Sabda, Volume I, Nomor ], September 2006: 1 - 5 /5SN 1410-7910

MUDRA UN VISUAL AIND PERFORMING ARTS: Codes for Expression

Edi Sedyawati Fakultas llfnu Pengetahuan Budaya Universitas Indonesia

Abstrak Tulisan ini bertujuan untuk membahas kode-kode visual da/am seni selama Periode Jawa Kuna, yaitu mudra yang mencakup: kode-kode untuk menyatakan tempat dan Hngkungan, membatasi sebuah adegan atau perubahan adegan-adegan, menyatakan tingkat kosmografi, peranan dan status sosial, gaya tan, dan perasaan. Kata-kata Kunci: kode visual, mudra, abhinaya. This paper attempts to give a brief survey on make an approximation of the kinds of sound the use of visual codes in the arts during the "Old coming out from different kinds of musical Javanese Period". What is called the Old instruments, but we can never capture the actual Javanese Period is the period when the Old melody and rhythm. What can be interpreted from Javanese language was used as the official visual depictions of musical instruments is limited language. That period is also called the "Hindu- to the general role they may have in music Buddhist Era" in Javanese history. The making, for instance a stringed instrument is very abundance of Sanskrit loanwords likely taking the role of presenting the melody, or a characterises the Old Javanese language. Indeed, drum must have the role of accentuating the the familiarity with Sanskrit and the adoption of rhythm. Moreover, the number of knobs on a Indian scripts went hand in hand with the stringed instrument can indicate the number of introduction, acceptance, and henceforth the strings used, but cannot for sure specify what development of Hindu and Buddhist religions on notes that can be produced. the Javanese socio-cultural soil. The following discussion on mudra as code The term mudra (Sanskrit) in a strict sense for expression is confined to temple relief as data means "hand gestures". However, in a wider for observation. The visual depiction of scenes on sense, the word may figuratively means "codes temple walls and balustrades is in itsetf an for expression in general". In this sense, its meaning will be closer to abhinaya as it is used in expression of visual art. However, its codes used classical Indian theatrical art. It has, thus, the in scene depiction imply also certain aspects of a meaning of "a means to convey something, be it a technical guide for theatrical presentation. In this message or an idea". In theatrical art, however, way, a narrative relief on temple walls and mudra is just one aspect of the whole abhinaya balustrades has a double aesthetic significance: system. The word mudra in a general sense may as an expression of visual art, as well as an refer to any code for expression: it could be visual, kinetic, and audible. Nevertheless, it is only the allusion to theatrical art. visual and the kinetic (confined only to poses in The codes that can be recognised from dance or theatrical expressions) that we may still artefact remains are: recognise in the artefacts remaining from the past. We have no means of retrieving, or even a. codes to express place or environment; interpreting the audible codes from the past. We b. codes to limit a scene; or to indicate the could, indeed, change of scenes; $ahda Vo/ume // Nomor // September 2006: } - 5 c. codes to express cosmographical levels; specific kinds of animal. While the palace is d. codes to indicate roles and their indicated by the presence of elephant and respective social status; horse, a rural scene is coded by the e. codes of dance styles; and f. presence of goat and swine. The birds, however, can be present anywhere, thus codes to express moods.' does not have a differentiating function. But the rats are characteristic of the rural area, The corpus of temple relief referred to for especially that related to rice. Rats can be this discussion consists of those from Central present in the rice fields, or in the barn. Java and East Java, representing a period more or less between the 8th and 15th century Mountains and rivers are also clearly AD. The main temples in Central Java having indicated. Mountains by way of rocks in the narrative relief are the temples of Borobudur, shape of superimposed blocks or reclining/ Prambanan, and Plaosan Lor, while those of horizontal H forms, while rivers and the East Java are mainly the temples of ocean are indicated by flowing water in which Surawana, Kedaton. Tegawangi, Jago, fishes and crabs are often present inside it. Panataran, and Sukuh- East Javanese temple relief abound in depictions of panorama. Mountains, rice 1. Codes to Express Place and fields, rivers (sometimes crossed by a Environment bridge), and groups of trees, are chiselled out of stone beautifully. Occasionally can be In order to identify a scene two most found a scene depicting a side view or a important codes that should be used are, bird's eye view of a temple complex or a first, who is/are the characters) depicted, and hermitage. A relief on Candi Jawi shows a second, where is the place in which the temple complex with clearly defined scene occurred. To indicate a place and courtyards by way of dividing walls. The environment, first it is distinguished between horizontal structure reminds one of the plan in-doors and out-doors. An in-doors scene of Candi Panataran in East Java, and the can normally also be distinguished between general three-courtyards temples of Bali. that inside a palace, and that of a dwelling of High towering spires on the relief common people. Ornate pillars and a rich characterize temple buildings. Hermitages, display of food, often combined with pillows on the other hand. are usually depicted with on a heightened floor level, also featuring ordinary buildings, but with open halls, and principal figures dressed ornately, ordinary roofs such as those used for characterise a palace. On the other hand, a common dwellings. The code for a house of common people, or a hermit, never hermitage, in this case. is the presence of show all those characteristics. However, a one. or more hermit(s). Hermits themselves rich person can also be depicted with some are characterized by high rising headdress in of the normally 'royal' attributes, such as a the form of a turban. cushion and ornate dress. Another code for royalty that can never be 'borrowed' by just 2. Codes to Limit a Scene, or to Indicate the rich people is the . presence of a horse the Change of scenes and an elephant in the outdoor part of a palace scene. The most straightforward way to delimit a scene on a temple surface is by putting a Differentiation between the palace scene visual frame surrounding it, thus forming a and a rural scene is made by the presence panel. However, there are many examples, of both in Central- as well as in East-Javanese temples, 'Some of the codes discussed in this paper have been examined in terms of relationships among the different branches of art, in my previous paper presented at the "Translation Project" seminar organised by EFEO, Paris, in April 2002. The title of that paper is "Trans-Medium Translation of Stylistic Figures and Principles of Expression in Ancient Javanese Art".

Mudra in Visual and Performing Arts: Codes For Expression (Edi Sedyowati) •t. Sahda, Volume \, Nomor }, September 2006: 1 - 5 that within one panel are put more than one skies. Substantiating those literary scene. The row of relief narrative on the descriptions are the visual depictions on walls of the "hidden foot" of Borobudur temple relief. Heavenly beings are often temple, featuring the Karmawibhangga text, depicted flying, or just staying or dancing, on is a typical example. In this row of relief are a cushion of clouds, put on the upper part of depicted pairs of scenes: one depicting a a panel, white below them are depicted the certain deed, and the next depicting the scenes that happened on the earth. By consequence of it in an afterlife. iconographical codes they can be recognised Two kinds of codes that seems to be and differentiated into: fashioned by the visual artists themselves a. apsaras, or heavenly nymphs (female). are, first, the already mentioned framing with often portrayed in a dancing pose, or an explicit demarcating line, and second, in holding a garland of flowers, Or in the act cases that one panel consists of two or more of throwing flowers down; scenes, by putting two groups of people from b. widyadhara, handsome male figures; two separate scenes as sitting or standing back to back. The imaginary line formed by c. gandharwa, also always depicted as their backs serves as a dividing line between males, often holding and playing a musical instrument; the two scenes. The panels on the temple of Prambanan, mostly consisting of more than d. kinnara (male) or kinnari (female), in the two scenes. are typical examples of this form of half human (the upper part) and half bird (the lower part), often also method. depicted playing a musical instrument, or Another coding method, mostly used on holding a garland; East Javanese temples, is that using a tree e. rishi, having the features of bearded figure as a separating device between gentlemen, usually their hands put in scenes. This use of a tree form to indicate front of their chest in an afijali pose. the limit, or a change, of scenes reminds one The musical instruments held by those of the utilization of a similar tree figure in heavenly beings are mostly of the the dramatic performance of wayang kulit chordophone class, (leather puppet). In this kind of traditional dramatic performance very popular in Java Portrayals of heavenly beings on a and Bali the puppeteer manipulates the cushion of clouds abound in Central "cosmic tree" figure called gunungan to Javanese temples. It is remarkable that the indicate, among others, the change of visual renderings on the temples are scenes. Along with the consistent placing of consistent through the temples of both roles, with regard to status, on the right or religious belief, Hindu and Buddhist. The the left hand side of the viewer (or the majority of those visual renderings are found puppeteer in a performance), a hypothesis on Buddhist temples, while most of the (later) can be brought forth, that the East Javanese literary texts describing heavenly beings are period in the Javanese cultural history saw mostly Hindu. On the temple of Borobudur, it the consolidation of traditions in performing is on the rows of relief depicting the arts. Conventions regarding characterisation Bhadracan text that heavenly scenes appear and dramatic structuring must come to a most frequently. Thus the division of cosmos stronger and stronger position by that time into the upper world (the world of deities) (11th to 14111 century AD), in such a way that and the middle world (the world of human it also gave a strong impact on the practice beings) is visually interpreted as literally the of depicting stories in visual arts. upper and the lower part of space on a panel. The underworld, however, if there is a 3. Codes to Express Cosmographical need to depict it. is put as occupying the Levels whole space in a panel or a scene area. In Old Javanese literature there are Scenes from the descriptions of heavenly being moving in the

Mudra in Visual and Performing Arts: Codes For Expression (Edi Sedyawafi) Sabda, Volume \, Nomor 1, September 2006: 1 - 5 underworld if occasionally found, e.g. at categories. The first one is that with a clearly Borobudur and Candi Jago. Further on, the bhuta observable basic in classical Indian dance. The of the underworld, portrayed as dwarfish squatting turnout of both legs is the strongest code for this stout figures, is normally put in the lowermost part category. Moreover, legs, arms, and torso of a pilaster as if carrying it. If the pilaster is a movements depicted on the panels can be symbol of the world (of men), then the dwarfish recognized as the movements described in figure symbolise the underworld that bears the classical dance manuals such as the Natyauastra. world. Almost all the dance poses depicted on the outer wall of the balustrade of the main temple of Candi 4. Codes to Indicate Roles and Their Prambanan illustrate this category of dance style. Respective Social Status Only one among the 62 dance-panels of Prambanan shows the other category, namely the The roles in a scene can first be 2 identified through their dress and their relations 'local' dance style. There are also some with other roles in a scene. To put it the other way examples of the same kind on the walls of Candi around, the sculptors must have used a system Borobudur. The characteristics of this 'other', or of codes to differentiate characters in a story, 'local' style is that the two legs of the dancer are and they also have to take recourse in choosing posed parallel to each other, without any typical scenes in a story in order to be able to be indication of a turnout. recognised. The differentiation in apparel between Borobudur. The characteristics of this 'other', a noble and a commoner seemed to be the first or 'local' style is that the two legs of the dancer step taken. The reference might be the are posed parallel to each other, without any contemporary dress style in Central or East Java. indication of a turnout, In East Java, beginning with the relief Moreover, a dance that is meant to display a series of Candi Jago, the next step to formulate a counteraction towards the classical style is that characterisation system was then taken. Different demonstrated by a dance scene of the temple of types of character, for instance among the Borobudur, namely No. 0 39 of the Pandawa family consisting of Kunti, Yudhisthira, Karmawibhangga serial. This seemed to be meant Bima,Arjuna, and Nakula-Sadewa, was already as a Jest or a joke, by which the dancer makes made discernible by differentiating their body-built 2 arm as well as legs movements contrary to the and styte of headdress. Status among the roles is standards of the India-based classical dance. The distinguished by more adornment for higher- dancer flexes his arms and legs directed towards ranking personages, or applying a halo for his own body, thus contrary to the turnout for legs persons with divine qualifications. A sage or and arms required in classical dance. hermit, also the females, such as Kunti in exile, is given a visual code in the form of a high, multiple folded turban. Sages are given the trait of a long 6. Codes to Express Moods beard. The codes to express moods used for the Prambanan relief series were clearly taken 5. Codes of Dance Styles from dramatic manuals for the Sanskrit, Basically the dance styles depicted on the temple walls can only be divided into two

'A more detailed presentation of character types has been given in Edi Sedyawati, "Structure and Character Types in Javanese Performing Arts", a paper for International Conference on Indonesian Art, organised by The Indira Gandhi National Centre for The Arts. New Delhi, March 4^-6^, 2003. 'It is namely panel Number 58, counted from the eastern main entrance, clockwise.

Mudra in Visual and Performing Arfs: Codes for Expression (Edi Sedyawaf!) 4 Sabda, Volume I, Nomor 1, September 2006: ] - 5 classical Indian drama.4 Gestures of the Related to the torso, there is a gesture head, of the torso, and the arms, hands, and called the "nata movement of the sides", legs were used according to the rules of described as "the waist and one side are dramatic art- The Sduta head gesture for slightly bent and one shoulder slightly instance, which has been described as drooping down". This gesture is used to "turned up once, slanting" to denote self- depict Sfta approaching Rama after the esteem, is used to depict Bharata in his swayamwara. and also to depict Bharata coronation. A similar gesture, udvahita, which approaching Rama in the forest. The mood has been described as "the head is once implied in the two scenes is that of love and turned upwards" and means "looking high care to the person approached. up", is used to describe the perplexed people of Lingka looking up at Hanuman Jumping Movements of the legs and arms to from roof to roof. describe anger or readiness to fight are found in several scenes of the Rama story at The drooping head {ancita) combined Pambanan temple. The gesture used is the with a sacking chest {abhugna) is used to alfdha, pratyalfdha, or mandala. To sum up, depict sad persons, such as Dauaratha after the dramatic codes expounded in manuals being left by his exiled son, Rama. The for dramatics are consistently applied in sadness of Sita as a captive in Lingka is visual renderings of scenes. described by the dhuta head gesture indicating "a slow sideways movement", which is to be used among others to express sadness or astonishment.

BIBLIOGRAPHY Sedyawati, Edi- 2003. "Structure and Character Types in Javanese Performing Arts", a paper for International Conference on Indonesian An, organised by The tndira Gandhi National Centre for The Arts, New Delhi, March 4th-61h, 2003. Sedyawati, Edi, 1993, "The Dramatic Principles of Javanese Narrative Temple Reliefs", in Bernard Arps, ed., Performance in Java and Bali. Studies of Narrative, Theatre, Music, and Dance, London: School of Oriental and African Studies, pp. 174-185. Tarlekar. G.H. 1975. Studies in the Natyauastra with Special FIefernce to the Sanskrit Drama in Performance. Delhi, etc.: Motilal Banarsidass.

^For a study on this correspondence, see Edi Sedyawati, 1993, "The Dramatic Principles of Javanese Narrative Temple Reliefs", in Bernard Arps (Ed.), Performance in Java and Ball. Studies of Narrative, Theatre, Music, and Dance, London; School of Oriental and African Studies, pp. 174-185. On the dramatic interpretations the reference used is G.H. Tarlekar, 1975, Studies in the Natyauastra with Special Ffefernce to the Sanskrit Drama in Performance, Delhi, etc.: Motilal Banarsidass.

Mudra in Visual and Performing Arts: Codes for Expression (Edi Sedyawati)