42

are not often found in manuscripts. Some times one sees drawings or pictures of well- known personages, such as Sëmar, and of objects, such as Ali’s two-pointed sword, which are wholly composed of arabesques, forming an Arabic pious phrase or a Kur’an verse. Such pictures and drawings were usually made to serve as mural decorations. Occasionally boards ornamented with ara besque wood-carving representing such fi gures were suspended on the walls of rooms (see Dr K. C. Crucq, “Houtsnijwerk met Inscripties in den Kraton Kasëpoehan the Cheribon”, Djawa, vol. 12, 1932). The General Index contains references to relevant codexes under the catchword schematic figures. 60.011, Plate no 6, Ponca Bhüta mwan, Panca Tirtha, LOr 9663, copy of a Javanese-Bali- nese Kirtya cod. no 1183, Tatwa Wisésa, p. 7, see Synopsis 11.310. The original is a palm- leaf-manuscript, late nineteenth century. The caption is: Né Panca Bhüta mwat} Panca Tirtha: This is the Quintet of the Bhüta sphere (Pritiwi: Earth) and the Quintet of the Tirtha sphere (Akasa: Sky). The five Balinese characters in the square of the Earth are (clockwise): Sa Ba Ta A, and I in the centre, the initial letters of Sadyojata, Wamadéwa, Tatpurusa, Aghora and Isana, five aspects of siwa. The five characters in the square of the Sky constitute the formula Nama siwaya: Homage to Siwa. Both quintets are mentioned repeat edly in Old Javanese and Javanese-Balinese speculative Siwaitic texts. Their conjunction in the Balinese drawing refers to the corres pondence of macrocosmos and microcosmos, the material and the spiritual sphere, etc.

60.012, Plate no 7, Muhammad’s Name, LOr 7708, book of notes of the Chief Paqhulu of Tasik Malaya, Legacy Snouck Hurgronje, p. 53, see Synopsis 23.800. The original drawing is 16,5 x 10,5 cm. Late nineteenth century. Arabic script. The four letters of the name Muhammad, M, H, M, D, in the centre of the drawing, are connected, one the one hand (above) with head, breast, navel and feet of the human body, on the other hand (below) with God’s Essence, His Qualities, His Names and His Works, and with the four stages of man’s way to God: Insight, Understanding, mystic practice and religious Law. The captions are (above), from right to left: c Ibarat sirah, c Ibarat dada, c Ibarat wudël, c Ibarat suku, and (below), from right to left: Ma c rifat Dhatu ’llah, Haklkat Sifatu ’llah, Tarlkat Asma’u ’llah, SarPat APalu ’llah. 60.013, Plate no 8, Dérah Wujüd Tuiygal, LOr 7453, copy of a book of notes from Banduq, Legacy Snouck Hurgronje, p. 39, see Synopsis 14.640. The original page is 15,5 x 14 cm. Late nineteenth century. Vo calized Arabic script. The text has : Ikilah dérah Wujud Tut}gal, lamun tiniqalan saki«3 buntuté wujud tëlu, lamun tinirjalan sakiij sirahé wujud tuqgal, lan kaya maijkono kita iki lamun tiniqalan saldi) zahiré akèh-akèh wujudé lamun sakii} hakïkaté wujud tiujgal, kawula kalawan Gusti. Translation: This is the diagram Wujud Tut}gal, if it is observed from the side of the tails it is a triad, if it is observed from the side of the head it is One. So are we: if we are observed from the outside we are