MEANING AND FUCTION OF WAYANG KAMASAN PAINTING AT TEMPL IN KLUNGKUNG REGENCY BALI A HERMENEUTIC STUDY

• Main Author: Bambang Oka Sudira ( Nim 270 99 007), Made
• Format: Theses
• Language: Indonesia
• Online Access: https://digilib.itb.ac.id/gdl/view/8501
• Institution: Institut Teknologi Bandung

Abstract: <br /> <br /> <br /> <br /> <br /> <br /> Wayang Kamasan painting is one of the most important classical art in Bali culture. This kind of art cant be separated from religius value, especially ritual value. There are a lot of aspects dealing with wayang Kamasan painting like philosophy, spiritual, technical, economy, social and culture. Among them, spiritual cultural is a dominant aspect at wayang Kamasan painting. <br /> <br /> <br /> <br /> <br /> <br /> The focus of this research is at meaning and function aspects. To be able to understand those function and meaning, this research is using hermeneutic method which based on texts like writing text from lontar leaves, visual text from paintings and verbal text from opinion of various artists, culture observers and spiritualists. <br /> <br /> <br /> <br /> <br /> <br /> At Klungkung temple in Bali, there are hung two kinds of wayang Kamasan painting, named Ider-ider and Parba. Ider-ider is hung under the roof around the temple and Parba is put on the wall of it. From both kinds of wayang painting, the results of this research are (1) Wayang Kamasan painting meaning dealing with ritual activity is a source of knowledge or education and guiding life. Whereas its function is to remember ancesters merit, presenting god and goddess, understanding religion thought and ritual decoration, etc, (2) the way of wayang Kamasan painting is begun with dividing drawing plane, then make forms like puppet figures, stonelike, treelike, cloudlike (awon-awon), animals, etc. The way of drawing those forms above is based on understanding from literature text (lontar leaves), (3) the way of reading Ider-ider is begun from left to right while Parba is different like showed by Bhima Swarga story which is begun from bottom left to right, middle left to right and upper left to right. Another Parba sample is Pemutaran Mandara Gin story which is begun from the center to left and right parallely, then from the left side continue to bottom part and up to the top before famaly back to the center. Sinta Labuh Geni story is begun from bottom left figure to right, then upper left to right and finally ended on the middle of bottom part. Garuda is Looking for Living Water story is begun from center to left, then go down and turn right countering clockwise. The way of reading wayang painting from left to right is called Purwadaksina. Kamasan wayang painting has various symbols, meaning, function of figures, animals, trees, stonelike, water, etc. Even every move is meaningful. The way of spotting an important-unimportant figures, good-bad, old-young, man-woman, loose-win, who come earlier-who come later, flash-back, strong-weak, king-knight-common people, guest-owner, outsider-insider are also found in every srakenan (scene of a story). <br />