MADE TO ORDER
IMAGES OF NORTH BALINESE ART OBJECTS
OF THE LATE 19TH AND EARLY 20TH CENTURY
IN DUTCH COLLECTIONS
By HEDI I.R. HINZLER, LEIDEN UNIVERSITY
JULY 2009
--------------------------------------------------------
There are three main collections of old wayang kulit figures. The Dutch linguist Herman Neubronner van der Tuuk collected figures when he lived in Singaraja between 1870 and 1894. He wanted to used them for his Kawi-Balinese-Dutch Dictionary which was printed in four volumes between 1879 and 1912. He refers to the wayang puppets in his dictionary. After Van der Tuuk’s death, his notes, books and collections were given to the Leiden University Library. The wayang figures were added to the collection of the Municipal Museum of Ethnology in Leiden (Nos. RMV 2601)
The second collection was bought for the Colonial Exhibition held in Amsterdam in 1883. The figures are kept in the Municipal Museum of Ethnology in Leiden (Nos. RMV 370).
The third group of figures was ordered by a civil servant by the name Heycop. They were shown at the Colonial Exposition in Paris in 1893. They are also kept in the Museum of Ethnology in Leiden (Nos. RMV 933).
WAYANG KULIT DALANG BANJAR
A set of wayang figures was bought from ‘’the dalang in Banjar’’ by C.M. Pleyte, probably in 18998 or 1899. They were exhibited at the World Exhibition in Paris in 1900. A plate, No. XXIV, with seven puppets was published in the large album ‘’Selected Specimens of Ancient and Modern Art and Handwork from the Dutch Archipelago’’, The Hague, 1901.
Again, images of the Hindu Pantheon were favourites. Siwa, Mahadewa, Iswara, Wisnu, and Brahma were shown, with two women, Srikandi and Subadra.
The descriptions are a bit ‘’out of date’’. The author treats his subject matter as if he is writing about Indian figures from the Indian Mahabharata, but it is important that he uses the term ‘’art’’ in his title.
The wooden statues representing figures of gods and minor gods from the Hindu Pantheon were shown at the World Exhibition in Paris in 1900. Products, commercial and art, from The Netherlands and the Colonies were shown in the Southern Pavilion (113-114). The statues of the Balinese Pantheon were grouped in a large wooden pyramid in the shape of a lotus flower. C.M. Pleyte, a member of the Commission preparing the exhibition, had collected the exhibits during a travel in Bali in 1899.
A portfolio with large sized photographs of items of this collection entitled ‘’Indonesian Art, Selected specimens of ancient and modern art and handwork from the Dutch Indian Archipelago” was published in July 1901.
The statues are very large, between 1,68 and 1,75 m high. They have long legs, a small torso and head, but rather long necks. I thought that they might originate from the area of Sawan, because there was a Punggawa, Ida Nyoman Karang, who was a famous sculptor. He helped the Dutch civil servants who wanted to buy or order items for the exhibition. A visit to Griya Gede in Sawan. In the pamrajan large stone statues, the same size as the wooden figures, flank the entrance of the shrines.
The statues are kept in the Tropenmuseum in Amsterdam (Nos. KIT)
Lotus with Balinese Hindu Pantheon in wood, World Exhibition Paris 1900
FROM LEFT TO RIGHT: Pamrajan Griya Gede Sawan; Mahadewa; Wisnu
NORTH BALINESE DRAWINGS IN THE VAN DER TUUK COLLECTION LEIDEN UNIVERSITY LIBRARY
The collection, consisting of 310 sheets of paper with drawings, is numbered Or. 3390, 1-307 and Or. 17.994, 1-3.
The drawings were commissioned by Van der Tuuk ((1824-1894) between about 1880 and 1894. After his death they were bequeathed to the Leiden University Library.
The drawings were made by artists from various parts of Bali. We know the names and villages of origin of some of the artists, because they were written on the drawing paper. Of other drawings we can deduce, on the basis of stylistic characteristics, from which region of Bali the artists originate.
At least fourteen artists produced the drawings, ten of which were from North Bali. The name of one artist was discovered, thanks to a drawing made by W.O.J. Nieuwenkamp. It is I Ketut Gede from Singaraja. There are 187 sheets, some of them with more than one drawing. Some of the drawings are done in black and grey ink, others have been coloured with gouache. Most of the drawings are provided with inscriptions in Balinese script. The texts inform us about the stories and the figures or objects depicted. The drawings may have been meant as illustrations of Van der Tuuk’s Kawi-Balinese-Dutch Dictionary (printed posthumously in four volumes between 1897 and 1912), because there are references in it ‘to the drawings’. He may have wanted to add ‘explanatory plates’ to his dictionary, as he had done in his Batak-Dutch Dictionary from 1861.
The subjects of the drawings are scenes from Old Javanese poems and prose works, Ramayana, Uttarakanda, Bharatayuddha, Arjunawiwaha, Adiparwa, Tantri, from Balinese poems, from daily life, and depictions of ornaments used in carvings in volcanic stone and wood. The style of the figures is linked to that of wayang puppets, the so-called wayang style. The backgrounds of some of the drawings are resembling those of the wayang style paintings on cloth, but a great number shows innovations, influenced by European paintings, drawings, engravings or prints.
All drawings from the Van der Tuuk Collection have been described and depicted in two volumes by H.I.R. Hinzler in 1986-7.
Literature:
Hinzler, H.I.R., Catalogue of Balinese Manuscripts in the library of the University of Leiden and other collections in The Netherlands, Vol. I and II, Reproductions and Descriptions of the Balinse drawings from the Van der Tuuk Collection, E.J. Brill/Leiden University Press, Leiden 1986 & 1987.
Wijnand Otto Jan Nieuwenkamp (born 27 July 1874 in Amsterdam in The Netherlands, died 23 April 1950 in San Domenico di Fiesole in Italy) was a Dutch painter, woodcarver, graphic artist, illustrator, art collector and a lot more. He was a globetrotter and the region he favoured mostly was Asia. His device was in Latin ‘Vagando Acquiro’, ‘while wandering, I acquire (knowledge, ideas)’. The name of his houseboat was, not a surprise, ‘De Zwerver’, The Wanderer’. He visited The Indies six times between 1898 and 1937, which resulted in numerous drawings, etchings, prints, paintings and books, which he edited himself.
During his travels he made extensive notes and sketches in small and large booklets, which he worked out later in his artistic work and books. He gives us a picture of the way of living and thinking, of the rituals and the arts of the people in the countries visited by him. It differs from what an ethnologist, anthropologist, art historian or civil servant charged with a survey would write or report in the early 1900s, because he perceived with the eyes and the mind of an artist. The beauty of what he saw made a deep impression on him.
Nieuwenkamp is important for our knowledge of Bali at the beginning of the 20th century. He paid long visits to the island in 1904, 1906-7, 1917-19, 1935 and 1937. On 4 April 1904, during his first visit, he wrote: ‘there are so many beautiful things to see and to portray, which have not yet been noticed as beautiful, let alone discussed. Therefore I have decided to make a book with plates about Bali, the loveliest land I know’. This would become the album ‘Bali en Lombok’. The first part of it appeared in the beginning of 1906.
He travelled by bike, on foot, on horseback; he stayed with Dutch civil servants, in pasanggrahans, in palaces, but also in a makeshift tent covering his camp bed. It appears that he was the first person in North Bali riding a bike. The people of Kubutambahan were so surprised, that they depicted Nieuwenkamp, with a moustache and a topee, on a relief of the Pura Madue ing Karang.
Extensive preparations were made before embarking on his travels. He read about culture, religion, history and literature of Bali as far as available at that time. The Balinese drawings on paper commissioned by H.N. van der Tuuk between about 1880 and 1894, kept in the Leiden University Library (Cod. Or. 3390, 1-307), were studied so thoroughly by him in 1903, that he was able to reproduce and draw them effortlessly like a Balinese, according to Rouffaer in his preface to Nieuwenkamp’s first Bali album (Nieuwenkamp 1906: VII). His Balinese hosts were very much impressed by it. It is not impossible that this was the main reason why they treated him differently. During his first and second visit to Bali, Nieuwenkamp had contact with North Balinese artists who worked for Van der Tuuk. He bought drawings from them. This is important for my personal quest (Hinzler 1986-7) to find out more about these artists. When he visited the house of a woodcarver in Singaraja, he noticed a drawing of a ‘palm-wine tapper in a tree’ in the domestic sanctuary of the family. It resembled one of the drawings from the Van der Tuuk Collection (Cod. Or. 3390-185). It turned out, that the carver’s father, I Ketoet Gede, had made the drawing. He confirmed that he had worked for Van der Tuuk (Nieuwenkamp 1906-1910: 111, 231-232).
The second trip to Bali coincided partly with the Dutch military expedition to Badung and Tabanan in 1906. On July 6, he had permission to travel on board of one of the ships on their way to Bali, but he was not allowed to go ashore during the landing or in case of danger. He did not want to wait any longer, so he went by himself from Surabaya straight to North Bali by the end of July. In September, however, he met the Dutch in Denpasar. When he noticed that wooden parts of gamelan instruments were being used as firewood, both by the Dutch and the Balinese, he stopped them and rescued the beautifully carved pieces. In the Dutch newspaper ‘’Algemeen Handelsblad’’ he wrote articles about the destruction of the palaces and the killings, puputan, in a very critical way (Algemeen Handelsblad 24 December 1906, 15 January 1907). While walking around, he discovered the large bronze kettledrum, the ‘Moon of Pejeng’ in the Ubud region (18 October 1906). He makes sketches, drawings and rubbings of it, which he worked out later in the form of woodcarvings. In May1925, he visited the Ubud region again. He was the first person to make drawings of the then recently (1922 or 1923) discovered rock carvings and sanctuary of Goa Gajah near Bedulu (Nieuwenkamp 1925).
During his five travels to Bali, Nieuwenkamp ordered and bought drawings, objects, woodcarvings, doors, baskets, textile for museums and institutions in The Netherlands and for his private collection. Because the origin and in quite some cases the makers and artists are named and the process of manufacture is well documented in his diaries as well as the books and articles based on them, the collection is very important.
About his importance for North Bali: Nieuwenkamp made sketches, and produced woodcarvings, etchings, and a few paintings of temples, gateways, views, ships, people, textile and dancers. So far, a great number of them have only been reproduced in his books and articles, which, by the way, were published in Dutch. It was only in 1998 that an English edition appeared about the ‘First European Artist in Bali’ with reproductions of a selection of 321 drawings made during his whole career, 197 of which are pertaining to Bali (Carpenter 1997). No separate issue exists yet on his work done in North Bali.
Bibliography:
Carpenter, B., W.O.J. Nieuwenkamp, First European Artist in Bali, Uniepers, Abcoude, 1997.
Hinzler, H.I.R., Catalogue of Balinese Manuscripts in the Library of the University of Leiden and other Collections in The Netherlands, Part I, Reproductions of the Balinese drawings from the Van der Tuuk Collection, Vol. II, Descriptions of the Balinese drawings form the Van der Tuuk Collection, Codices Manuscripti XXII, XXIII, E.J. Brill/Leiden University Press, Leiden, 1986, 1987.
Juynboll, H.H., Supplement op den Catalogus van de Javaansche en Madoereesche Handschriften der Leidsche Universiteits-Bibliotheek, II, E.J. Brill, Leiden, 1911
Nieuwenkamp, W.O.J., Bali en Lombok, album 1, beginning 1906; album 2, January 1909; albums 1,2,3, Elsevier, Amsterdam, 1910.
Nieuwenkamp,W.O.J. Zwerftochten op Bali, Elsevier, Amsterdam, 1910.
Nieuwenkamp, W.O.J., Zwerftochten op Bali, Elsevier, Amsterdam, 1922.
Nieuwenkamp, W.O.J., De Olifantsgrot bij Bedoeloe op Bali, Nederlandsch Indie Oud en Nieuw, No. 10, 1925: 333-341.
Nieuwenkamp, W.O.J., Bouwkunst van Bali, H.P. Leopolds, Den Haag, 1926.
Nieuwenkamp, W.O.J., Beeldhouwkunst van Bali, H.P. Leopolds, Den Haag, 1928.
Nieuwenkamp, Boukunst en Beeldhouwkunst van Bali, H.P. Leopolds, Den Haag, 1947.
Nieuwenkamp, W.O.J. (grandson), Leven & Werken, Bouwen & Zwerven van de kunstenaar W.O.J. Nieuwenkamp, opgetekend door zijn kleinzoon, A.W. Bruna & Zoon, Utrecht, 1979.
KETOET GEDE, SINGARAJA, STORY FROM THE BHARATAYUDDHA, THE DEATH OF SALYA
LOr. 3390-307
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 34 x 42 cm
Nakula is ordered by Yudistira, in the presence of Kresna, to pay Salya a visit. Twalen and Nakula honour Yudistira with a sembah. Mredah carries a bag made of baskettery with sirih utensils.
A text in Balinese script in ink at the top left says: waringin misi clepuk, a waringin tree and an owl, which is a bad omen. Close to the man standing on the left is written Yudistira, and close to the sitting man at his feet Twalen. At the top right is written Kesawa, an epithet for Kresna. On the far right in the centre: Mredah, and close to the man in front Nakula.
Yudistira and Kresna talk to each other. This scene refers to an episode described in the Old Javanese Bharatayuddha XXXVI: 1-2. The Pandawa have heard that Salya is to be appointed commander-in-chief of the Korawa party. They want to know whether this is true and they discuss how to defeat him. It is Kresna;s idea to have Nakula sent to Salya to inform him what is going to happen. Nakula is chosen, because he is very close to Salya.
LOr. 3390-303
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 33.9 x 42.3 cm
Nakula kneels in front of Salya. Salya restrains his wife from stabbing herself to death and embraces her. A text in Balinese script in ink in the centre says: salya satyawati ngawe kris, Salya, Satyawati holds a kris. On the right is written; Nakule.
This scene refers to various episodes described in the Old Javanese Bharatayuddha. Salya thinks, although he has become commander-in-chief of the Korawa party, very highly of the Pandawa, particularly of Nakula, since he loves him very much (XXXVI: 4). In XXXVI: 9018, Salya, just home from his inauguration, is visited by Nakula. He kneels down in front of Salya. He refuses to fight Salya in the war and he asks Salya to kill him beforehand with a weapon. Salya refuses to do so. He says that he will fight Yudistira later on and that he will be killed by his book-arrow. Nakula finally leaves. In XXXVII: 11, Satyawati tells her husband that she wants to kill herself then. She does not want to see her husband dead, killed in the battle. She takes a kris and points it at her breasts (XXXVIII: 1).
LOr. 3390-304
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 33.9 x 42.1 cm.
Salya is hit by Yudistira’s book arrow. Yudistira holds a bow. His servant Twalen pays homage to Salya. A text in Balinese script in ink at the top left says: salya kna pustake, Salya hit by the book-arrow. On the book-arrow is written: om am mam, nam bam,ya namo wigna, man am om, am 3. These words are holy syllables and formulas in Sanskrit which are uttered three times. At the top on the right is written: yudistira, ngawwa langkap, Yudistira holds a bow. In the centre: twalen ngaturang bakti, Twalen pays homage.
KETOET GEDE, SINGARAJA, DRAWINGS OF THE STORY OF KUDA ANGLUNG BAYA AND CANDRA KIRANA
LOr. 3390-132,
Two drawings on Dutch paper, watermark Concordia, countermark Vdl., 42.3 x 34.5 cm
Kuda Angling Baya is about to fight the red demon, Buta Abang. The demon’s servant watches. Text in Balinese script in ink at the top on the left says: Hi buta habang mangmit ring taman bagendra, the red demon watches over the Bagendra garden. At the top right is written: ngaran hi lungbaya, kahutus ngalih campaka wilis ring taman bagendra, someone by the name (Ang)lung Baya is sent to search for the light green campaka flower in the Bagendra garden.
Anglung Baya, right, is confronted with the demon, who guards the Bangendra garden, who threatens him with his sword. Anglung Baya draws his kris to defend himself. A demon servand of the red demon watches the scene,
The green demon, Buta Ijo, of the Bagendra garden chases Semar and Turas. A text in Balinese script in ink at the top reads: ngaran hi bute ijo, hatunggu ring taman, ngmit campaka wilis, someone called the Green Demon, guards the garden and watches over the light green campaka flower.
LOr. 3390-126
Two drawings on Dutch paper, watermark Concordia, countermark VdL, 42.5 x 34.5 cm
Candra Kirana, a princess of Daha in East Java, threatens Kuda Angling Baya, because he entered her garden and stole her rare flower. A servant tries to catch him, but she grasps only his loincloth, so that he stands naked before them.
KETOET GEDE, SINGARAJA, DRAWINGS OF THE STORY OF RADEN SARKA AND JUARSA
LOr. 3390-298, bottom
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 42.4 x 33.1 cm
Raden Sarka throws Juarsa from a boat into a swamp. Sara Ulan, the beloved of Juarsa, watches and cries. A text in Balinese script in ink at the top says: brawah agung, misi sampan panyewwa, lahut ke I jwarse, sareng hi sare ulan, nyewwa sampan, lahut katuludang, labuh ring tngahing brawah, trus ka septeptele, ring gnah sang antaboga, a large swamp with a boat to rent. Then I Juarsa and Sara Ulan arrive, they hire a boat. Then I Juarsa is pushed overboard. He falls into the swamp and arrives in the Netherworld where Antaboga resides.
In the centre in the sail of the boat is written: radensarke nuludang I jwarsa, Raden Sarka pushes I Juarsa over board. At the top on the right is written: hi sara ulan nangis ngenot hi jwarsa, labuh. Sara Ulan weeps when she sees that Juarsa falls.
The scene refers to an episode described in the Kidung Juarsa. In the text, LOr. 13;345, 11: 5-9, a story resembling the scene in the drawing is told. The man throwing Juarsa overboard is a Brahman. His name is not mentioned. He meets Juarsa shortly after the latter has been brought to life a gain. Juarsa wants to cross some water. Sara Ulan remains on land. The Brahman gives him a lift, but throws Juarsa overboard after taking a ruby from him. The Brahman goes back to Sara Ulan. He forces her to join him and to go to the country of Burham. The king has no wife and Sara Ulan is supposed to become his wife.
LOr. 3390-37
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 42 x 33.2 cm
Raden Sarka is decapitated by Sara Ulan. A text in ink in Balinese script at the top left says: raden sarka, nglinggihin kude, kepunggal hantuk hi sare hulan, Raden Sarka, driving a horse, is decapitated by I Sara Ulan. At the top on the right is written: sare hulan, makte pdang, Sara Ulan holds a sword.
The scene refers to an episode also known from the Kidung Juarsa 10-1-5 (LOr. 4219). The story takes place in a javanese Muslim society. Sara Wulan, or Sinara Ulan, or Sara Ulan, as she is called, si the wife of a prince named Juwarsa, or Juarsa, or Johor Sah, who lives in Madaldah. He has an elder brother who is the king of Saalsah or Saidalsah. The king wants Sara Ulan for his wife. When Juarsa leaves Sara Ulan for a while, she is kidnapped. Juarsa goes to his brother’s palace. A plan is made to kill Juarsa. However, the king himself is killed . Juarsa and Sara Ulan leave the palace. They enter a forest. An ascetic, called Raden Serkap, Serekap or Sarka, is performing asceticism in the forest. He is confronted with Sara Ulan and her husband. He wants to present her to his king, not knowing he is dead. He decides to kill Juarsa. Having killed him, Raden Sarka wants to bring Sara Ulan to the king. He seats himself on his horse. Sara Ulan walks behind,holding the horse’s tail, because it is hindering her. Instead of doing so, she kills Raden Sarka by cutting off his head. The killing of Raden Sarka by Sara Ulan is depicted in the drawing.
KETOET GEDE, SINGARAJA, TANTRI STORY, PAPAKA AND THE MONKEYS
LOr. 3390-183
Two drawings on Dutch paper, watermark Concordia, countermark VdL., 34.3 x 42 cm
A man called Papaka roasts two small monkeys on a stick over a fire. This scene refers to a story described in the Old Javanese Tantri Kamandaka: 130, 152-158. The wicked Papaka was chased by a tiger, because he had been chasing an elephant. The female monkey Wanari helps him to escape from the tiger. She takes Papaka onto her back and carries him high up into a tree. Papaka rests there. He chases the tiger away by shooting at him. Papaka then asks the monkey to take him to the road. He wants to return to home, but he pretends not to know the way. The monkey again carries him on her back, but she takes him toher own house first so that he can rest. She is welcomed by her children, a boy called Mardawa and a girl called Mardawi. The children ask her for the fruit she has promised them. The mother excuses herself. She has not been able to collect fruit because of Papaka. She then asks Papaka to take care of the children when she goes to the mountains to collect fruit for them. Papaka feels hungry. As soon as the mother has gone, he makes a fire. He decides to roast the children and eat them. When the monkey comes back he decides to tell her that her house caught fire and that the children were burnt to death. That happens, but the mother does not believe Papaka’s story. She knows that he is a hunter and that hunters like to eat wild animals. She regards it as her duty, however, to help other people.
A female monkey collects fruit and carries them on a pole. She meets a man, Papaka, in the forest. The monkey puts her ideas of friendship into practice, even though she is almost certain that Papaka has killed her children. She gives him fruit. When he has finished eating, Papaka asks the monkey to carry him through the forest because he is afraid of the tiger. The monkey agrees to do so. It is a long trip. Papaka gets hungry. He decides to kill the monkey and eat her. He therefore holds her neck tight. The monkey complains, but the hunter finally strangles her. Her soul goes to heaven after her death.
KETOET GEDE, SINGARAJA, BHARATAYUDDHA, STORY ABOUT BIMA AND SAKUNI
LOr. 3390-305
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34 x 42.1 cm.
Bima and Sakuni, each of them armed with a club, face each other. Their servants hold their weapons ready for use. A texts in Balinese script in ink at the top right says: werkodara, ngawe gade, Wrekodara holds a club. On the right in the centre is written: twalenngagem sliksik, Twalen handles a penis-arrow. In the centre to the right is written: taru waringin, madaging hijah, a waringin-tree with small black monkeys. To the left of the tree is written: delem ngaba kris tken tamyang, Delem holds a kris and a shield. At the top left is written: sang sakunni ngage gade, Sakuni holds a club. In the center: pangkung, a dry river.
Bima and Sakuni, standing in front of a dry river, face each other. They are both armed with clubs. Sakuni makes a gesture indicating that he is looking attentively at something. Their servants hold their weapons ready for use. This scene refers to an episode described in the Old Javanese Bharatahyuddha XLIII: 4-5. the Pandawa, i.e. Bima chase the Korawa after Salya’s death. Bima meets Sakuni, who is very afraid. He is pulled by his hair. Sakuni cries and screams. Bima starts scolding him, because it was he who in the past always came up with all kinds of ruses and tricks to kill the Pandawa.
LOr. 3390-306
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 34.3 x 41.5 cm.
Bima crushes Sakuni into pieces. The servants, Gede Barakan, Sangut, Delem, Twalen, Tole, fight each other as well.
A text in Balinese script in ink at the top on the right says: bima. In the centre at the top is written: sekuni masempalsempal, Sakuni chopped into pieces. At the top on the left: puniki gde barakan, nga. This is Gede Barakan. Close to the green man on the left is written: hi sengut, Sengut or Sangut. In the centre further down: hi tole, and twalen, and delem. Tole is the son of Twalen in the wayang in Buleleng.
Bima crushes Sakuni and has cut him into pieces, Blood pours form the neck and the chest. The servants of the right-hand and of the left-hand party fight as well. Twalen fights Delem who holds a kris. Sangut, who holds a cleaver, fights Tole. Gede Barakan tries to separate them.
This scene refers to an episode described in the Old Javanese Bharatayuddha XLIII: 6. Bima crushes Sakuni with his club. He sucks the blood from the corpse, tears it into five pieces which he throws away.
OF THE LATE 19TH AND EARLY 20TH CENTURY
IN DUTCH COLLECTIONS
By HEDI I.R. HINZLER, LEIDEN UNIVERSITY
JULY 2009
--------------------------------------------------------
WAYANG KULIT FIGURES FROM NORTH BALI
There are three main collections of old wayang kulit figures. The Dutch linguist Herman Neubronner van der Tuuk collected figures when he lived in Singaraja between 1870 and 1894. He wanted to used them for his Kawi-Balinese-Dutch Dictionary which was printed in four volumes between 1879 and 1912. He refers to the wayang puppets in his dictionary. After Van der Tuuk’s death, his notes, books and collections were given to the Leiden University Library. The wayang figures were added to the collection of the Municipal Museum of Ethnology in Leiden (Nos. RMV 2601)
The second collection was bought for the Colonial Exhibition held in Amsterdam in 1883. The figures are kept in the Municipal Museum of Ethnology in Leiden (Nos. RMV 370).
The third group of figures was ordered by a civil servant by the name Heycop. They were shown at the Colonial Exposition in Paris in 1893. They are also kept in the Museum of Ethnology in Leiden (Nos. RMV 933).
WAYANG KULIT DALANG BANJAR
A set of wayang figures was bought from ‘’the dalang in Banjar’’ by C.M. Pleyte, probably in 18998 or 1899. They were exhibited at the World Exhibition in Paris in 1900. A plate, No. XXIV, with seven puppets was published in the large album ‘’Selected Specimens of Ancient and Modern Art and Handwork from the Dutch Archipelago’’, The Hague, 1901.
Again, images of the Hindu Pantheon were favourites. Siwa, Mahadewa, Iswara, Wisnu, and Brahma were shown, with two women, Srikandi and Subadra.
The descriptions are a bit ‘’out of date’’. The author treats his subject matter as if he is writing about Indian figures from the Indian Mahabharata, but it is important that he uses the term ‘’art’’ in his title.
REFERENCES TO WAYANG FIGURES IN VAN DER TUUK’S DICTIONARY
ASU GAPLONG (RMV 2601-18)
Personal name of a hound of hell. He plays a role in Bimaswarga wayang performances.
BIMA
His eyes are called ‘’mata tuhu-tuhu’’ in the wayang, this means with the contours are red. He is called ‘’panenggek’’ in the wayang, which is Javanese. This is because ‘’pamadé’’ (Madé) is already used for Arjuna. The hairdress of Bima is called ‘’glung buwana lukar’’. The long nail of his right hand is called ‘’pancanaka’’, the left one ‘’kuku bayu’’.
He is also called ‘’buntut’’ in the wayang, when he offered himself as food to the demon Baka.
BUNGUT SUAH
Bungut Suwah, or Bungut Suwab and Bungut Kikian, name of a comical figure with many teeth represented like a comb. He is also called Pengakan wayah and I Undur-Unduran, the latter because he pronounces a ‘’surang’’ after every word. For example ‘’ulijar’’ in stead of ‘’ulija’’, and ‘’cakpyah’’.
BUTA SALIWAH
Represented in the wayang as half-red half-black. He is carrying a human head. This is the female servant of Durga, living at cremation places.
CENIKIH, KAKI/TUWAN CEKINIH
Comical figure in wayang, playing the same role as Sangut. According to some he is a Selam Sasak, but others say that he is the same as Maman Gatepan who is a balian.
DĖLEM/DILEM
Personal name of a servant of Rawana, Yama, together with I Sangut. Characteristic of the wayang figure is the ‘’tampyang’’ or ‘’dalem’’. His voice is called ‘’gaak-gaak’’, meaning he has a very loud voice: ‘’gedé pesak munyinné’’.
DRONA
Name of the teacher of the Pandawa and Korawa. He is represented in the wayang as a false person and a traitor. He wears a golden necklace. His residence is named Soka Kapanca.
GATOTKACA
Son of Bima with the demoness Hidimbi.
GEDÉ BAAG
Name of a kind of clown in the wayang. Baag means hot iron.
GEDÉ BARAGAN
He is a kind of clown ‘’banyol’’ in the wayang. His head resembles a horse. His nickname is ‘’Baong bèbèk”, throat of a duck, because it resembles that of a duck.
INDRAJIT
Indrajit or Méganada. His skin is greyish blue in the wayang, because it is thought that he originated from a cloud, ‘’méga’’.
‘’awanan madan I Méganada, kadadèn gulem makrana biru, marupa gulem’’.
KRESNA
Name of an incarnation of Wisnu. The wayang figure representing him has, like Rama, a green skin.
‘’Mawayang gadang’’, a blabad, meaning ‘’tresna’’, as the figure of Kresna is green.
MĖN KOPOK-KOPOKAN
It is a name given by Twalèn to a servant figure, condong. The puppet has a fat belly and a protruding forehead ‘’jangak’’. She has usually two cigarettes behind her ear or in her hairknot. She is the wife of Mredah. Originally she plays a role in the gambuh theatre.
MĖN TEMBOLO/TEMELOLO
She is a comical figure in the wayang, Her voice is like a goat. She is the wife of Twalèn.
MREDAH
Mredah, Wredah, Ordah, name of the servant of Laksmana and the Pandawa. He has green skin and wears a kind of turban, ‘’tengkuluk’’. He is called Turas in the wayang gambuh.
PANASAR
From dasar, basic colour.
Figures in the wayang, like Tolé, Turas and others, speak Balinese and translate the texts spoken by their boss in (Old) Javanese.
SALYA
Name of a hero in the Bharatayuddha. He is the brother of Pandu’s second wife. In the wayang he wears a headdress, ‘’udeng’’ protruding at the back of his head, therefore this type is called ‘’sesalyan’’.
SANGUT
He is a servant of the Korawa party, but after the victory of the Pandawa party, he joins them. His colour is green in the wayang, and he has a ‘’kuncir’’ , a pigtail, on top of his head. He and Dèlem usually are the servants of the opponents of the Pandawa party. In the Bimaswarga they are the servants of the god Yama.
SEMAR
Name of a witty servant of the Pandawa party and later also of Panji. He has black skin, many of his teeth are lacking. He loves food, hence his nickname Bhojagati, or Bujagati.
TOLÉ
Name of a comical figure in the wayang. His is sqeaky, ‘’ngengkik’’. He is the son of Twalèn and the servant of Abimanyu in particular.
TWALĖN
Name of the servant of the Pandawa party in the wayang. He has black skin, is cross-eyed, and his weapon is a penis. It is called ‘’sliksik’’, cannon ball, because it is so powerful. The ‘’sliksik’’ is the name of the miracle cannon ball owned by the Déwa Agung of Klungkung. His role in the wayang parwa is similar as Semar in the gambuh theatre or in kidung literature.
WANA
Other name of Mredah, the servant of the Pandawa party. His wife is Klentèng Sari. He has green skin in North Bali.
YUDISTIRA
Name of the oldest of the Pandawa brothers. His hairdress is called ‘’kekelingan’’.
Personal name of a hound of hell. He plays a role in Bimaswarga wayang performances.
BIMA
His eyes are called ‘’mata tuhu-tuhu’’ in the wayang, this means with the contours are red. He is called ‘’panenggek’’ in the wayang, which is Javanese. This is because ‘’pamadé’’ (Madé) is already used for Arjuna. The hairdress of Bima is called ‘’glung buwana lukar’’. The long nail of his right hand is called ‘’pancanaka’’, the left one ‘’kuku bayu’’.
He is also called ‘’buntut’’ in the wayang, when he offered himself as food to the demon Baka.
BUNGUT SUAH
Bungut Suwah, or Bungut Suwab and Bungut Kikian, name of a comical figure with many teeth represented like a comb. He is also called Pengakan wayah and I Undur-Unduran, the latter because he pronounces a ‘’surang’’ after every word. For example ‘’ulijar’’ in stead of ‘’ulija’’, and ‘’cakpyah’’.
BUTA SALIWAH
Represented in the wayang as half-red half-black. He is carrying a human head. This is the female servant of Durga, living at cremation places.
CENIKIH, KAKI/TUWAN CEKINIH
Comical figure in wayang, playing the same role as Sangut. According to some he is a Selam Sasak, but others say that he is the same as Maman Gatepan who is a balian.
DĖLEM/DILEM
Personal name of a servant of Rawana, Yama, together with I Sangut. Characteristic of the wayang figure is the ‘’tampyang’’ or ‘’dalem’’. His voice is called ‘’gaak-gaak’’, meaning he has a very loud voice: ‘’gedé pesak munyinné’’.
DRONA
Name of the teacher of the Pandawa and Korawa. He is represented in the wayang as a false person and a traitor. He wears a golden necklace. His residence is named Soka Kapanca.
GATOTKACA
Son of Bima with the demoness Hidimbi.
GEDÉ BAAG
Name of a kind of clown in the wayang. Baag means hot iron.
GEDÉ BARAGAN
He is a kind of clown ‘’banyol’’ in the wayang. His head resembles a horse. His nickname is ‘’Baong bèbèk”, throat of a duck, because it resembles that of a duck.
INDRAJIT
Indrajit or Méganada. His skin is greyish blue in the wayang, because it is thought that he originated from a cloud, ‘’méga’’.
‘’awanan madan I Méganada, kadadèn gulem makrana biru, marupa gulem’’.
KRESNA
Name of an incarnation of Wisnu. The wayang figure representing him has, like Rama, a green skin.
‘’Mawayang gadang’’, a blabad, meaning ‘’tresna’’, as the figure of Kresna is green.
MĖN KOPOK-KOPOKAN
It is a name given by Twalèn to a servant figure, condong. The puppet has a fat belly and a protruding forehead ‘’jangak’’. She has usually two cigarettes behind her ear or in her hairknot. She is the wife of Mredah. Originally she plays a role in the gambuh theatre.
MĖN TEMBOLO/TEMELOLO
She is a comical figure in the wayang, Her voice is like a goat. She is the wife of Twalèn.
MREDAH
Mredah, Wredah, Ordah, name of the servant of Laksmana and the Pandawa. He has green skin and wears a kind of turban, ‘’tengkuluk’’. He is called Turas in the wayang gambuh.
PANASAR
From dasar, basic colour.
Figures in the wayang, like Tolé, Turas and others, speak Balinese and translate the texts spoken by their boss in (Old) Javanese.
SALYA
Name of a hero in the Bharatayuddha. He is the brother of Pandu’s second wife. In the wayang he wears a headdress, ‘’udeng’’ protruding at the back of his head, therefore this type is called ‘’sesalyan’’.
SANGUT
He is a servant of the Korawa party, but after the victory of the Pandawa party, he joins them. His colour is green in the wayang, and he has a ‘’kuncir’’ , a pigtail, on top of his head. He and Dèlem usually are the servants of the opponents of the Pandawa party. In the Bimaswarga they are the servants of the god Yama.
SEMAR
Name of a witty servant of the Pandawa party and later also of Panji. He has black skin, many of his teeth are lacking. He loves food, hence his nickname Bhojagati, or Bujagati.
TOLÉ
Name of a comical figure in the wayang. His is sqeaky, ‘’ngengkik’’. He is the son of Twalèn and the servant of Abimanyu in particular.
TWALĖN
Name of the servant of the Pandawa party in the wayang. He has black skin, is cross-eyed, and his weapon is a penis. It is called ‘’sliksik’’, cannon ball, because it is so powerful. The ‘’sliksik’’ is the name of the miracle cannon ball owned by the Déwa Agung of Klungkung. His role in the wayang parwa is similar as Semar in the gambuh theatre or in kidung literature.
WANA
Other name of Mredah, the servant of the Pandawa party. His wife is Klentèng Sari. He has green skin in North Bali.
YUDISTIRA
Name of the oldest of the Pandawa brothers. His hairdress is called ‘’kekelingan’’.
WOODEN STATUES
The wooden statues representing figures of gods and minor gods from the Hindu Pantheon were shown at the World Exhibition in Paris in 1900. Products, commercial and art, from The Netherlands and the Colonies were shown in the Southern Pavilion (113-114). The statues of the Balinese Pantheon were grouped in a large wooden pyramid in the shape of a lotus flower. C.M. Pleyte, a member of the Commission preparing the exhibition, had collected the exhibits during a travel in Bali in 1899.
A portfolio with large sized photographs of items of this collection entitled ‘’Indonesian Art, Selected specimens of ancient and modern art and handwork from the Dutch Indian Archipelago” was published in July 1901.
The statues are very large, between 1,68 and 1,75 m high. They have long legs, a small torso and head, but rather long necks. I thought that they might originate from the area of Sawan, because there was a Punggawa, Ida Nyoman Karang, who was a famous sculptor. He helped the Dutch civil servants who wanted to buy or order items for the exhibition. A visit to Griya Gede in Sawan. In the pamrajan large stone statues, the same size as the wooden figures, flank the entrance of the shrines.
The statues are kept in the Tropenmuseum in Amsterdam (Nos. KIT)
Lotus with Balinese Hindu Pantheon in wood, World Exhibition Paris 1900
FROM LEFT TO RIGHT: Pamrajan Griya Gede Sawan; Mahadewa; Wisnu
NORTH BALINESE DRAWINGS IN THE VAN DER TUUK COLLECTION LEIDEN UNIVERSITY LIBRARY
The collection, consisting of 310 sheets of paper with drawings, is numbered Or. 3390, 1-307 and Or. 17.994, 1-3.
The drawings were commissioned by Van der Tuuk ((1824-1894) between about 1880 and 1894. After his death they were bequeathed to the Leiden University Library.
The drawings were made by artists from various parts of Bali. We know the names and villages of origin of some of the artists, because they were written on the drawing paper. Of other drawings we can deduce, on the basis of stylistic characteristics, from which region of Bali the artists originate.
At least fourteen artists produced the drawings, ten of which were from North Bali. The name of one artist was discovered, thanks to a drawing made by W.O.J. Nieuwenkamp. It is I Ketut Gede from Singaraja. There are 187 sheets, some of them with more than one drawing. Some of the drawings are done in black and grey ink, others have been coloured with gouache. Most of the drawings are provided with inscriptions in Balinese script. The texts inform us about the stories and the figures or objects depicted. The drawings may have been meant as illustrations of Van der Tuuk’s Kawi-Balinese-Dutch Dictionary (printed posthumously in four volumes between 1897 and 1912), because there are references in it ‘to the drawings’. He may have wanted to add ‘explanatory plates’ to his dictionary, as he had done in his Batak-Dutch Dictionary from 1861.
The subjects of the drawings are scenes from Old Javanese poems and prose works, Ramayana, Uttarakanda, Bharatayuddha, Arjunawiwaha, Adiparwa, Tantri, from Balinese poems, from daily life, and depictions of ornaments used in carvings in volcanic stone and wood. The style of the figures is linked to that of wayang puppets, the so-called wayang style. The backgrounds of some of the drawings are resembling those of the wayang style paintings on cloth, but a great number shows innovations, influenced by European paintings, drawings, engravings or prints.
All drawings from the Van der Tuuk Collection have been described and depicted in two volumes by H.I.R. Hinzler in 1986-7.
Literature:
Hinzler, H.I.R., Catalogue of Balinese Manuscripts in the library of the University of Leiden and other collections in The Netherlands, Vol. I and II, Reproductions and Descriptions of the Balinse drawings from the Van der Tuuk Collection, E.J. Brill/Leiden University Press, Leiden 1986 & 1987.
W.O.J. NIEUWENKAMP AND BALI
Wijnand Otto Jan Nieuwenkamp (born 27 July 1874 in Amsterdam in The Netherlands, died 23 April 1950 in San Domenico di Fiesole in Italy) was a Dutch painter, woodcarver, graphic artist, illustrator, art collector and a lot more. He was a globetrotter and the region he favoured mostly was Asia. His device was in Latin ‘Vagando Acquiro’, ‘while wandering, I acquire (knowledge, ideas)’. The name of his houseboat was, not a surprise, ‘De Zwerver’, The Wanderer’. He visited The Indies six times between 1898 and 1937, which resulted in numerous drawings, etchings, prints, paintings and books, which he edited himself.
During his travels he made extensive notes and sketches in small and large booklets, which he worked out later in his artistic work and books. He gives us a picture of the way of living and thinking, of the rituals and the arts of the people in the countries visited by him. It differs from what an ethnologist, anthropologist, art historian or civil servant charged with a survey would write or report in the early 1900s, because he perceived with the eyes and the mind of an artist. The beauty of what he saw made a deep impression on him.
Nieuwenkamp is important for our knowledge of Bali at the beginning of the 20th century. He paid long visits to the island in 1904, 1906-7, 1917-19, 1935 and 1937. On 4 April 1904, during his first visit, he wrote: ‘there are so many beautiful things to see and to portray, which have not yet been noticed as beautiful, let alone discussed. Therefore I have decided to make a book with plates about Bali, the loveliest land I know’. This would become the album ‘Bali en Lombok’. The first part of it appeared in the beginning of 1906.
He travelled by bike, on foot, on horseback; he stayed with Dutch civil servants, in pasanggrahans, in palaces, but also in a makeshift tent covering his camp bed. It appears that he was the first person in North Bali riding a bike. The people of Kubutambahan were so surprised, that they depicted Nieuwenkamp, with a moustache and a topee, on a relief of the Pura Madue ing Karang.
Extensive preparations were made before embarking on his travels. He read about culture, religion, history and literature of Bali as far as available at that time. The Balinese drawings on paper commissioned by H.N. van der Tuuk between about 1880 and 1894, kept in the Leiden University Library (Cod. Or. 3390, 1-307), were studied so thoroughly by him in 1903, that he was able to reproduce and draw them effortlessly like a Balinese, according to Rouffaer in his preface to Nieuwenkamp’s first Bali album (Nieuwenkamp 1906: VII). His Balinese hosts were very much impressed by it. It is not impossible that this was the main reason why they treated him differently. During his first and second visit to Bali, Nieuwenkamp had contact with North Balinese artists who worked for Van der Tuuk. He bought drawings from them. This is important for my personal quest (Hinzler 1986-7) to find out more about these artists. When he visited the house of a woodcarver in Singaraja, he noticed a drawing of a ‘palm-wine tapper in a tree’ in the domestic sanctuary of the family. It resembled one of the drawings from the Van der Tuuk Collection (Cod. Or. 3390-185). It turned out, that the carver’s father, I Ketoet Gede, had made the drawing. He confirmed that he had worked for Van der Tuuk (Nieuwenkamp 1906-1910: 111, 231-232).
The second trip to Bali coincided partly with the Dutch military expedition to Badung and Tabanan in 1906. On July 6, he had permission to travel on board of one of the ships on their way to Bali, but he was not allowed to go ashore during the landing or in case of danger. He did not want to wait any longer, so he went by himself from Surabaya straight to North Bali by the end of July. In September, however, he met the Dutch in Denpasar. When he noticed that wooden parts of gamelan instruments were being used as firewood, both by the Dutch and the Balinese, he stopped them and rescued the beautifully carved pieces. In the Dutch newspaper ‘’Algemeen Handelsblad’’ he wrote articles about the destruction of the palaces and the killings, puputan, in a very critical way (Algemeen Handelsblad 24 December 1906, 15 January 1907). While walking around, he discovered the large bronze kettledrum, the ‘Moon of Pejeng’ in the Ubud region (18 October 1906). He makes sketches, drawings and rubbings of it, which he worked out later in the form of woodcarvings. In May1925, he visited the Ubud region again. He was the first person to make drawings of the then recently (1922 or 1923) discovered rock carvings and sanctuary of Goa Gajah near Bedulu (Nieuwenkamp 1925).
During his five travels to Bali, Nieuwenkamp ordered and bought drawings, objects, woodcarvings, doors, baskets, textile for museums and institutions in The Netherlands and for his private collection. Because the origin and in quite some cases the makers and artists are named and the process of manufacture is well documented in his diaries as well as the books and articles based on them, the collection is very important.
About his importance for North Bali: Nieuwenkamp made sketches, and produced woodcarvings, etchings, and a few paintings of temples, gateways, views, ships, people, textile and dancers. So far, a great number of them have only been reproduced in his books and articles, which, by the way, were published in Dutch. It was only in 1998 that an English edition appeared about the ‘First European Artist in Bali’ with reproductions of a selection of 321 drawings made during his whole career, 197 of which are pertaining to Bali (Carpenter 1997). No separate issue exists yet on his work done in North Bali.
Bibliography:
Carpenter, B., W.O.J. Nieuwenkamp, First European Artist in Bali, Uniepers, Abcoude, 1997.
Hinzler, H.I.R., Catalogue of Balinese Manuscripts in the Library of the University of Leiden and other Collections in The Netherlands, Part I, Reproductions of the Balinese drawings from the Van der Tuuk Collection, Vol. II, Descriptions of the Balinese drawings form the Van der Tuuk Collection, Codices Manuscripti XXII, XXIII, E.J. Brill/Leiden University Press, Leiden, 1986, 1987.
Juynboll, H.H., Supplement op den Catalogus van de Javaansche en Madoereesche Handschriften der Leidsche Universiteits-Bibliotheek, II, E.J. Brill, Leiden, 1911
Nieuwenkamp, W.O.J., Bali en Lombok, album 1, beginning 1906; album 2, January 1909; albums 1,2,3, Elsevier, Amsterdam, 1910.
Nieuwenkamp,W.O.J. Zwerftochten op Bali, Elsevier, Amsterdam, 1910.
Nieuwenkamp, W.O.J., Zwerftochten op Bali, Elsevier, Amsterdam, 1922.
Nieuwenkamp, W.O.J., De Olifantsgrot bij Bedoeloe op Bali, Nederlandsch Indie Oud en Nieuw, No. 10, 1925: 333-341.
Nieuwenkamp, W.O.J., Bouwkunst van Bali, H.P. Leopolds, Den Haag, 1926.
Nieuwenkamp, W.O.J., Beeldhouwkunst van Bali, H.P. Leopolds, Den Haag, 1928.
Nieuwenkamp, Boukunst en Beeldhouwkunst van Bali, H.P. Leopolds, Den Haag, 1947.
Nieuwenkamp, W.O.J. (grandson), Leven & Werken, Bouwen & Zwerven van de kunstenaar W.O.J. Nieuwenkamp, opgetekend door zijn kleinzoon, A.W. Bruna & Zoon, Utrecht, 1979.
KETOET GEDE, SINGARAJA, STORY FROM THE BHARATAYUDDHA, THE DEATH OF SALYA
LOr. 3390-307
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 34 x 42 cm
Nakula is ordered by Yudistira, in the presence of Kresna, to pay Salya a visit. Twalen and Nakula honour Yudistira with a sembah. Mredah carries a bag made of baskettery with sirih utensils.
A text in Balinese script in ink at the top left says: waringin misi clepuk, a waringin tree and an owl, which is a bad omen. Close to the man standing on the left is written Yudistira, and close to the sitting man at his feet Twalen. At the top right is written Kesawa, an epithet for Kresna. On the far right in the centre: Mredah, and close to the man in front Nakula.
Yudistira and Kresna talk to each other. This scene refers to an episode described in the Old Javanese Bharatayuddha XXXVI: 1-2. The Pandawa have heard that Salya is to be appointed commander-in-chief of the Korawa party. They want to know whether this is true and they discuss how to defeat him. It is Kresna;s idea to have Nakula sent to Salya to inform him what is going to happen. Nakula is chosen, because he is very close to Salya.
LOr. 3390-303
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 33.9 x 42.3 cm
Nakula kneels in front of Salya. Salya restrains his wife from stabbing herself to death and embraces her. A text in Balinese script in ink in the centre says: salya satyawati ngawe kris, Salya, Satyawati holds a kris. On the right is written; Nakule.
This scene refers to various episodes described in the Old Javanese Bharatayuddha. Salya thinks, although he has become commander-in-chief of the Korawa party, very highly of the Pandawa, particularly of Nakula, since he loves him very much (XXXVI: 4). In XXXVI: 9018, Salya, just home from his inauguration, is visited by Nakula. He kneels down in front of Salya. He refuses to fight Salya in the war and he asks Salya to kill him beforehand with a weapon. Salya refuses to do so. He says that he will fight Yudistira later on and that he will be killed by his book-arrow. Nakula finally leaves. In XXXVII: 11, Satyawati tells her husband that she wants to kill herself then. She does not want to see her husband dead, killed in the battle. She takes a kris and points it at her breasts (XXXVIII: 1).
LOr. 3390-304
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 33.9 x 42.1 cm.
Salya is hit by Yudistira’s book arrow. Yudistira holds a bow. His servant Twalen pays homage to Salya. A text in Balinese script in ink at the top left says: salya kna pustake, Salya hit by the book-arrow. On the book-arrow is written: om am mam, nam bam,ya namo wigna, man am om, am 3. These words are holy syllables and formulas in Sanskrit which are uttered three times. At the top on the right is written: yudistira, ngawwa langkap, Yudistira holds a bow. In the centre: twalen ngaturang bakti, Twalen pays homage.
KETOET GEDE, SINGARAJA, DRAWINGS OF THE STORY OF KUDA ANGLUNG BAYA AND CANDRA KIRANA
LOr. 3390-132,
Two drawings on Dutch paper, watermark Concordia, countermark Vdl., 42.3 x 34.5 cm
Kuda Angling Baya is about to fight the red demon, Buta Abang. The demon’s servant watches. Text in Balinese script in ink at the top on the left says: Hi buta habang mangmit ring taman bagendra, the red demon watches over the Bagendra garden. At the top right is written: ngaran hi lungbaya, kahutus ngalih campaka wilis ring taman bagendra, someone by the name (Ang)lung Baya is sent to search for the light green campaka flower in the Bagendra garden.
Anglung Baya, right, is confronted with the demon, who guards the Bangendra garden, who threatens him with his sword. Anglung Baya draws his kris to defend himself. A demon servand of the red demon watches the scene,
LOr. 3390-126
Two drawings on Dutch paper, watermark Concordia, countermark VdL, 42.5 x 34.5 cm
KETOET GEDE, SINGARAJA, TANTRI STORY, PAPAKA THE PALM-WINE TAPPER
LOr. 3390-185
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34.4 x 41.8 cm
A tiger tries to attack Papaka the palm-wine tapper. He hides in a tree. A text in Balinese script in ink in the centre says: pepake mangiris, Papaka cuts. Close to the tree is written: punyan jake, jaka-tree, and close to the the tiger: himacan, the tiger.
Papaka, clad like an ordinary Balinese, has climbed a jaka-tree, to cut the stalk of the fruit of the tree to ta liquid from it which will be used in the preparation of palm-wine, tuak. An angry tiger attempts to attack the man and tris to climb the tree.
LOr. 3390-185
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34.4 x 41.8 cm
Papaka, clad like an ordinary Balinese, has climbed a jaka-tree, to cut the stalk of the fruit of the tree to ta liquid from it which will be used in the preparation of palm-wine, tuak. An angry tiger attempts to attack the man and tris to climb the tree.
KETOET GEDE, SINGARAJA, TANTRI, THE STORY OF DARMASWAMI
LOr. 3390-193
Drawing on Dutch paper, watermark Concordia, countermark VdL., 33.7 x 41.8 cm.
The sage Darmaswami, after rescuing a tiger, snake and also a man from a well, is given jewellery, a headband and a kris. A text in Balinese script in ink at the top left says: pande ngaturang kris, balengker, bungkung, saking pgahen hi macan, a smith offers a kris, a headband and a ring on behalf of the tiger. Above the snake is written: nipi, snake, and at the bottom in the centre: macan, tiger.
The scene refers to an episode described in the Old Javanese Tatnri Kamandaka: 134-136. When the Brahman rescues a monkey, a tiger and the snake from a well, he is given the following advise: don’t take the man out of it. The Brahman, however, thinks that he should rescue the man. He gets him out. The man honours the Brahman with a sembah. He tells him that he is a goldsmith from Madura-Kling. He invites the Brahman to his home whenever he passes by. The Brahman continues his journey. He later meets the monkey aghain, whooffers him fruit, and the tiger, who fofers him the jewelry which he had taken long a go from a prince who was hunting in the forests and who died there. The all regard these gifts as a reward for their rescue.
LOr. 3390-192
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34.4 x 41.6 cm.
The sage Darmaswami caught by men. A text in Balinese script in ink at the top on the left says: bhagawan mpu darmaswami, sinikep, the sage Darmaswami is run in.
Two men take the sage Darmaswami by force. Somewhone holds a ring with a rope round his neck. The equipment is called klètèk.
.
This scene refers to a story of the Brahman and the goldsmith as described in the Old Javanese Tantri Kamandaka 136-138 and Tantri Demung 4: 70-74 (LOr. 13.019). The sage is captured by the men of the King of Madura-Kling because they think he has killed the prince.
LOr. 3390-184
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34.5 x 42 cm
He monkey, tiger and snake have found out that the Brahman has been captured. They decide to help him, since he had once saved their lives. The snake enters the palace-garden stealthily. He bites the crown-prince. The king summons the brahmans in his realm to make medicine. They advise the king to hold a snake-sacrifice and to burn a fire offering to ask the gods for help. Many offerings are prepared. Everybody, including people from outside the palace, brings offerings, ‘’canang’’. The snake-sacrifice is carried out under the guidance of a Brahman. The snake that has bitten the prince arrives. It enters from the fire. It is asked by the Brahman why he killed the prince. The snake explains that it was his purpose to help the Brahman Darmaswami. It says that the king should be told that nobody except the prisoner will be able to bring the prince to life again. The king agrees to set the Brahman free. He then brings the crown prince to life again.
LOr. 3390-193
Drawing on Dutch paper, watermark Concordia, countermark VdL., 33.7 x 41.8 cm.
The sage Darmaswami, after rescuing a tiger, snake and also a man from a well, is given jewellery, a headband and a kris. A text in Balinese script in ink at the top left says: pande ngaturang kris, balengker, bungkung, saking pgahen hi macan, a smith offers a kris, a headband and a ring on behalf of the tiger. Above the snake is written: nipi, snake, and at the bottom in the centre: macan, tiger.
The scene refers to an episode described in the Old Javanese Tatnri Kamandaka: 134-136. When the Brahman rescues a monkey, a tiger and the snake from a well, he is given the following advise: don’t take the man out of it. The Brahman, however, thinks that he should rescue the man. He gets him out. The man honours the Brahman with a sembah. He tells him that he is a goldsmith from Madura-Kling. He invites the Brahman to his home whenever he passes by. The Brahman continues his journey. He later meets the monkey aghain, whooffers him fruit, and the tiger, who fofers him the jewelry which he had taken long a go from a prince who was hunting in the forests and who died there. The all regard these gifts as a reward for their rescue.
LOr. 3390-192
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34.4 x 41.6 cm.
The sage Darmaswami caught by men. A text in Balinese script in ink at the top on the left says: bhagawan mpu darmaswami, sinikep, the sage Darmaswami is run in.
Two men take the sage Darmaswami by force. Somewhone holds a ring with a rope round his neck. The equipment is called klètèk.
.
This scene refers to a story of the Brahman and the goldsmith as described in the Old Javanese Tantri Kamandaka 136-138 and Tantri Demung 4: 70-74 (LOr. 13.019). The sage is captured by the men of the King of Madura-Kling because they think he has killed the prince.
LOr. 3390-184
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34.5 x 42 cm
He monkey, tiger and snake have found out that the Brahman has been captured. They decide to help him, since he had once saved their lives. The snake enters the palace-garden stealthily. He bites the crown-prince. The king summons the brahmans in his realm to make medicine. They advise the king to hold a snake-sacrifice and to burn a fire offering to ask the gods for help. Many offerings are prepared. Everybody, including people from outside the palace, brings offerings, ‘’canang’’. The snake-sacrifice is carried out under the guidance of a Brahman. The snake that has bitten the prince arrives. It enters from the fire. It is asked by the Brahman why he killed the prince. The snake explains that it was his purpose to help the Brahman Darmaswami. It says that the king should be told that nobody except the prisoner will be able to bring the prince to life again. The king agrees to set the Brahman free. He then brings the crown prince to life again.
KETOET GEDE, SINGARAJA, DRAWINGS OF THE STORY OF RADEN SARKA AND JUARSA
LOr. 3390-298, bottom
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 42.4 x 33.1 cm
Raden Sarka throws Juarsa from a boat into a swamp. Sara Ulan, the beloved of Juarsa, watches and cries. A text in Balinese script in ink at the top says: brawah agung, misi sampan panyewwa, lahut ke I jwarse, sareng hi sare ulan, nyewwa sampan, lahut katuludang, labuh ring tngahing brawah, trus ka septeptele, ring gnah sang antaboga, a large swamp with a boat to rent. Then I Juarsa and Sara Ulan arrive, they hire a boat. Then I Juarsa is pushed overboard. He falls into the swamp and arrives in the Netherworld where Antaboga resides.
In the centre in the sail of the boat is written: radensarke nuludang I jwarsa, Raden Sarka pushes I Juarsa over board. At the top on the right is written: hi sara ulan nangis ngenot hi jwarsa, labuh. Sara Ulan weeps when she sees that Juarsa falls.
The scene refers to an episode described in the Kidung Juarsa. In the text, LOr. 13;345, 11: 5-9, a story resembling the scene in the drawing is told. The man throwing Juarsa overboard is a Brahman. His name is not mentioned. He meets Juarsa shortly after the latter has been brought to life a gain. Juarsa wants to cross some water. Sara Ulan remains on land. The Brahman gives him a lift, but throws Juarsa overboard after taking a ruby from him. The Brahman goes back to Sara Ulan. He forces her to join him and to go to the country of Burham. The king has no wife and Sara Ulan is supposed to become his wife.
LOr. 3390-37
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 42 x 33.2 cm
Raden Sarka is decapitated by Sara Ulan. A text in ink in Balinese script at the top left says: raden sarka, nglinggihin kude, kepunggal hantuk hi sare hulan, Raden Sarka, driving a horse, is decapitated by I Sara Ulan. At the top on the right is written: sare hulan, makte pdang, Sara Ulan holds a sword.
The scene refers to an episode also known from the Kidung Juarsa 10-1-5 (LOr. 4219). The story takes place in a javanese Muslim society. Sara Wulan, or Sinara Ulan, or Sara Ulan, as she is called, si the wife of a prince named Juwarsa, or Juarsa, or Johor Sah, who lives in Madaldah. He has an elder brother who is the king of Saalsah or Saidalsah. The king wants Sara Ulan for his wife. When Juarsa leaves Sara Ulan for a while, she is kidnapped. Juarsa goes to his brother’s palace. A plan is made to kill Juarsa. However, the king himself is killed . Juarsa and Sara Ulan leave the palace. They enter a forest. An ascetic, called Raden Serkap, Serekap or Sarka, is performing asceticism in the forest. He is confronted with Sara Ulan and her husband. He wants to present her to his king, not knowing he is dead. He decides to kill Juarsa. Having killed him, Raden Sarka wants to bring Sara Ulan to the king. He seats himself on his horse. Sara Ulan walks behind,holding the horse’s tail, because it is hindering her. Instead of doing so, she kills Raden Sarka by cutting off his head. The killing of Raden Sarka by Sara Ulan is depicted in the drawing.
KETOET GEDE, SINGARAJA, TANTRI STORY, PAPAKA AND THE MONKEYS
LOr. 3390-183
Two drawings on Dutch paper, watermark Concordia, countermark VdL., 34.3 x 42 cm
A man called Papaka roasts two small monkeys on a stick over a fire. This scene refers to a story described in the Old Javanese Tantri Kamandaka: 130, 152-158. The wicked Papaka was chased by a tiger, because he had been chasing an elephant. The female monkey Wanari helps him to escape from the tiger. She takes Papaka onto her back and carries him high up into a tree. Papaka rests there. He chases the tiger away by shooting at him. Papaka then asks the monkey to take him to the road. He wants to return to home, but he pretends not to know the way. The monkey again carries him on her back, but she takes him toher own house first so that he can rest. She is welcomed by her children, a boy called Mardawa and a girl called Mardawi. The children ask her for the fruit she has promised them. The mother excuses herself. She has not been able to collect fruit because of Papaka. She then asks Papaka to take care of the children when she goes to the mountains to collect fruit for them. Papaka feels hungry. As soon as the mother has gone, he makes a fire. He decides to roast the children and eat them. When the monkey comes back he decides to tell her that her house caught fire and that the children were burnt to death. That happens, but the mother does not believe Papaka’s story. She knows that he is a hunter and that hunters like to eat wild animals. She regards it as her duty, however, to help other people.
A female monkey collects fruit and carries them on a pole. She meets a man, Papaka, in the forest. The monkey puts her ideas of friendship into practice, even though she is almost certain that Papaka has killed her children. She gives him fruit. When he has finished eating, Papaka asks the monkey to carry him through the forest because he is afraid of the tiger. The monkey agrees to do so. It is a long trip. Papaka gets hungry. He decides to kill the monkey and eat her. He therefore holds her neck tight. The monkey complains, but the hunter finally strangles her. Her soul goes to heaven after her death.
KETOET GEDE, SINGARAJA, BHARATAYUDDHA, STORY ABOUT BIMA AND SAKUNI
LOr. 3390-305
Drawing on Dutch paper, watermark Concordia, countermark VdL., 34 x 42.1 cm.
Bima and Sakuni, each of them armed with a club, face each other. Their servants hold their weapons ready for use. A texts in Balinese script in ink at the top right says: werkodara, ngawe gade, Wrekodara holds a club. On the right in the centre is written: twalenngagem sliksik, Twalen handles a penis-arrow. In the centre to the right is written: taru waringin, madaging hijah, a waringin-tree with small black monkeys. To the left of the tree is written: delem ngaba kris tken tamyang, Delem holds a kris and a shield. At the top left is written: sang sakunni ngage gade, Sakuni holds a club. In the center: pangkung, a dry river.
Bima and Sakuni, standing in front of a dry river, face each other. They are both armed with clubs. Sakuni makes a gesture indicating that he is looking attentively at something. Their servants hold their weapons ready for use. This scene refers to an episode described in the Old Javanese Bharatahyuddha XLIII: 4-5. the Pandawa, i.e. Bima chase the Korawa after Salya’s death. Bima meets Sakuni, who is very afraid. He is pulled by his hair. Sakuni cries and screams. Bima starts scolding him, because it was he who in the past always came up with all kinds of ruses and tricks to kill the Pandawa.
LOr. 3390-306
Drawing on Dutch paper, watermark Pro Patria, countermark VdL., 34.3 x 41.5 cm.
Bima crushes Sakuni into pieces. The servants, Gede Barakan, Sangut, Delem, Twalen, Tole, fight each other as well.
A text in Balinese script in ink at the top on the right says: bima. In the centre at the top is written: sekuni masempalsempal, Sakuni chopped into pieces. At the top on the left: puniki gde barakan, nga. This is Gede Barakan. Close to the green man on the left is written: hi sengut, Sengut or Sangut. In the centre further down: hi tole, and twalen, and delem. Tole is the son of Twalen in the wayang in Buleleng.
Bima crushes Sakuni and has cut him into pieces, Blood pours form the neck and the chest. The servants of the right-hand and of the left-hand party fight as well. Twalen fights Delem who holds a kris. Sangut, who holds a cleaver, fights Tole. Gede Barakan tries to separate them.
This scene refers to an episode described in the Old Javanese Bharatayuddha XLIII: 6. Bima crushes Sakuni with his club. He sucks the blood from the corpse, tears it into five pieces which he throws away.
