 151, 163, 174, 181, 240, 260, 264, 266, 278, 279, 299, 300. nabdab gelung to touch one’s diadem with one’s fingertips, Or. 3390, 30-32, 106, 109, 121, 282, 287. nabdab pinggel to touch one’s bracelets, Or. 3390, 111. nabdab urangka to support the end of the sheath of one’s kris under one’s loincloth, Or. 3390, 132, 245, 294. Nabrang = Kebo Anabhrang, Or. 3390, 212. naga = nenipi = nipi = lelipi, snake, Or. 3390, 8, 16, 37, 40, 46, 105, 116, 120, 148, 173, 184, 189, 193, 194, 204, 217, 221, 223, 231, 236, 244, 248, 249, 251, 267, 305. Nagagini Or. 3390, 40, 45. naga kang Or. 3390, 22', photogr. No. 23. naga ratna = naga wangsul, caste-cord, Or. 3390, 17. nagasari = sarpakésara, a tree, Or. 3390, 245, 293. Nagasepa Or. 3390, 306. naga wangsul see naga ratna. nakepang tangan to make a sembah, Or. 3390, 277. Nakula Or. 3390, 145, 159, 229, 303, 307. Nala = Anala, Or. 3390, 65, 108, 119, 124. Nandaka = Andaka, Or. 3390, 129, 253. Nandaka Prakarana Or. 3390, 182. Nandin Siwa’s mount, see also lembu, sampi and wresaba, Or. 3390, 86, 200. Nandini Or. 3390, 36. Nang Coték Or. 3390, 187, 190. Nang Cubék Or. 3390, 190. Nang Gludir Or. 3390, 187. Nang Goblég Or. 3390, 187. Nang Kején Or. 3390, 190. Nang Klicur Or. 3390, 147. Nang Senén = Senén, Or. 3390, 134, 187, 245. Nawang Rum Or. 3390, 131, 136, 137, 138, 197. Nawang Sasih Or. 3390, 52. ndek Or. 3390, 242. negteg linggih the coming down of the ancestors in a new shrine during a déwayad- nya, photogr. No. 40. nekeb ritual seclusion, Or. 3390, 11. nenipi see naga. nerudut to stretch one’s arm close to one’s raised knee, Or. 3390, 108. ngabén ritual cremation, Or. 3390, 51, 251. Ngabén Lanus Warga Pandé Sajagat Bali Upacara -, Or. 3390, 253. ngalelawang a barong that encircles a village or part of a village, Or. 3390, 14. ngaskara Or. 3390, 251. ngaturang to offer something, Or. 3390, 59, 83. ngeed to bend one’s knees slightly, Or. 3390, 277, 281. ngelut to put an arm around a woman, Or. 3390, 135, 181, 198, 200. nggawa to hold an object or an emblem, Or. 3390, 55, 56, 106, 107, 111, 119, 235, 282. ngilid to put one leg over a woman’s hips, Or. 3390, 135, 181, 198, 289, 303. ngliput to hold a fan during a dance per formance, Or. 3390, 50, 254. ngliput kepet to make turning movements with a fan, Or. 3390, 228. Ngrajaswala see rajaswala. ngresik to cross one leg over the other, Or. 3390, 94. ngrorasin Or. 3390, 251. ngungkab suara to speak humbly, to explain something politely, Or. 3390, 62, 64, 73, 75-78, 84, 86, 88, 90, 93, 95, 96, 98-100, 107, 108, 119, 162, 168, 231, 279, 282. ngurek to stab oneself with a kris during a temple festival, Or. 3390, 51, 252. Nila = Anila, Or. 3390, 59, 98, 106, 233-234, 238, 239, 247, 283. Nilamara = Nllambara, Or. 3390, 212. Nllambara see Nilamara. Nilotama see Lotama. Nimantaka prabu -, see Niwatakawaca. ninirupa see also winirupa and witarupa, Or. 3390, 28. nipi see naga. NItipraya Or. 3390, 300. Niwatakawaca = prabu Nimantaka = Watakawaca, Or. 3390, 38, 241, 243, 288, 289, 290, 292, 293, 294, 296, 297, 302. nuding to point with the index (and middle) finger at someone to threaten him or her, Or.
3390, 1, 30, 37, 48, 114, 118, 126, 134, 148, 170, 175, 179, 182, 218, 270, 285, 287, 294, 298, Or. 17.994, 2. Nusapati see Panji. Nusa Penida Or. 3390, 11. nyamir = nyaup, to touch one’s sash, Or. 3390, 61, 63, 64, 68, 69, 71, 73, 74, 76-78, 80, 85, 86, 88-90, 92-98, 100-102, 106, 115, 119, 157-160, 163, 164, 168, 170, 177, 179, 202, 213, 216, 240, 241, 243, 254, 261, 264, 266, 270, 272, 284, 288, 299. nyaup see nyamir. nyaup kampuh to hold one’s loincloth, Or. 3390, 42, 133, 134, 154, 197. nyempurit to touch the middle fingers with the thumb, Or. 3390, 30. nyiku to point the elbows upwards, Or. 3390, ' 10, 29, 30, 50, 56, 63, 67, 97, 101, 109, 119, 209, 216, Or. 17.994, 1. nyingjing one knee bent, one leg upwards, Or. 3390, 39, 42, 48, 106-109, 119, 120, 122-125, 133, 167, 235, 242, 247, 254, 255, 282, 287, 288, 301, Or. 17.994, 1-3. nyuh coconut-palm, Or. 3390, 33, 50, 185, 225. om Or. 3390, 58, 295, 304. orchestra Or. 3390, 41, 44, 50, 125, 228, 252. Orda see Mredah. Ordah see Mredah. oré monkey, see also bojog, lutung, Késari, Pragusa and Wanari, Or. 3390, 226-228, 239. Orta see Détya Orta. padanda male brahman priest, Or. 3390, 28, 194, 264. padanda istri female brahman priest, Or. 3390, 28. padapa tree, Or. 3390, 118. Padapa Or. 3390, 299. Padma Or. 3390, 147. padu manik a jewel at the corners of the hair line on the forehead, Or. 3390, 3. padupan incense burner, see also panga- sepan, Or. 3390, 23, 28. paduraksa temple gateway, pilaster, turret, see also gopura, Or. 3390, 3, 5, 15, 16, 18, 26, 27, 184, 236 A, photogr. Nos. 2, 6. Pajang Or. 3390, 42. pakis name of the second cushion of a pile of cushions (galeng matumpuk), Or. 3390, 104. paksi = kedis = manuk, bird, Or. 3390, 39, 114, 271, 279. paksi bayan beo, Or. 3390, 215. paksidarimuka = paksindari, Or. 3390, 16. paksi karang -, see karang paksi. paksindari see paksidarimuka. Paksi Prakarana Or. 3390, 182. paksi puter = manuk puter, a wood-pigeon, Or. 3390, 189, 202. pala-pala side-turret of a temple gateway in Buléléng, Or. 3390, 16. palangka gading name of the first cushion of a pile of cushions (galeng matumpuk), Or. 3390, 104. palinggih shrine, Or. 3390, 252. pamadatan opium pipe, Or. 3390, 161. pamangku temple priest, Or. 3390, 190, 252. pamesan indigo-dyer, Or. 3390, 11. pamrajan domestic sanctuary, Or. 3390, 184. pamurtian = murti, Or. 3390, 128, 177, 208, 222, Or. 17.994, 3. pamuspan Or. 3390, 251. Pan Ambarsari Or. 3390, 254, 255. panangkilan to make obeisance, Or. 3390, 58-66, 68, 73, 76-78, 80, 83, 85, 92, 98, 265. Panarukan Or. 3390, 23, 49, 251. Panarungan Or. 3390, 44. panasar male servant, Or. 3390, 213. Panas Ati Or. 3390, 213. pancoran spout, bathing place, Or. 3390, 143. Pandawa Or. 3390, 33, 80, 104, 129, 131, 145, 146, 150-154, 156, 158, 159, 164-166, 169-171, 176, 177, 209, 229, 303, 305, 307, Or. 17.994, 1. pandé goldsmith, Or. 3390, 9, 127, 184, 187, 190, 192, 193, 244, 253. Pandu Or. 3390, 150, 153, 176, 170. pangasepan a tray with burning incense and fragrant wood, see also padupan, Or. 3390, 184, 190, 256. pangiris chopping knife used for the prepara tion of palm-wine, Or. 3390, 182, 185. Panglulut Or. 3390, 141. pangogongan palanquin, Or. 3390, 51. pangonengan nurse, Or. 3390, 53. pangratengan sirih pounder, Or. 3390, 213. panimbugan a pot to hold indigo paint, Or. 3390, 11. paninggahan perch, Or. 3390, 239. Panji = Nusapati = Panji Malat Rasmin, Or. 3390, 42, 52, 53, 126, 132, 133, 134, 135, 136, 137, 138-140, 141, 142. Panji Malat Rasmin see Panji. Panji Sakti Or. 3390, 18, 248. Panji-type chignon, see also gelung Panji, Or. 3390, 37, 40, 42, 45, 52, 53, 133-135, 137, 139-142, 179, 190, 212, 215, 245, 297. panjroan female servant, see also condong, Or. 3390, 147, 169, 176, 221, 292, 299.
Pan Senténg Or. 3390, 147. Pan Sléndor Or. 3390, 190. panusukan a large V-shaped stick used for roasting meat, Or. 3390, 183. Papaka Or. 3390, 183, 185, 186, 189, 191. Pararaton Or. 3390, 245. parekan male servant, Or. 3390, 150, 218, 220-222. Parswa = Suparswa, Or. 3390, 102. Parta see Arjuna. Parwati see Girindraputri. pasek Or. 3390, 251. Pasiran daugther of a demang, demung or tumenggung, Or. 3390, 53. pasupati name of Arjuna’s arrow, Or. 3390, 153, 173, 290, 292. Patandakan Or. 3390, 246, 249, photogr. No. 44. patih first adviser of the king, Or. 3390, 98, 102, 103, 115, 134, 142, 153, 170, 187, 210, 211, 241, 245, 284, 294, 299, 301. Patih Bandéswarya Or. 3390, 197. Patih Bramita Or. 3390, 190. Patih Madura Or. 3390, 187. Patih Singasari Or. 3390, 142. patra pattern, floralistic pattern, see also karang patra, Or. 3390, 3, 127. patra karang-, see karang patra, patra punggel Or. 3390, 3, 24, 184, 261, photogr. Nos, 1, 3, 4. patulangan sarcophagus, Or. 3390, 253. patungkas the head downwards, upside down, Or. 3390, 25. pawongan female servant, Or. 3390, 126. pécéng buta -, see karang buta pécéng. pedang sword, Or. 3390, 37, 40, 48, 107, 132, 285. Pekalongan Or. 3390, 52. pékat parrot, Or. 3390, 300. pélét black and white spotted wood used for kris-sheaths, Or. 3390, 45, 131, 134, 137, 138, 146, 170, 173, 213, 228, 262, 263. pelita sari see also damar kurung, Or. 3390, 251. péndét Or. 3390, 14, 133, photogr. No. 40. penyu toirtoise, see also bedawang nala, em- pas, kacapa and kekua, Or. 3390, 49, 188. pepaga bier, Or. 3390, 17.994, 2. peparikan Or. 3390, 143, 144. pepengkah buta -, see buta pepengkah, see also karang pepengkah. petitis diadem, Or. 3390, 3. pipis money, coins, Or. 3390, 43, 54. Pisaca Prakarana Or. 3390, 40, 182, 190. Pitra Tarpa Kusa Pranawa Upacara -, Or. 3390, 251. pitrayadnya ceremony for the dead, Or. 3390, 42, 44, 51, 256. Ponjok Batu Or. 3390, 44. Potét Or. 3390, 42. prabali Or. 3390, 253. Prabangsa = Misa Prabangsa, Or. 3390, 42, 134, 135. Pragusa see also bojog, Késari, lutung, oré and wanari, Or. 3390, 188-190. Prahasta = Prasta, Or. 3390, 98, 106, 115, 121, 238, 240 A, 247, 299, 301. Prahéti Or. 3390, 87, 95, 96. Prajangha Or. 3390, 72. Pralambodara see Lambodara. Prambanan Or. 3390, 114. Praméswari the first wife of a king, Or. 3390, 42. Pranasih see Prinasi. Prangalas Or. 3390, 131. Prasanta Or. 3390, 135. Prasta see Prahasta. Pratadaksi see Pratapanaksi. Pratapanaksi = Pratadaksi, Or. 3390, 65, 119. Pratipéya see Pratipya. Pratipya = Pratipéya, Or. 3390, 158, 163. Pratoda griya -, see griya Pratoda. premas a female assistant of a temple priest, Or. 3390, 252. Pretiwi Or. 3390, 18. Prinasi = Pranasih, Or. 3390, 180, 181, Or. 17.994, 1, 2. ' pucak top-piece, photogr. No. 36. pucak paduraksa top-piece of a temple gateway in Buléléng, Or. 3390, 5, 16, 18, 26, photogr. Nos. 1, 3, 7, 35, 37. pudak Or. 3390, 24, 131, 136, 137, 218, 220, 222, 225, 241, 257, 292, photogr. No. 34. Pulastya Or. 3390, 90, 100. punishments of hell Or. 3390, 11, photogr. No. 11. Pun Raganata Or. 3390, 245. Punta Or. 3390, 140. Puntadaksi = Sputadaksi, Or. 3390, 108, 124. Pun Trik Or. 3390, 245. pupu a thigh ghost, Or. 3390, 173. pura temple, Or. 3390, 252. pura balé agung Or. 3390, 8, 26. pura balé banjar Dauh Tangluk Or. 3390, 20, photogr. No. 21. pura balé banjar Puri Pamecutan Or. 3390, 9, photogr. No. 9. pura béji Or. 3390, 1, 3. pura dalem Or. 3390, 1, 3, 7-11, 13, 14, 20, 23, 27, 28, 46, 246, 249, photogr. Nos. 1, 2, 11, 26, 27, 44.
pura dalem dasar Or. 3390, 18, 23, photogr. Nos. 19, 33. pura dasar Or. 3390, 14, photogr. No. 12. pura désa Or. 3390, 3, 8, 14, 18, 22, 23, 236 A, 249, 250, photogr. Nos. 2, 15, 16, 18, 22, 32, 43. pura Emas Murub Or. 3390, 8, 9, 18, 23, 26, 250, photogr. Nos. 8, 20, 28, 37, 45. pura Gedé Pamayun Or. 3390, 1. pura Intaran Or. 3390, 24. pura Manasa Or. 3390, 1, 8, 26, photogr. No. 36. pura Nataran Or. 3390, 14, 20, 23, photogr. Nos. 24, 30. pura Nataran Pancoran Or. 3390, 3, photogr. Nos. 5, 13. pura Pamayun Or. 3390, 42. pura Panataran Or. 3390, 14. pura pandé Or. 3390, 9. pura puseh Or. 3390, 1, 9. pura subak Or. 3390, 1,3,5, 23, 26, photogr. Nos. 4, 6, 7, 31, 35. pura Taman Sari Photogr. No. 40. puri palace, Or. 3390, 9, 14, 18. puri Kelodan Or. 3390, 9, 14, 18, photogr. Nos. 10, 14, 17. puri Pamecutan Or. 3390, 9, 22, 39, photogr. Nos. 9, 38. Puspacapa see Kama, puspa ijo = candi ijo, Or. 3390, 251. pustaka book-arrow, Or. 3390, 304. pusung tagel tegeh hair style of a female brahman priest, Or. 3390, 28. Putut Mosél Satua -, Or. 3390, 14. Rada Or. 3390, 32. Radén Sarka Or. 3390, 37, 298. Radéya see Kama. Ragawa see Rama. Ragotama see Rama. Rahu see Kala Rahu. Rajapala Or. 3390, 210. Rajapala geguritan -, Or. 3390, 210, 211. rajasinga one arm raised, one hand on the caste-cord, Or. 3390, 30, 65, 70, 82, 85, 102, 109, 122, 123, 133, 263, 274. rajaswala Or. 3390, 11. Rama = Ragawa = Ragotama, Or. 3390, 25, 55, 56-58, 60, 64, 79, 93, 97, 102, 105, 110-112, 117, 118, 121, 233, 237-239, 240, 246, 261, 262, 272, 273, 275-279, 281, 282, 283, 284, 286, 287. Rama Parasu Or. 3390, 130. Rama Parasu karang -, see karang Rama Parasu. Ramayana Or. 3390, 55-85, 93, 97, 98, 101-103, 105-124, 226-228, 233-240, 246, 247, 260-263, 267, 270-287. rangda karang -, see karang rangda. rangdeng Girah see also karang rangda and Girah, Or. 3390, 8, 10, 14. rangga a court official, Or. 3390, 212. Rangga Lawé = Rangga Wenang, Or. 3390, 134, 212. Rangga Lawé kidung -, Or. 3390, 212, 244, 245. Rangga Titah Jiwa Or. 3390, 139, 140. Rangga Wenang see Rangga Lawé. Rangkésari see Langkésari. Rasadriya Or. 3390, 219. rata chariot. Or. 3390, 31, 32, 171, 173, 174, 179. Ratih Or. 3390, 198. Ratna Duita Or. 3390, 244. Ratnaningrat Or. 3390, 52, 53. Ratna Suani Or. 3390, 244. Rawana = Danawa Raja = Dasagriwa = Dasamuka = Dasanana = Dasasirsa = Dasasya = Dasawaktra, Or. 3390, 47, 48, 49, 55, 60, 64, 71, 91, 93, 97-103, 106-108, 112, 114, 115, 117, 118, 119-121, 122, 124, 227, 228, 235, 236, 237, 239, 240, 250, 260, 261, 262-266, 267, 269, 273, 274, 275, 280, 281, 284, 285, 286, 287, 299, 301. Rawé see Rawéya. Rawéya = Rawé, Or. 3390, 300. rejang Or. 3390, 14, 239, photogr. No. 41. rejang rénténg Or. 3390, 14, 239. réong Or. 3390, 41, 44, 252. rerangut karang -, see karang rerangut. rerégék Or. 3390, 7. resi Or. 3390, 264, 286. Resyamuka Or. 3390, 105. Rimbi see Arimbi. Rina = Arina, Or. 3390, 70. ron-ron ornaments behind the ear, Or. 3390, 131. ru arrow, Or. 3390, 39, 186, 190, 222, 223. Rudra = Ludra, see also karang Rudra, Or. 3390, 99, 248, 295. Rudra karang -, see karang Rudra. rumbing a triangular figure on a cap, Or. 3390, 10. rupa karang -, see karang rupa. rupanala karang -, see karang rupanala. saab a cover, Or. 3390, 116, 136, 180. Sada Siwa see also Iswara and Siwa, Or. 3390, 181. Sadéwa Or. 3390, 145, 159, 209, Or. 17.994, 2.
saé a Chinese lion, see also karang saé, Or. 3390, 18. saé karang -, see karang saé. Sakuni Or. 3390, 153, 154, 170, 177, 305, 306. salah rupa Or. 3390, 6, 27. Salya = prabu Madra, Or. 3390, 104, 146, 149, 154, 164, 168, 170, 172, 173, 302, 303, 304, 305, 307. Salya geguritan -, Or. 3390, 104, 149, 172. Samba Or. 3390, 18, 259. Sambrani Or. 3390, 215. samong see macan. sampan a small boat, Or. 3390, 298. Sampati Or. 3390 , 72, 271. sampi cow, see also lembu, Nandin and wresaba, Or. 3390, 196. sanan empeg see also Upacara Sanan Empeg, Or. 3390, 11. Sanga Or. 3390, 158. sanggah carukcuk = sanggah cukcuk, Or. 3390, 256. sanggah cukcuk see sanggah carukcuk. sanggah tawang Or. 3390, 256. sanggah turus lumbung Or. 3390, 256. sanggah tutuan Or. 3390, 256. Sanggit Or. 3390, 52, 53. Sang Hyang see Sang Hyang Dedari. Sang Hyang Dedari see also Dedari and karang dedari, Or. 3390, 228. Sangka see Wirasangka. Sangsit Or. 3390, 1, 3, 4, 11, photogr. No. 11. Sangut = Gulu Dawa = Mangut = Mengut = Sengut, Or. 3390, 115, 146, 150, 161, 170, 172, 175, 178, 237, 260, 262, 267, 299, 306. Sanjaya Or. 3390, 150. Sanur Or. 3390, 136-138, 149, 182, 203, 205, 206, 213, 225, 257-266, 289. Saraba Or. 3390, 123, 237. Saradipa Or. 3390, 127. Saraswati Or. 3390, 121. saratalpa a bed of arrows, Or. 3390, 145. Sara Ulan Or. 3390, 37, 45, 298. saron a musical instrument, Or. 3390, 50. sarpa see naga, see also karang sarpa. sarpa karang -, see karang sarpa. sarpakésari see nagasari. Sarpamuka Or. 3390, 82, 109. Sasak Or. 3390, 41, 240 A. Satabali Or. 3390, 77. saté Or. 3390, 188. Satyaki Or. 3390, 150, 155, 158, 167, 177. Satyasrawa Or. 3390, 168. Satyawati Or. 3390, 104, 131, 138, 149, 172, 303. Sayongsarba = Swayampraba = Swayam- prabha, Or. 3390, 116, 271. Sedana Or. 3390, 43. segara ocean, Or. 3390, 39, 49. Sekar Kancana Or. 3390, 218, 220, 221, 222. sekar taji a pointed ornament, Or. 3390, 3. sekar taji gunung cockspur ornament, Or. 3390, 8, 12, 14, 15, 17, 19, 24, 30, 144. Sélog see also cicing, Or. 3390, 187. semal squirrel, Or. 3390, 25, 225, 233, 241. Semar = Misa Kanyéri, Or. 3390, 42, 53, 126, 132, 133, 135. semayut a ribbon crossed about someone’s chest, Or. 3390, 10. Sempidi Or. 3390, 8, 9, 14, 18, 23, 26, 250, photogr. Nos. 8, 20, 28, 37, 45. sendin adegan a particular beam in a pavilion, Or. 3390, 18. sendin tunggeh a particular beam in a pavilion, Or. 3390, 18. Senén see Nang Senén. Sengut see Sangut. Sentul Or. 3390, 218, 219, 222. senuk tapir, see also karang senuk, Or. 3390, 4, 15. senuk karang -, see karang senuk. Sénya Or. 3390, 171, 174. sepit urang a double chignon, Or. 3390, 159, 164, 166, 167, 174, 181, 198, 199, 202, 208, 210. sesangi Or. 3390, 14. sesari banten money in offerings presented to the gods and demons, Or. 3390, 43. sesemin curly pattern, ‘curly hair’, Or. 3390, 3. sesimping a sleeveless jacket, Or. 3390, 190. séwambara ‘self choice marriage’, Or. 3390, 57, 169. Sibang Gedé Or. 3390, 18, 23, photogr. Nos. 19, 33. Sidan Or. 3390, 11. Sidapaksa Or. 3390, 131, 229. Sikandi Or. 3390, 145. Sila Karang Or. 3390, 23, photogr. Nos. 25, 29. Silakrama see Sinduraja. simbar stag-horn fern, Or. 3390, 8, 12, 15, 17, 19, 23, 24, 37, 48, 52, 128, 129, 140-142, 170, 180, 194, 245. Sinabun Or. 3390, 3, 8, 9, 11, 22, 23, 26, photogr. Nos. 1, 26, 32, 36. Sinduraja = Silakrama, Or. 3390, 131, 229. singa lion, Or. 3390, 9, 14, 18, 295.
singa ambara a winged lion, Or. 3390, 9, 18, 217, 253, photogr. Nos. 19, 20. singa barong see singa barwang. singa barwang a winged lion, Or. 3390, 9, 217, 253. singa bréng a kind of lion, Or. 3390, 253. singa gadarba see also gadarba, Or. 3390, 6, 217. Singaraja Or. 3390, 1,11, 18, 26, 29-35, 37, 39, 40-54, 106-109, 117, 119-127, 132, 133, 143, 144, 180, 181, 183-186, 188, 191-196, 198, 199, 207-211, 218-224, 242, 247, 248, 251-256, 282-288, 298, 302-307, Or. 17.994, 1, 2. singasana a lion-throne, Or. 3390, 169. Singasari Or. 3390, 134, 136, 142. Singgala Or. 3390, 301. Sita Or. 3390, 55, 57, 60, 64, 67, 77, 93, 105, 112, 114, 115, 116, 117, 118, 121, 122, 233-234, 234 A, 261-263, 270, 271, 273, 274, 275, 277, 278, 279, 280, 281, 283, 285, 286, 287. Siti Bagedab see Bragedab. Sitisundari Or. 3390, 136, 147, 152. Siwa see also Iswara and Sada Siwa, Or. 3390, 14, 69, 85, 86, 87, 114, 128, 180, 181, 198, 199, 200, 207, 208, 209, 231, 241, 248, 292, 294, 295. Siwamurti Or. 3390, 208. siwopakarana paraphernalia of a Siwaite priest, Or. 3390, 300. sléndang Or. 3390, 52. sliksik Twalén’s penis-arrow, Or. 3390, 268, 305. slimpet a woven sash crossed over the chest, Or. 3390, 39, 140, 142, 287. Smara see Kama. Smaradahana Or. 3390, 198, 199, 207, 208. Soka Or. 3390, 7, 219, 299. Somadatta Or. 3390, 155. songkét Or. 3390, 133, 242. sorot buta -, see buta sorot. Sputadaksi see Puntadaksi. Srenggi see also karang Srenggi, Or. 3390, 128. Srenggi karang see karang Srenggi. Sri Or. 3390, 43. Sri Tanjung = Istri Tanjung, Or. 3390, 131. Sri Tanjung kidung -, Or. 3390, 131, 229, 230. Sri Walka = Yajnawalkya, Or. 3390, 300. suah buta -, see buta suah. Subadra Or. 3390, 165. Subali see Bali. subeng plugs in the earlobes, Or. 3390, 7, 16, 131, 132. suci an offering to the gods, Or. 3390, 256. Sudamala kidung-, Or. 3390, 1, 7, 209, 256, Or. 17.994, 2. Sudarpana Or. 3390, 136. Sugandika Or. 3390, 131, 138. Sugriwa see also karang kapindra, Or. 3390, 59, 61-63, 68, 73, 77, 79, 105, 110, 111, 113, 128, 237, 272, 276, 282. Sukasada Or. 3390, 3, 4, 13, 248. Sukasrana Or. 3390, 115. Sukawana Or. 3390, 44. Sukésa Or. 3390, 47, 86, 87, 88, 89, 92, 96. suku a foot or leg ghost, Or. 3390, 39, 150. suling flute, Or. 3390, 135, 228. Sumali Or. 3390, 47, 87, 91, 92, 98, 100, 102, 103, 106, 119. Sumitra Or. 3390, 56. Sunda kidung -, Or. 3390, 251. sungsang buta see buta sungsang, see also karang buta sungsang. Suparswa see Parswa. Supraba = dedari kéndran = kéndran, Or. 3390, 218, 221, 222, 228, 230, 241, 288, 289, 291, 292, 293, 296. Supratika Or. 3390, 201-203. Supta Pranawa Pamrasan Or. 3390, 251. Surabaya Or. 3390, 3, 52. Surada Or. 3390, 182. surang Or. 3390, 39. Surapati see Indra. Surata Or. 3390, 257. Surpanaka Or. 3390, 47, 91, 100, 273, 286, 287. surya the sun, Or. 3390, 39. Surya the god of the Sun, Or. 3390, 8, 20, 153. Suryatmaja see Karna. Suséna Or. 3390, 67. suung a lock of hair on the forehead of young boys and girls, Or. 3390, 150. Swatama see Aswatama. Swayampraba see Sayongsarba. Swayamprabha see Sayongsarba. Swéta Or. 3390, 158, 164, 158. Swikarna Or. 3390, 177. Swirada see Wirada. Tabanan Or. 3390, 7, 11, 18, 22, 23, 44, 104, 224, 242, 251, photogr. Nos. 23, 38. tadapaksi a particular beam in a pavilion, Or. 3390, 18. tamaja karang -, see karang tamaja. tambéng bat, Or. 3390, 54. Tambrapétra Or. 3390, 131. tampak sirang legs spread, knees slightly bent, Or. 3390, 10, 32, 35, 44, 48, 50, 106, 120, 121, 152, 153, 155, 162, 163, 168, 208, 221, 242, 243, 282, Or. 17.994, 1.
tangan-tangan a hand or arm ghost, see also buja, Or. 3390, 39, 255. tangi tree, Or. 3390, 135. Tantri Dyah -, Or. 3390, 197. Tantri kidung -, Or. 3390, 40, 182, 188-191. Tantri Demung kidung -, Or. 3390, 184, 186, 187, 190, 192, 193, 244. Tantri Kadiri kidung -, Or. 3390, 190. Tantri Kamandaka Or. 3390, 40, 129, 182-184, 186, 187, 189-195, 197, 244. tapel mask, Or. 3390, 125. tapel karang -, see karang tapel. Tara Or. 3390, 60, 79, 276. Tegaltamu Or. 3390, 23. tégog see jégog. Téjakula Or. 3390, 8. teken a priest’s walking stick, Or. 3390, 194, 260, 262. tekes kerchief, Or. 3390, 30, 175, 178, 187, 301. témpék winnow, Or. 3390, 52. tendas head ghost, Or. 3390, 173, 255. Tenganan Pagringsingan Or. 3390, 11. Tenggala the Plow, Orion, Or. 3390, 128. térong buta -, see buta térong. tetagelan asymmetric chignon, Or. 3390, 52, 53, 126, 165, 184, 221, 234 A, 251, 254, 255, 281. tetopong cap, European hat, Or. 3390, 41, 125, 256. Tiksnarengga Or. 3390, 135. Tiksnawati Or. 3390, 135. Tilotama Or. 3390, 218, 228, 291. Tlaga see griya Tlaga and Ida Madé Tlaga. tledu karang -, see karang tledu. Tolé Or. 3390, 306. tonya ghost, Or. 17.994, 2. topéng masked theatre, Or. 3390, 255. tranggana a constellation, Or. 3390, 128. tranggana karang -, see karang tranggana. trewélu karang -, see karang trewélu. Trijata Or. 3390, 261, 263, 281. trisula trident, Or. 3390, 174. triwangsa Or. 3390, 18, 55, 104. Trnawindu Or. 3390, 90, 100. Tua Daya Or. 3390, 213. tuak palm-wine, Or. 3390, 182, 185, 225. Tuan Déwi crownprincess, see also Ambarsari and Candra Kirana, Or. 3390, 126, 219, 221, 224. tugu offering niche, Or. 3390, 244, 252. tulup blow-pipe, Or. 3390, 267. Tumapel Or. 3390, 212, 245. tumbak lance, Or. 3390, 42, 219, 239, 242, 252, 302. tumenggung a court functionary, Or. 3390, 53, 134, 187, 210. tunggul standard, Or. 3390, 190, 297. Turas Or. 3390, 42, 126, 132, 133, 135. tuun to point downwards, Or. 3390, 58, 105, 148, 151, 249, 267, 271, 272, 281, 305. Twalén Or. 3390, 33, 43, 111, 112, 131, 157, 227, 237, 238, 240, 241, 259, 268, 272, 273, 276, 277, 292, 294, 295, 299, 300, 304-307. Ubud Or. 3390, 9, 14, 18, photogr. Nos. 10, 14, 17. udang crab, Or. 3390, 195. udang karang -, see karang udang. udeng Or. 3390, 306. Udyogaparwa Or. 3390, 216. uek karang -, see karang uek. Ujayini Or. 3390, 129. ulap-ulap to look concentratedly at something, a waving gesture, Or. 3390, 29, 31, 108, 111, 116, 117, 132, 235, 243, 284, 290, 305, Or. 17.994, 1. uled karang-, see karang uled. ulu Or. 3390, 150. Uma see Girindraputri. umbul-umbul pennant, Or. 3390, 51, 190, 240 A, 252, 297. Ungu Or. 3390, 115. Upacara Nekeb see also nekeb, Or. 3390, 11. Upacara Sanan Empeg Or. 3390, 11. Utara Or. 3390, 164. Utari Or. 3390, 147. Uttarakanda Or. 3390, 47-49, 55, 86, 87-89, 90, 91,'93-100, 102, 103, 119, 121, 264-266, 269. vidyadharl nymph, see also Dedari, Or. 3390, 81. wadah cremation tower, Or. 3390, 51. Waisrawana see Wésrawana. Walacit Or. 3390, 182. Walakilya see Walikilya. Walik reversed, for a spiral, Or. 3390, 3. Walikilya = Walakilya, Or. 3390, 201. Wana see also Mredah, Or. 3390, 33, 241. wanari see also bojog, Késari, lutung, oré and Pragusa, Or. 3390, 183, 188, 189, 191, 201. wangbang see bangbang. Wanokling Or. 3390, 210, 211. warak rhinoceros, Or. 3390, 14. waringin a tree, see also garoda, Or. 3390, 146, 305, 307. Wasista Or. 3390, 36. Watakawaca see Niwatakawaca.
watek class, Or. 3390, 39. wayang Or. 3390, 21, 23, 43, 44, 82, 109, 116, 143, 144, 159, 161, 167, 208, 213, 216, 280, 281, 292, 306. wesi urani the sharp pointed ornaments of Anoman and Bima’s jewelry, Or. 3390, 105. Wésrawa = Wisrawa, Or. 3390, 47, 90, 91, 93, 94, 97, 100, 121. Wesrawana = Danés wara = Waisrawana, Or. 3390, 47, 48, 100. wésya Or. 3390, 11, 53, 251, 253. wewatekan dating table, see also candra sangkala, Or. 3390, 39, photogr. No. 38. Wibawasu see Bawasu. Wibisana = Bisana, Or. 3390, 47, 91, 97, 100, 121, 237, 238, 239, 240, 261. Widi Or, 3390, 14. Widyutkésa Or. 3390, 86. wijayadanuh Kama’s triumphant bow, Or. 3390, 173, 174. Wijaya see Harsawijaya. wilis greenish, see also karang buta wilis, Or. 3390, 19. Wilmana Or. 3390, 114. wimana Or. 3390, 114. Winata Garuda’s mother, Or. 3390, 64, 204, 206. Winata a monkey, Or. 3390, 64. Winateya see Garuda. winirupa see also ninirupa and witarupa, Or. 3390, 28. Wirada = Swirada, Or. 3390, 286. Wirasangka = Sankga, Or. 3390, 164, 166. Wirata Or. 3390, 164, 166. Wisnu Or. 3390, 3, 8, 18, 20, 33, 130, 171, 177, 198, 208, 216, 248, 256, 259. Wisnumurti Or. 3390, 177, 208. Wisrawa see Wésrawa. Wiswakarma Or. 3390, 65. Wiswamitra Or. 3390, 36. witarupa see also ninirupa and winirupa, Or. 3390, 28. wong man, Or. 3390, 39. Wredah see Mredah. Wrekodara see Bima. wresaba a bull, 85. Wresaba a monkey, Or. 3390, 85, 123, 237. Wresni Or. 3390, 167. wuku Or. 3390, 51. Yadawa Or. 3390, 167, 169. Yajnawalkya see Sri Walka. Yajnyawati Or. 3390, 18, 259. Yama see also karang Yama, Or. 3390, 128, 248. Yama karang -, see karang Yama. Yudistira = Darmatanaya = Darmawangsa, Or. 3390, 33, 145, 151, 165, 178, 303, 304, 307, Or. 17.994, 1. yuyu crab, see also karang yuyu, Or. 3390, 143, 194, 195, 249, photogr. Nos, 43, 44. yuyu karang -, see karang yuyu.


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