Timbul Subagya
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Journal : Gelar : Jurnal Seni Budaya

NILAI-NILAI ESTETIS BENTUK WAYANG KULIT Timbul Subagya
Gelar : Jurnal Seni Budaya Vol 11, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (232.654 KB) | DOI: 10.33153/glr.v11i2.1483

Abstract

The history of wayang (Javanese leather puppets) had through a long process and was influencedby many religions and beliefs. At the beginning, the function of wayang was as a worship tool to theancestral spirits or Hyang, and developed into attraction show today. Leather wayang was drawnen face and converted became en trios quart. Now it became en profil. The revision and thedevelopment of wayang’s forms stillation is synchronized with the social conditions of the society,from their beliefs in animism, Hinduism, and Islamic. The depictions of puppet forms that existtoday are influenced by Islamic sculpture and technical demands to perform the show on a screen.Depictions of leather wayang in en profile forms were done to avoid realistic human portrayal thatis prohibited in Islam.
LAKON CARANGAN PADA PEDALANGAN SUNDA Timbul Subagya
Gelar : Jurnal Seni Budaya Vol 7, No 2 (2009)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (4078.18 KB) | DOI: 10.33153/glr.v7i2.1293

Abstract

The writing entitled lakon carangan is a descriptive review of Sundanese puppetry discussing how lakon carangan was created and the structure of it. The result of the analysis shows that lakon carangan came into existence because it was only standard stories of Mahabarata and Ramayana which were presented. To avoid boredom, puppeteers created new stories which were still based on the standard stories. The new stories are called lakon carangan. The structure of Sundanese lakon carangan is different from Javanese lakon carangan. Key words : wayang, lakon carangan, structureÂ