2003–2004: Pak Tardianza, my mentor, and me in Surakarta, Indonesia’s “Bima” studio. My mentor was coloring leather wayang pupet at the time so that it could be used in the wayang kulit all-night performance while I was learning how to make wayang kain.

The most significant wayang is wayang purwa, which employs two-dimensional flat leather puppets manipulated by rods. Those delicately carved and painted puppets are made to cast shadows onto a big white canvas. The white canvas depicts this earthly stage, while puppets stand in for the essential qualities of the original or celestial archetype. The shadow archetype is projected onto the phenomenal world (white screen) by the divine light (lamp) from behind.

The earliest tales of cosmic occurrences are those of wayang kulit theatre. In the beginning, mythical figures rather than actual people were utilized to explain the fundamental relationship between heaven and humanity as well as the beginning and structure of the world. Similar as fairy tales from all over the world the narratives of wayang kulit often have to do with the major theme of good vs. evil.
The Wayang kulit theatre is a base of the wayang kain painting.

Few Wayang Beber paintings you can find on the page DREAM OF JAVA and https://en.wikipedia.org/wiki/Wayang_beber


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