NOTES ON THE ILLUSTRATIONS

XXII

forefinger is improper) and the keeping of the left hand spread before the upper legs are characteristic for polite behaviour. The neatly folded kerchief knotted in the neck with outspread lappets, and the double breasted jacket closing with one button near the left shoulder are in the Yogyakarta fashion of the first quart of the 20th cen tury. The Surakarta fashion was different. See the note on plate 2. Plate 4, from LOr 12.509, Bayèn, coll. Moens, Yogyakarta. The objects wich are placed with the baby under the cage and the incantation (called mèl) which is said by the old woman are in detail recorded in the Javanese text. No mention is made in this report, as is done in descriptions from other sources, that the baby can give a prognosti cation of his future lot in life by touching one of the objects laid out under the cage which is connected with a profession, e.g. the leaf of paper with the writing; he will be a scholar. See the note on plate 2. Plates 5 and 6, borrowed from LOr 12.577, Bima tales, coll. Moens, Yogyakarta; polychrome crayon drawings in the tradi tional Javanese wayag style. Batara Guru, the Master of the heavenly realm is always represented with immovable arms in the shape of a plate or an icon which he entirely fills. In a way Batara Guru’s icon resembles the magic image carved on the wooden board in the centre of the picture. In the Javanese text it is explained that the de moniacal head on the tlawitjan Busur is the head of Kala Witarjka, the king of the rice pests who was vanquished and decapitated by batara Lodra. The top of the tlawitjan

board slants a little to one side; it seems to have a small crest. The tlawitjan has this peculiarity in common with thegunutjan or kayon, the central figure of the wayag theatre, and also with an old variety of tombstones, maésans, found in some dis tricts of Java in old graveyards. The criss in the tlawitjan is kyahi Bantèq, Bima’s weapon. Bima was given the magic board by the gods in order to help him at the time he was planting the këtan gundil rice, a variety of rice which should be planted by the ancestor-to-be of the kings of Java. The tlawitjan Busur was carried in a procession through the rice fields by Bima’s wife Dèwi Arimbi, who was of chthonic descent. Sev eral magic weapons associated with Bima and an incense burner were carried by his sons. The function of a culture hero attri buted to Bima in this series of popular wayarj tales from the Yogyakarta country side is emphasized in no uncertain manner. Busur suggests Basur, v. Hooykaas, 1978 (Bali). Plate 7, from LOr 12.536, Exorcism, coll. Moens, Yogyakarta. The text contains sev eral Javanese incantations, called mèl, be longing to phases of the arrangement of the exorcism. The function of the spirit, called danyarj Kumara Gaglag, who is attending the ceremony, is not clearly explained in the text. The Javanese incantation song called kidurj Artati, used in this exorcism, is a well-known kidurj recorded in numer ous manuscripts (see Lit. of Java, III, Gen eral Index, p. 176). Artati is also used in prosody as a name of the macapat metre Datjdaq Gula (see Lit. of Java, I, p. 21). The wooden wayaq lamp, called dalutj, is