puppet
| Nom de l'objet : | puppet |
| Type de l'objet : | puppet |
| Catégorie de l'objet : | REPRESENTATIONS |
| Matériaux : | adhesive, white glue ? chemical, lye paint wood |
| Technique de fabrication : | carved glued painted |
| Numéro de catalogue : | Ib274 |
| Province d'origine : | Java |
| Pays d'origine : | Indonesia |
| Continent d'origine : | Asia |
| Autres données géographiques : | Island of Java |
| Culture : | Western Indonesia |
| Secteur géo-culturel : | Western Indonesia |
| Contexte culturel : | Theatrical performance. |
| Description : | Flat puppet has smooth black hair and a large ear. The forehead extends into the snubbed nose, resembling that of an elephant. Brown face with large red lips and one white tooth. Slanting eyes with red iris and black pupil are cast in a upward gaze. Curvi |
| Fonctions : | Javanese puppet theatre as an art form probably developed by the 11th century. The two-dimensional wooden wayang klikit puppets of Javanese shadow playss preceded the later and less sacred wayang golek puppets which appeared during the 16th century. Originally the plays depicted Javanese mythology, but after the Indian conquest of Java the Hindu epics, Ramayana and Mahabharata, were incorporated into the cycles, which comprise about 200 plays. The wayang klikit shadow plays form is thought to have originated in southern India; the wayang golek puppets are indigenous adaptations. Although the ' wayang kulit puppets are the older form, many symbolic elements remain the same. The shadow playss are performed by a dalang (puppet master) who is more formally a priest. An individual or group requests a dalang to celebrate important occasions. The performances often last all night and are generally presented in three acts, with vocal and instrumental accompaniment. The individual plays vary widely in detail but usually involve conflict between good and evil. They serve a moral and religious purpose, and more recently, one of political commentary. Each puppet's character is represented by its appearance and placement onstage; protagonists with strong elements of good are placed to the right, antagonists of violent or evil nature to the left.Semar, and his sons the punakawan, appear in the Mahabharata cycle which revolves around the conflict between the families Pandawa and Kurawa. They, like the ogres, are indigenous adaptations of the Indian epics. The ogres (buta) have a great variety of names which depend upon the play in which they appear and the inclination of the puppet-master. Buta puppets are generally not tourist items. |
| Hauteur : | 49 |
| Largeur : | 23 |
| Profondeur : | 3.5 |
| Unité de mesure linéaire : | cm |
| Signification iconographique : | The smooth black hair, slanting eye, extended mouth, and protruding belly suggests that this figure is Semar. However, the nose bridge differs and the chest is not bare. The hand, with the projecting thumb, could be Semar as a hermit or priest. The variations could place the puppet in the demon (buta) category. Semar is the father of the Punakawan; Gareng, Petruk , and Bagong. He is believed to be an incarnation of the god ismayu, protector of the island of Java. These four characters appear with the Pandawa and are Javanese additions to the Mahabharata epic. The butas are ogre giants; they are the evil helpers of the Kurawa brothers. |
| Département : | Museum of Anthropology |
| Établissement : |
UBC Museum of Anthropology
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| Ville de l'établissement : | Vancouver |
| Province de l'établissement : | British Columbia |
| Enregistrement de l'institution : | Fiche complète provenant du site du musée |
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