THE ANALYSIS OF COMMUNICATIVE MEANING IN KAMASAN PAINTING: A CASE STUDY WITHIN BIMA SWARGA STORY. By: Nyoman Lia Susanthi, S.S.

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1 THE ANALYSIS OF COMMUNICATIVE MEANING IN KAMASAN PAINTING: A CASE STUDY WITHIN BIMA SWARGA STORY By: Nyoman Lia Susanthi, S.S. Abstract Kamasan painting is a traditional Balinese painting. The painting is called Kamasan because it belongs to the Kamasan village, which is located in Klungkung Regency, Bali. The special type of Kamasan painting is the theme of wayang (puppets) to illustrate the appearance of a piece of the story. The story of Kamasan is depicted by the epics of Mahabharata, Ramayana, Sutasoma, Lelintangan, Panji, and other stories that contain values of philosophical teachings of Hindu religion. The existence of Kamasan paintings was since the Kerajaan (Empire) Klungkung. This was evidenced by the presence of painting in Kertha Gosa building constructed in the time of the Klungkung kingdom. Since the first painting was created with a different concept, namely as a communication medium, which contains the philosophy and fully meaning. This study aimed to analyze the communicative meaning contained in Kamasan paintings with the story of Bima Swarga. Key words: Painting, Kamasan, Bhima Swarga

2 1. Background Indonesia is known as archipelagic nation with varieties of cultural within an emerald equator. The culture itself is concerned with human intellect and sense. The feature of the culture has evolved since prehistoric times, as seen from many prehistoric both relics and relics of ancient art and human culture. Bali is one island in Indonesia that inherited wealth of cultural resources, so deserve to be called as the laboratory culture of Indonesia, which enable to produce new cultural arts to enrich its cultural treasures. Art in Balinese society is a complex element that raises great demand by the citizens of his community, so it seem that it dominates the entire life of the Balinese. Based on those functions, the arts become the focus of Balinese culture. Bali region is very rich in arts and those grow and develop in the life of the Balinese as fine arts, performing arts and literary arts. This paper describes one art which is plays important role of art development in Bali, which leads to the fine art of painting. Bali Painting is an art that originally comes from the sacred character of shadow puppet play and have a high quality, both in terms of form and philosophy. During the development of Balinese painting, it is classified into ancient Balinese painting, new Balinese painting and modern Balinese paintings. The ancient Bali Painting known as Bali Parwa paintings began to spread from the village of Kamasan, Gianyar-Bali. This painting has a very high value because Kamasan Painting stories are taken from Mahabharata epic, Ramayana, Sutasoma, Lelintangan, Panji, and the stories of other people which contain philosophical teachings of Hinduism value. The existence of Kamasan paintings exist since the days of Kerajaan Klungkung. It is evidenced by the presence of painting in Kertha Gosa building which is constructed since the time of the kingdom of Klungkung. Since the beginning of it existence, the first painting was created with a different concept as a communication medium which contains the philosophy and fully meaning. Number of existing paintings and developers made to prescribe the importance of one piece of the story of Kamasan paintings that can represent many Kamasan paintings.

3 This paper is intended to describe the meaning of communication which is performed within Kamasan painting through the story of Bhima Swarga. The analysis of the story, message and philosophy value of Kamasan Painting is done through the observations of several pieces of Kamasan painting entitled Bhima Swarga. The story tells about the journey of Bhima went to hell to release her father (King Pandu) and his stepmother (Dewi Madri) from Yamadipati s abuse (the authority of Yama-hell world). 2. The Summary of Bima Swarga Story In the meeting venue (Paseban), Dewi Kunti gathered all his sons (Panca Pandawa) to share the misery and suffering of their parent (King Pandu and Dewi Madri) in hell (crater). They were convicted of Pandu has done a great sin when he killed two deer that were the undercover of Kindama Bhagawan. Dewi Kunti (the first wife of King Pandu) got a bad feeling through his dream that Pandu and Madri been abused, therefore she decide to send her children to save their parents in hell. After the discussion Bima is chosen to do the duty, so that the souls (atma) of Pandu and Madri can immediately release. Kunti and her four children get into the body of Bima through the "Aji Angkusprana" by to the grace of Bhatara Bayu, and then Wrekodara went into the air accompanied by two servants (Twalen and Merdah) to the world of Yama (hell). In Yamaniloka, Bhatara Yamadipati with Sanghyang Suratma is leading a court for those souls with their result of actions (karmaphala) in order to quantify their deeds in the world. Bhima presence among the souls arise chaos in Yamaniloka, and immediately Sanghyang Suratma asked for his identity as a life human beings who can be present in heaven / hell. Bhima replied bluntly that his presence was to seek the soul (atma) of his parents (Pandu and Madri). Bhatara Yamadipati is not believe that Bhima able to be in heaven / hell. To convince himself, Bhatara Yama ordered Bhima took two souls (atma) from Tambragohmuka crater. But the guard reported about what have been done by Bhima by tearing the whole pot of Bhatara Yama. Yamadipati was so mad because he considered Bima s reckless to fool him by spilling all the melted ghosts / souls in the crater. Then, Yamadipati told his brothers and the giants to fight and kill Bhima. The

4 battle between the ruling groups with Bima is crashed. The armies can be defeated by Bhima including Bhatara Yama. Amongst of those the many spirits, Bhima cannot recognize Pandu and Madri souls. Then he brings his mother and his brother out from his body to find out where Pandu and Madri s souls are. Kunti told her children to unite the bones of Pandu and Kunti as a size of human body and they eventually able to unite the bones and make pray for their parents but still their parents spirit cannot talk. Bhima had not known that worship, and by the advice of Twalen, Sahadewa and Nakula made a fool of Bhima by saying that Bhima s hands are different in size from one into another. Bhima did not believe and he unites his hands, while Sahadewa and Nakula holding it high and lifted up to the above head, indicating that Bhima had worshiped his parents. Feeling cheated, Wrekodara was very angry and immediately he went after his siblings to be killed, but was remained by his mother, Kunti and he finally forgive his brother behavior. 3. The Analysis of Communicative Meaning in Kamasan Painting, Bhima Swarga Story In order to analyze the meaning of communication in Kamasan paintings, it is necessary to observe the symbols and the grip of Kamasan painting itself. According to many symbols, the author only focuses on a few symbols of characteristics and forms. 3.1 Wayang Cluster Wayang can be grouped into six cluster, namely God (Dewa), Hindu Priest (Pendeta), King (Kesatria), Human/ Supernumerary (Bala-Bala), Demon/ Giant (Raksasa), dan Animal (Binatang).

5 a. God (Dewa) Cluster This group has a special form, the thin body, fancy clothes and His body is rounded by the light (aurora). b. Hindu Priest Cluster The Hindu Priest cluster is included saint, the form of angelically, slant-eyed, holy-robed and berketu (hat).

6 c. King (Kesatria) Cluster This group serves as king, commander of the governor. The body is strong, powerful; some are fat or slim body. They are symbol of human beings generally. d. Demon/ Giant (Raksasa) Cluster This group has great physique, grim and spooky face, described to have bad behavior.

7 e. Human/ Supernumerary (Bala-Bala) Cluster This cluster is very simple. They generally do not play an important role and just as supernumerary (extras). Clothing that is used is very simple. f. Animal (Binatang) Cluster This cluster is generally as a complement to the Kamasan painting. There are only a few animals have an important role, including an eagle, dragon, turtles and others.

8 3.2 Face Character The face characters of wayang have different expressions depending on its character, namely: a. Sweet/ Gentle (Manis) Face Memanisan face generally has beautiful eyes and sharp nose and good mustache, so that the whole of his/ her face looked sweet and nice. The sweet face has a good character. Memanisan Face for Woman Figure Memanisan Face for Man Figure

9 b. Hard (Keras) Face The hard face is grouped into two, namely (1). Hard face with bad behavior has beady eyes, hooked nose, very bushy mustache, his mouth wide open, with sharp teeth and fangs. Generally grows tusks on his cheek, names Dang Astra. This reflects the bad behavior, anger, greedy, cruel and inhuman. (2). Hard face with good behavior has a dense mustache, beady eyes, but do not have sharp teeth and fangs. (a). Gatot Kaca, (b). Korawa, (c). Rahwana

10 3.3 Hands Posture Hands posture in Kamasan paintings has different meanings. Generally the attitudes of the hands are: a. Point Toward or point at in angry posture b. Talking or gives and receives advices c. Holding d. Handful or fistful, angry posture and be ready to fight e. Pass away sign

11 1. According to the symbols observations above, in the first painting indicates that, in the sixth humans in the picture above shows the group of King (Kesatria). By order of the right to left are Sahadewa, Nakula, Arjuna, Bhima, Dewi Kunti, Yudhishthira, Twalen and Mredah. From the character's face shows that Sahadewa, Nakula, Arjuna, and Yudhisthira Dewi Kunti have a sweet face character. Bhima, Mredah and Twalen have hard face with good behavior. While the attitude of the hand that is shown to communicate that they are talking and discussing, illustrating Dewi Kunti gathered all her sons (Panca Pandava) to info the misery and suffering of their parents (the King Pandu and Dewi Madri) in Hell (crater). 2. According to posture of the hands and feet of Bhima, Mredah and Twalen communicate that they are running, Bhima s eyes that leads to the His servants to command Mredah and Twalen can run faster. In the above Kamasan painting depicts Bhima is accompanied by two servants (Twalen and Mredah). They are sent to go to hell to rescue his parents.

12 3. The Kamasan painting above has additional groups which are indicated by circles aura that surrounds His body, but He has a hard expression with bad behavior, He is Bhatara Yamadipati. While the right groups of this painting comes from a giant group, which is reflected from the eye round, bushy mustache and has fangs. In below of Bhatara Yamadipati, there are His servants, those are Delem and Sangut. According to hand gestures shown by Bhatara Delem Yamadipati indicated that they are angry. In this Kamasan painting tells us that Bhatara Yamadipati not allows Bhima to enter Hell as His territory. 4. From the left of painting describes Bhima is surrounded by (Bala-Bala) supernumerary cluster (extras) as the souls (atma). Bhima is carrying two souls who wear clothing that looks different from the others. In accordance with the wayang cluster, two souls are included in King (Kesatria) cluster (King Pandu and Dewi Madri), because they wear luxury clothing. In the painting depicts that Bhima is accompanied Twalen and Mredah has managed to save both the souls of His parents from hell.

13 5. In the paintings above indicates that all servants in the squat position with clenched-hands directed on the crate containing two souls (King Pandu and Dewi Madri). Only Bhima who is standing with hand posture without clenched. In the painting communicates that all the servants of King Pandu and Dewi Madri worship their souls (within a box), except Bhima which standing, do not want to worship. 6. In below line are the servants of the kingdom, while above of the servants is Panca Pandawa accompanied by Dewi Kunti. Bhima is hugged by his brother. Bhima looks clench his hands as if he is worship. According to painting above depicts that Nakula and Sahadewa is fooling his brother, Bhima. They say that his fingers (right and left) are different. Bhima do not believe initially, he clench both hands, while Nakula- Sahadewa holding and lifting it high to the fontanel on the head, indicating that Bhima had worshiped his parent (King Pandawa and Dewi Madri)

14 4. Conclusion Observing the whole story of Bhima Swarga, it begin from the ability of Bhima in the Palace Amrita then go alone to find his parent's soul in hell. Finally Bhima worship his parents at the instigation of Twalen. Judging from its structure, this story depicts the obligation of the Balinese (Hindu) in implementing Yadnya (especially the cremation ceremony / Ngaben). In the story of Bhima Swarga is translated into the daily life: an obligation of son to his parent, because he was born and bred. He must pay by way obligated to devote both physically (Ngaben ceremony) and spiritually by clenched hands "worship".

15 Bibliography Hinzler, H.I.R Bima Swarga in Balinese Wayang, Leiden : Martinus Nijhoff Tjidera, Gung Wayan Wujud Fisik dan Falsafah Lukisan Wayang Bali, Denpasar: UPT. Penerbitan Universitas Udayana. Wicaksana, I Dewa Analisis Dramatik Lakon Bima Swarga Karya Pakeliran Dalang I Made Sidja (Bona Gianyar), Denpasar: Penelitian STSI