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L. Coster-WijsmanIllustrations in a Javanese manuscript (met platen) In: Bijdragen tot de Taal-, Land- en Volkenkunde 109 (1953), no: 2, Leiden, 153-163

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ILLUSTRATIONSIN A JAVANESE MANUSCRIPT

I he India Office Library possesses a Javanese manuscript ofJL_ the well-known history of Damar Wulan, richly illustrated with

153 coloured drawings. Since on the one hand next to nothing has evenbeen published on illustrations in Javanese manuscripts in general, andon the other these drawings, though no masterpieces, are very lively,and quite interesting, whether considered fro'm the standpoint of artor anthropology, it seems well worth while drawing attention to them.

The manuscript was presented to the Library by Lt. Col. Raban20th Jan. 1815. In a Dutch periodical it is stated that Major, afterwardsLieutenant Colonel W. Raban was appointed Resident of Tjirebon in.1812, and left for England in July 1814.1)

On the frontpage, after a brief summary of the contents, has beenadded this startling information: this book is said to be two hundredyears old. That would imply it dated from about 1615. A mere glanceat the illustrations suffices to refute this assertion. They rather pointto the second half of the 18th century. We do not know, however,whether it is the actual copy that is meant to be two hundred yearsold; by "this book" could also be meant the composition itself. We donot know for certain when or by whom the story of Damar Wulanwas written. There is a tradition that it was composed by Carik Bajra,the poet laureate of the court of Kartasura in the first part of the18th century, so that a copy — and a simplified copy at that, for thistext, in its rather prattling style is unlikely to be that of a learned poetlaureate — could not be older than say 1710.

Another tradition, however, tells it was written by pangeran Pëkikunder Sultan Agung in 1542 Jav. era, that is to say 1620 A. D. Thatwould fit with the 200 years mentioned in our manuscript. But, in f act,we don't know what that remark is worth. Possibly the person fromwhom Lt. Colonel Raban bought the manuscript had boasted about it,claiming that it was very old.

BKI 92, 1935 p 627.


154 ILLUSTRATIONS IN A JAVANESE MANUSCRIPT.

The copy is very clearly written, the latter part in a different handfrom the first. The legends with the illustrations seem of an otherhandwriting than the text, and are not so easy to read.

Several manuscripts of the Damar Wulan are known, and.it has beenprinted more than once in two different versions, not taking into accountcopies made for theatrical use. A rather detective translation into Dutchwas issued as early as 1842 by P. P. Roorda van Eysinga in his Hand-boek der Land- en Volkenkunde. A prose recension was published in1857 2) and re-edited with a dutch summary by D. van HinloopenLabberton in 1905. Partial translations into Dutch are to be found inCultureel Indië, vol. 8, Leiden 1946, by the author, and in J. Gonda,Letterkunde van de Indische Archipel, 1947, p. 205, by C. Noprdenbos.

As for thé main contents of the story, it is a typical "lakon" i.e. aJavanese drama. Strictly speaking, the term lakon is used for .theatreplays in much the same nieaning as the word drama. The work we dealwith here is written as an epic poem, a kind of romance. But thedifference in style from work for the theatre is not very great, and onecan feel the author thinks of his heroes as puppets in the shadow-play,the leading form of art in Java.

The scheme for such a lakon is nearly always tHe same. "There arethe panakawans (i.e. certain persons who act as servants, but are ofgreat importance) and aniong other things the eternal antithesis betweenthe two main parties which may be connected with the idea of classific-ation and with an old conception of a division óf all that exists — wecould almost say of history, the myth of the ancestors and of the firstbeginning. Notions of this kind, together with those on initiation intoa higher grade of existence with the help and guidance of a Mediator,form or formed the basic contents of nearly every lakon — to quoteDr. Pigeaud's words.3)

In the lakon of Damar Wulan there may be found two antitheses:firstly that between Damar Wulan and his uncle Logënder, the patih(vizir) of Majapait, who is afraid that Damar Wulan will overshadowhis own sons Layang Seta and Layang Kumitir and therefore worksagainst him whenever he can. When Damar Wulan comes to Majapaitand asks Logënder for a job, he is appointed as the patih's groom, whichis a ridiculously low position for him. In one important point, howeverLogënder is outwitted: his lovely daughter Anjasmara, hearing that

2) VBG 30.3) Dr. Th. Pigeaud, Javaanse Volksvertoningen, 1938 p 366 § 354.


ILLUSTRATIONS IN A JAVANESE MANUSCRIPT. 155

her father has got such an extraordinarily handsome groom, falls inlove with him, f inds "out that he is really her cousin, and contrivéssecretly tö marry him. She stands in Javanese litérature as an exa'mpleof a charming, steadfast, resolute and faithful wife. In dealing withhis uncle and his male cousins Damar Wulan bears himself patiently.

Secondly, there is the antithesis bétween him (Damar Wulan) andMenak Jingga, the Red Knight whom he has to kill by order of theMaiden Queen of Majapait. Menak Jingga, the king of Balambangan,a rough and demonic character, has asked the Queen of Majapait'shand in marriage, and af ter her disdainful refusal wages war on Maja-pait. When the war threatens to become fatal the queen goes intoretreat, and cöncentrates on religious devotion. She then hèars a voicetelling her that no harm will'come to Majapait as long as there remainsa single ear of rice, and that some-one called Damar Wulan will killMenak Jingga for her. As a result Damar Wulan is summöned tp courtand accepts the order to kill Menak Jingga. The kingdom of Majapaitis öffered to him if he suceeds. Arriving in Balambangan with his twopanakawans (servants) he léarns through the kindness of two consortsof Menak Jingga that the latter can only be killed by the yéllow iron,an amulet he always keeps with him. The two consorts steal it forDamar Wulan while Menak Jingga is asleep; as Damar Wulan1 objectstó killing some-one in his sleep,' his servants have to awake MenakJingga to fight for his life, but Damar Wulan kills him easily with theyellow iron. He then marries Menak Jingga's two consorts who gavehim such substantial help. Back in Majapait the Maiden Queen, afterduly asking Anjasmara's consent marries him too, and he becomes Kingof Majapait with the title Bfawijaya.

In many versions the story of Damar Wulan ends here. Our textcontinues: The former patih of Majapait had been Damar Wulan'sfather who had retired from worldly life, and becömë the hërmitTunggul Manik, half a year before Damar Wulan was born. He hadthe secret intention of becoming a being of so great supernatural per-fection that he might be able to protect in a supernatural way his futureson, who he knew was destined for great things. Now in his seclusionhe had got another son, Kuda Rarangin, and elsewhere yet anötherKuda Tilarsa. Later on these two play a part in a war that two hostilèmonarchs, incited by Logënder, are waging against Majapait. Aftermany mishaps, Damar Wulan, Kuda Rarangin and Kuda Tilarsarecognize each other as brothers, and the hermit Tunggul Mariik astheir father. At length the foe is slain.


156 ILLUSTRATIONS IN A JAVANESE MANUSCRIPT.

Ajar Tunggul Manik will now need his supernatural powers: MenakJingga had a father, though he had been born, not of a woman, but bymystic powers. This father, who had well provided his son with super-natural capacities, was Ajar Pamënggër, and he had never forgottenhow Damar Wulan had slain his son. Resolved to avenge him hewaylays Damar Wulan. He travels through the air making for Maja-pait, by a charm spreading sleep over the court. He would have killedDamar Wulan with a sword, had not Tunggul Manik been followinghim in all his doings preventing it. A big fight in the air between thetwo ajars ends by Pamënggër producing a naga (dragon, serpent) outof his thigh, which Tunggul Manik counters by summoning the Garuda(heavenly bird) which kills the Naga. Pamënggër is hurled somewherefar away, and is not heard of again. This is the culmination of thedrama, supernatural powers contending for the life of Damar Wulan.The division in two parties, one connected with the dragon, representingthe earthly, the demonic, the other connected with the bird of heaven,symbolising the good. After this crisis the poem dwells on happierthings: the good fortune of Damar Wulan's panakawans and the birthof his children. Anjasmara has a son, called Asmara Sasi, and theformer Maiden Queen a daughter, married later to the prince ofDaha, Aliman.

Once more a danger threatens, this time stirred up by Logënder'ssons Layang Seta and Layang Kumitir. They become acquainted withJaka Jobin, prince of Tulang Bawang and son to Menak Jingga, whois monarch of Tulang Bawang. They inform him that Damar' Wulanwas the murderer of his father. Hereupon Jaka Jobin attackes Maja-pait and an important part in the war is played by Damar Wulan's sonin law, and young son Asmara Sasi. Jaka Jobin is defeated and killed,and so are Layang Seta and Layang Kumitir. The story ends with themarriage of Asmara Sasi with the princess of Daha.

The illustrations are done more orless in the wayang style, i.e. thestyle developed in Java in the latter part of the Hindu period andsubsequently. In it the well-known wayang puppets are used to representpersons of high rank, and those classed among venerated ancestors.Ordinary folk, if portrayed at all, are represented much more realis-tically. The peculiarity of this manuscript is that much attention is paidto ordinary people and thcir surroundings e.g. woods, animals, buildings,furniture etc. In furniture and dress considerable European influenceis noticeable. Amusing contaminations are frequent: people sit on chairsof European style, but with crossed legs, the way the Javanese usually


1LLUSTRATI0NS IN A JAVANËSE MANUSCRIPT. 157

sit on the ground. A wayang puppet can move its arms, but not its legs,whereas the puppets in our illustrations fold their legs quite naturally,notwithstanding they are the long thin unrealistic legs of a wayangpuppet. __

Particular attention is given to character and peculiarities, a traitthat is seen in Javanese art and literature. E.g. see how the cunningold blacksmith is represented in picture 3, and how the different animalsare done.

It is in their interest in every day things that these illustrations areexceptional. Usually, illustrations are strictly limited to the heroes. Thatthis should be so makes this manuscript additionally interesting to us.

• . • • • • ; " • * * *

DESGRIPTION OF THE-ILLUSTRATIONS(Own paging since the pages of the Ms are not consistently numbered)

(First number: page; number between brackets is that of the illustration.)

5 & 6 (1) The ships of Wandan and Anggris arrive to seek the hand of PrabuKënya of Majapait (it is refused). The flags are red, white and blue. There isa "three in one" fish near Wandan's ship.

8 (2) The hermitage of Ki Buyut Paluhomba, whither his daughter, the wifeof patih Udara, has sought refuge after her husband retired from the world."Hermit's. cooking pot", mortar. • . -

17 &.18 (3) Damar Wulan has arrived at Majapait to enter the service ofpatih Logënder. The latters sons Layang Setra and Layang Kumitir receive himdiscourteously. Behind them are some prangtandan, kajinëman(?), and purug-maya. Behind Damar Wulan are his panakawans Sabda Palon and NayaGenggong.

24 (4) Layang Setra and Layang Kumitir bring Damar Wulan to the pre-sence of patih Logënder.

29 (S) Two female stall-hplders under a waringin tree with the panakawansof Damar Wulan.

33 (6) The horse stable of patih Logënder, with Sabda Palon and NayaGenggong.

34 (7) The visit of Anjasmara, daughter of Logënder, to the stable.

37 (8) Damar Wulan is coaxed to the residence of Anjasmara. There is alamp by the door, a sleeping servant (female), a flower-pot suggesting a garden,and'two other öbjects (?)

38 (9) Layang Setra and Layang Kumitir take Damar Wulan captive to bringhim bef ore patih Logënder.

44 (10) Damar Wulan and Anjasmara in prison. Sabda Palon and NayaGenggong, chained before it. Above is an omen bird.

53 & 54 (11) Audience of Prabu Kënya (in a palanquin). Beforè her are thepara bupati of Majapait. The reception (notable gesture) of Katbuta and Kotbuta,envoys of Menak Jingga of Balambangan, from Logënder.


158 ÏLLUSTRATIONS IN A JAVANESE MANUSCRIPT.

59 & 60 (12) Audience of Menak Jingga (with peacock feather fan). Beforehim are Katbuta and Kotbuta, ajar Pamënggër (with a mortar) and the dipatisof Bali, Tunggarana, Pajarakan, Prabalingga, Waleri, Bandung and Cagangan.

64 (13) Patih Logënder, smoking an opium pipe, discusses the situation withthe dipatis.

65 (14) A messenger on horse-back, probably Menak Santënan, the messengerfrom Daha, bringing news that Daha has been attacked by Balambangan.

71 (15) The army on the march, with music and banner.72 (16) A battle against horsemen (caption: legend).77 (17) A battle. Full bottomed wig, with pistol and musket on one side, lance,

këris, sabre and knife on the other.78 (18) A battle-between horsemen with kërises. Caption: wong Tuba[n].80 (19) A horseman and footsoldiers crossing a river. (Caption: wong Balang-

bangan Njëlangi. Fishes)81 & 82 (20 & 21) A dipati and his men cross a river and form up into ranks:

a banner, drum, "tanggal" and ordinary soldiers with muskets.83 (22) A riderless-horse led away by two men (jaran tuan mati)84 (23) A wounded man carried in a cloth to a pikol by lantern light.85 (24) A sabre fight. Menak Pralaga is carried on the back of a servant.86 (25) A seated man is slain', and a rider goes off in a different direction.87 (26) Exodus from the villages. The lëbe and his family. (Lëbe desa ngili).88 (27) A guard with sashes and muskets. (Saradadu).89 & 90 (28) Banner, muskets, wind-instruments, gong, drum and percussion

instruments on a salver. (saradadu, obviously the name of the army-corps).93 & 94 (29) Audience of Rongga Lawe, an entry with furled fligs supplicant

before them, banners: the legation from Majapait pays its respects.97 & 98 (30) Rongga Lawe jurit. In front of him are his henchmen with i.a.

a "trisuia". Enemies challenge him; the foremost of them carries a cut-off head.101 & 102 (31) A battle: the death of Rongga Lawe.105 (32) The corpse of Üongga Lawe; close by are a broken banner, a drooping

flag and descending omen birds. Caption: dipati Tuban mati.106 (33) Dipati Praguna(n) marches off.107 (34) Smoking a "cigarette" now that in any case all is lost.108 (35) Two horses draggirig an injured man (?); caption: balance dipati

-Tuban.112 (36) Arya Simping, the "exterior" patih of Praba. Kënya, under a payong

in conversation with two dipatis.

115 & 116 (37) Prabu Kënya receives Tuban's widow together with her daugh-ter and women. The Nyai of Watangan, the youthful.son of Rongga Lawe, whowith his brother Buntaran has goné to war as a protest at this. The widow fallsin a faint. Behind the women is the patih Logënder with the dipatis.

118 (38) Dëmang . Gatul, an old servant of Rongga Lawe, on horse-backhearing a strangely shaped keris.

120 (39) Watangan and Gatul.123 (40) The elderly Gatul in-difficulties on the battle-field.124 (41) Buntaran against the lance-bearers.127 & 8 (42) Buntaran and Watangan against Kotbuta.


ILLÜSTRATÏONS IN A JAVANÉSÊ MANUSCRIPT. 159

129 & 130 (43) Rongga Lawe's last remains are brought from the battle-fieldand placed in a coffin. Gatul gives him the last honours.

133 (44) The coffin is carried off under a payong. Caption: isi kunarpa.134 (45) Some one sitting on the ground wearing a high fitting coat. Threê

bystanders with banners, a këris and a musket.136 (46) A Tuban pëngulu leads a riderless horse away.139 (47) Two fighters on horse-back.140 (48) Two horsemen, one with a sabre and the other with a spear.141 (49)Dëmang Gatul on horse-back, three radens in front of him, all in

anxiety or expectation, perhaps waiting to see what will happen.142 (50) Raden Buntaran and Watangan thrust their spears at Menak Jingga,

but the iron points only get bent. Dayun holds the songsong.148 (51) The two raden's are taken captiye, and Menak Jingga holds them by

the neck; on the left Gatul, on the right Dayun, Menak Jingga's servant.149 & 150 (52) The pleasure garden and hermitage of ajar Tunggal Manik,

in front of him sits his son Menak Koncar, a nephew of the Raden of Tuban,with his sister Rarasati.

152 (53) Dëmang Gatul in the forest seeking help.154 (54) The head of the watch, whose duty it is to guard Buntaran and

Watangan, together with his servants, is asleep.One reads the romance of Damar Wulan! Menak Koncar has put them to

sleep with a sirëpan.155 (55) Menak Koncar close to the prison of the radens. Dayun is nearby,

asleep. .156 (56) Gatul between the sleeping guards (?)157 (57) Sleeping guards next to a sabre rack.158 (58) A fight near the sleeping guards. Are the quivers with cross beam

upon thëm in this and the following illustration perhaps opium pipes?159 & 160 (59) The fighting becomes desperate.161 & 162 (60) A battle with spears. In the second Menak Koncar fights

four men single-handed.. 163 (61) Gatul entrenches himself in a nearby pisang-wood.

164 (62) Fighting in the wood.165 & 166 (63) The family proceeds to Majapait: in front is Rarasati and

her mother and ëmbans, then Menak Koncar, Watangan and Buntaran (whomarches, looking devotedly at Rarasati). At the rear is Gatul.

167 (64) The remaining bagage is carried by a kajinëman Lamajang (whereMenak Koncar reigns).

170 (65) Menak Koncar under a songsong with two dipatis. (Owing to a faultin the binding the text between these two pages is disconnected).

177 & 178 (66) Katbuta and Kotbuta before Menak Jingga; they bring amessenger with a letter from Majapait. (Caption: utusan Majapait gawa surat).It is the smith empu Lumbang. He brings a letter in which Prabu Kënya, inorder to gain time on Menak Jingga, proposes as a ruse, a marriage at Praba-lingga.

181 & 182 (67) Empu Lumbang is solemnly shown out. (kang atër, diatër).185 (68) Having delivered his message the smith returns home as a tumëng-

gung.


160 ILLÜSTRATIONS IN A JAVANÉSE MANUSCRIPT.

186 (69) Këncana wungu lagi tapa. Prabu Kënya in a trance. It is revealedthat Damar Wulan will save her.

187 & 188 (70) Prabu Kënya tapa lagi buka. Prabu Kënya breakfasts. Wateris sprinkled and her maid servants sit in joyful expectancy.

189 & 190 (71) Patih Logënder has got orders to tracé Damar Wulan, anddiscusses this with his wife. The musicians in suspense. His sons are by the drums.

199 & 200 (72) Prabu Kënya in her sedan. Logënder is before her with DamarWulan and the panakawans. She instructs him to kill Menak Jingga.

204 (73) The panakawans eavesdrop on the last meeting of Damar Wulanand Anjasmara.

210 (74) While on the way to Balambangan, Damar Wulan meets a deer.

213 (75) Menak Jingga, smoking a Gouda pipe, followed by his servant punRënges, orders Dayun to announce his arrival to his women.

214 (76) Damar Wulan sits beside two of Menak Jingga's women (DamarWulan tan arsa malëman dikarubut dening pawehan).

218 (77) Dayun, who has been confined to a hut by Sabda Palon, is sum-moned out to a fight, but refuses.

221 (78) Menak Jingga has fought with Damar Wulan and leaves him fordead. He leaves Dayun in the garden with the corpse and goes to bed, becausehe has feasted heavily.

223 (79) The consequences of the feast with Menak Jingga.

224 (80) Damar Wulan is restored lo life again by Wahita and Puyëngan,Menak Jingga's two wives, and deliberates with them. i

229 (81) Damar Wulan, Wahita and Puyëngan with the maid servants (outsideof the premises) on the way to Menak Jingga's residence to get the Wësi kuning.

230 (82) Menak Jingga sleeping between the gulings with the wësi kuningabove him. (Wahita and Puyëngan steal it).

233 (83) The panakawans rouse Menak Jingga, for Damar Wulan will notkill a sleeping man.

234 (84) After Menak Jingga has been killed, Damar Wulan goes to Majapaitwith Wahita and Puyëngan. •

237 & 238 (85) Damar Wulan, the women and the panakawans (bearing thehead of Menak Jingga) meet on the way Layang Setra and Layang Kumitir(who. attack him, leave him for. dead, and quickly return to Majapait, takingwith them the.head and the princesses).

241 (86) Ajar Tunggal Manik with Tampauna and Tampauni, the two childrenhe has adopted, in front of him. He orders them to become incarnate in DamarWulan and Prabu Kënya.

245 (87) Damar Wulan under a tree with Tunggal Manik beside him. Thepanakawans have taken refuge in a dried up well, from which they cannot emerge;

249 (88) Ajar Tunggal Manik in his hermitage; hermit's mortar, cooking pot.

250 (89) One of the hermitage servants with a besom and kudi in his belt.An empty chair indicatés that the hermit is out. At the bottom of the page isa huge naga. The whole plainly indicatés that Tunggal Manik is alert against thechthonic forces that are threatening Damar Wulan — Tampauna.

255 (90) After his resurrection Damar Wulan has returned to Balambanganto acquire more loot that may serve as pieces of evidence. Naya Genggong hashimself carried.


r• Ml»

• . . , . • • " '

i24 (4) Layang Setra and Layang Kumitir bring Damaf Wulan to the presence of patih

Logënder.

60 (12) Audience of Menak Jingga (with peacock feather fan). Before him are Katbutaand Kotbuta, ajar Pamënggër (with a niortar) and the dipatis of Bali, Tunggarana,

Paj arakan, Prabalingga, Waleri, Bandung and Cagangan.


i, _ . l é •

148 (51) The two radens are taken captive, and Menak Jingga holtls them by the neck;on the left Gatul, on the right Dayun, Menak jingga's servant.

233 (83) The panakawans rouse Menak Jingga, for Damar Wulan will not kill a sleepinaman.


263 (93) The meeting of Damar Wulan and Anjasmara.

J

358 (123) Buntaran, (who has had to desist fighting Kuda Rarangin and Kuda Tilarsa)kneels before Brawijaya-Damar Wulan, who has drawn his own kéris to enter the fighthimself. Behind him is his now stately panakawan who has taken the name Sëcayuda.


385 (135) Covering the whole side of the page. A dalang penopengan with a gamelan near thetop; in the middle a topeng player with a këris protruding frotn his clothing and a mask inhis hand. At the bottom is a dalang reading a text and an opium smoker. Caption: pëmatang

sëmpati(?) Query: the meaning of this picture? There is no clue to it in the text.


lLLUSTRATÏONS IN A JAVANÈSE MANUSCRIPT: ' 161

258 (91) On hearing from her brothers that Damar Wulan has been slain byMenak Jingga, Anjasmara has gone to sèe his corpse.

262 (92) A sedan with captive princesses that Damar Wulan is taking toMajapait..

263 (93) Thé meeting of Damar Wulan and Anjasmara.264 (94) More booty is brought from Balambangan.269 (95) Damar Wulan adorns himself.270 (96) Anjasmara adorns herself under the supervision of Logënder and

his wife. "271 & 272 (97) Anjasmara and the four captive princesses before Prabu Kënya

to whom they teil the true story.279 & 280 (98) A duel between Damar Wulan-and his nephew. Anjasmara

helps him in the battle.282 (99) Sabda Palon quarrels with the by-standers.285 (100) Betting on the duel.286 (101) Buntaran and Watangan with Gatul among the by-stahders.288 (102) The panakawans come to familiarities in the excitement of the duel.-289 (103) Sabda Palon and Naya Genggong, naked and dancing, now that

the duel is going favourably, mock patih Logënder.290 (104) Damar Wulan and Anjasmara by Layang Setra and Layang Kumitir

who have fainted. (Omen birds).297 & 298 (105) An audience "with Prabu Kënya. She asks Anjasmara's consent

to marry Damar Wulan.

• 302 (106) The Prabu anom (Damar Wulan) with his four wives.

305 & 306 (107) Logënder and his family discuss what is to be done.

309 (108) Layang Setra and Kumitir with a sentry. Théy go abroad.310 (109)" Raja Wandan and Raja Anggris with their patih(?). They get into

touch with the Logënder family.311 & 312 (110) Expedition of Wandan and Anggris against Majapait, a

result of Layang Setra's incitements.

315 (111) Tunggal Manik, with Kuda Rarangin, one of his sons who does notknow this relationship, before him. There is also his panakawan Kutis. TunggalManik announces that if Kuda Rarangin collects forty heads he will see hisbrother Damar Wulan.

321 & 322 (112) A battle between the forces of Wandan, Anggris and Maja-pait.

325 (113) Menak Koncar on horseback strikes a man dead.

326 (114) A fight between their servants.

327 (115) Kuda Rarangin at work collecting heads. ,

328 (116) His servant Kutis hangs the heads neatly on a tree.

334 (117) A corpse hanging at a pikulan: (lurahe pami . . . . . . wangsasuta).

335 & 336 (118) Raja's Wandan and Anggris with Logënder and his sonsbefore them. Logënder slanders Kuda Rarangin (who has entered Raja Wandan'sservice, and is 'threatening to outstrip Layang Setra and Kumitir) saying thathé is bewitchëd, and brings bad luck. Above in Roman script: "Die graba istoemme uol". Obviously the effusion of some fuselier.

Dl. 109. 11


162 ILLÜSTRATIÖNS IN A JAVANÈSE MANUSCRIPT.

341 & 342 (119) A whole page with hunting scènes, two knights in combatwith kërises. They are Kuda Rarangin and his younger brother who do notrecognize each other. (Servant Kutis).

346 (120) Recognition of Kuda Rarangin and Kuda Tilarsa (servant Kutis).

349 & 350 (121) The dipati of Tuban (Buntaran) with i.a. the dipati of Sidayubefore him.

355 (122) Buntaran (on horseback) in battle with Kuda Rarangin (on foot).

358 (123) Buntaran, (who has had to desist fighting Kuda Rarangin and KudaTilarsa) kneels before Brawijaya-Damar Wulan, who has drawn his own këristo enter the fight himself. Behind him is his now stately panakawan who hastaken the name Sëcayuda.

361 & 362 (124) During the fight Kuda Rarangin and Kuda Tilarsa recog-nized that theyjwere Damar Wulan's half-brothers. Now they kneel before him.Menak Koncar, Buntaran, Watangan, Sabda Palon, Naya Genggóng are alsopresent.

366 (125) Putri Anggris (Kancanawati) and Wandan in conversation overthe unfavourable war-prospects.

367 (126) The end of the struggle: booty. :

369 & 370 (127) The Majapait army marches homewards. Sëcayuda — SabdaPalon, who gives commands, is in the rear. They take a prisoner of war withthem.

373 & 374 (128) Patih Logënder and his family come to make pëace in Maja-pait bringing with them gifts to Sëcayuda and Sëcabawa (Sabda Palon andNaya Genggóng), but Damar Wulan is diffident.

377 (129) Ajar Pamënggèr prepares a këris while Ajar Tunggal Manik, him-self unseen, keeps a watchful eye on him.

378 (130) The hermitage of Pamiënggër, the empty chair indicates his absense;Pamënggër has' travelled through the air to Majapait, followed by Tunggal Manik.

379 (131) Brawijaya-Damar Wulan asleep.380 (132) Ajar Pamënggèr attempts to murder Damar Wulan, but Tunggal

Manik prevents him just in time. .

383 (133) A fight between the two ajars.384 (134) Arya Sisimping, the "exteriór" patih, receives a Lurah Pamijen

(who has come to report the garagara (?) — not in the text), at the gate ofMajapait (paregolan Majapait). A.woman stands listening (jëruman). Two omenbirds, one with something in its beak.

385 (135) Covering the whole side of the page. :A dalang pënopengan with agamelan near the top; in the middle a topeng player with a këris protudirigfrom his clothing and a mask in his hand. At the bottom is a dalang reading atext and an opium smoker. Caption: pëmatang (?) Query: the meaning of thispicture? There is no clue to it in the text.

387 (136) A Garuda with a Naga in its talons. (Pamënggër has conjured anaga by cipta, which Tunggal Manik counters by summoning Garuda; Garudakills the naga). Pamënggër falls from somewhere in- the sky, and is done withfrom now on.

389 (137) Ajar Tunggal Manik is given homage by Buntaran, Watangan, KudaRarangin and Kuda Tilarsa.

390 (138) Perhaps a continuation of the preceding. Damar Wulan and SabdaPalon with offerings? . " • •


iLLÜSTRATlONS IN A JAVANÈSE MANUSCRIPT. 163

391 (139) Wahita and Puyëngan with a woman Wratsari (unknown).392 (140) Prabu Kënya under a tree, with four putri tawan, where Anjasmara

is being massaged. (Anjasmara lagi urut).393 & 394 (141) A dance scène with Cëbawa (Naya Genggong)'s panakawans,

he looks on with his wife the princess, eating sweetmeats. There is a cleardifference in human distinction. (gong drum and ; . .?)

396 (142) Cayuda (Sabda Palon) retires with his wife. The guard sleep andread.

4(30 (143) Layang Kumitir sculling. The family undertake a ferry-service togain their livelihood.

401 (144) Paluhomba: a maid seryant of Kyai Buyut, the grandfather ofDamar Wulan.

402 (145) Ni Buyut and Damar Wulan's mother before Kyai Buyut (witha mortar). The family is brought from Paluhomba to the court.

403 (146) Garden plants.405 (147) Anjasmara and the midwife (?). (Here the script is written in a

different hand, but the style of the illustration remains the same).409 & 410 (148) Anjasmara with her young son before Lógënder who is invited

on her request. Great interest on the part of grandmother Logender.412 (149) Sëcayuda and Sëcabawa in prosperity.415 & 416 (150) Brawijaya with his four wives.419 & 420 (151) Layang Setra and Kumitir now become familiar with Jaka

Jobin, prince of Tulang Bawang, a son of Menak Jingga.421 & 422 (152) Jaka Jobin has made a raid on.Lumajang. Menak Koncar

defends himself against him with the assistance of Tüban (Buntaran), Daha(Watangan — whose son is married to Damar Wulan's daughter by PrabuKënya) and Prabu anom (Damar Wulan's son Asmara Wulan by Anjasmara).Jaka Jobin is killed.

430 (153) Marriage of Asmara Wulan to the princess of Daha.

L. M. COSTER—WIJSMAN f

The board of editors thanks the librarian of the India Ofïice Libraryfor his permission to reproduce illustrations from the above mentionedmanuscript, Prof. Dr C. Hooykaas for his help in making a choicefrom the illustrations and Mr. A. Johns for his translation of theDutch text of the appendix of the article (description of the illustra-tions) .

C in Javanese words represents Engl. ch.


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