Wayang beber relies on scroll-painted presentations of the stories being told. Wayang glass painting depiction of Bharatayudha battle Legends about the origins of the وياڠ گولك attribute their invention to the Muslim saint Wali Sunan Kudus, who used the medium to proselytize Muslim values. These stories are still widely performed in Kabumen, Tegal, and Jepara as وياڠ گولك مناك, and in Cirebon, wayang golek cepak. This is home to some of the oldest Muslim kingdoms in Java and it is likely that the وياڠ گولك grew in popularity عبر رواية قصص wayang menak المسماة الأمير حمزة، عم الرسول محمد. Some of the oldest traditions of وياڠ گولك are from the north coast of Java in what is called the pasisir region. Little is known for certain about the history of وياڠ گولك, but scholars have speculated that it most likely originated in China and arrived in Java sometime in the 17th century. There is no true contemporary puppet shadow artwork in either China or India that has the sophistication, depth and creativity expressed in wayang. Regardless of its origins, states Brandon, wayang developed and matured into a Javanese phenomenon. Chinese origin: the least popular theory, it is based on the evidence that puppet arts based on animism existed in ancient China (1000 CE) and it may have been the "place of origin of all Asian shadow theatre", according to Brandon.This suggests, state some scholars such as Hazeu, that wayang has indigenous roots. Similarly, some of the other technical terms used in the wayang kulit found in Java and Bali are based on local languages, even when the play overlaps with Buddhist or Hindu mythologies. Indigenous origin: the word wayang is not found in Indian languages, but is Javanese.Jivan Pani states that wayang developed from two arts of Odisha in Eastern India, the Ravana Chhaya puppet theatre and the Chhau dance. Indian mythologies and characters from the Hindu epics feature in many of the major plays performed, all of which suggest possible Indian origins, or at least an influence in the pre-Islamic period of Indonesian history. Some characters such as the Vidusaka in Sanskrit drama and Semar in wayang are very similar. Further, the coastal region of Southern India ( Andhra Pradesh and Tamil Nadu) which most interacted with Indonesian islands has had an intricate, leather-based puppet art called tholu bommalata, which shares many elements with wayang. Puppet arts and dramatic plays have been documented in ancient Indian texts, dated to the last centuries of the 1st millennium BCE and the early centuries of the common era. Indian origin: this is the generally favored theory, since Hinduism and Buddhism arrived on the Indonesian islands in the early centuries of the 1st millennium, and along with theology, the peoples of Indonesia and Indian subcontinent exchanged culture, architecture and traded goods. The origins of wayang are unclear, and three competing theories have been proposed: The earliest evidence is from the late 1st millennium CE, in medieval-era texts and archeological sites. There is no evidence that wayang existed in ancient Indonesia. Wayang is the traditional shadow puppet theatre in Indonesia and other Southeast Asian countries. Wayang shadow-puppet ( Bali, early 20th century)
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