Page 2 | Topeng - masks of Central Java

Basic iconography

Contents

Topeng - masks of Central Java (1)

Basic iconography (2)

Alus masks (3)

Gagahan masks (4)

Characters (5)

The spirit of the mask (6)

In performance (7)

Seleh Notes Volume 1 Number 2 March 1994

© By Jo Shaw

A glance at the iconography reveals its similarites to that of the wayang puppets.

As a wide-faced, small-nosed, large-eyed race with dark skins, the Javanese (traditionally) aspire to long, almond shaped eyes, long thin noses, small faces and pale skin.

(This is great for your average big-nosed westerners, who suddenly find themselves examples of beauty.

Pregnant women were particularly attracted to the shape of my nose, which they wished upon their unfortunate offspring. Thankfully this was unlikely!).

These features plainly relate to the small puppets which represent alus men and ladies in the shadow play.

Colours

The colours used are also important. White represents purity, youth and inexperience, so my youthful Gunung Sari is depicted by a white mask.

His brother Panji has very similar features, but his facial colour is pale green. This is peculiar to Panji and immediately identifies him, whatever the story. When Panji becomes older his greater maturity is shown by a golden face.

Female roles of the same class (for example, Sekartaji) have very similar masks to the men, with no obvious difference between the sexes except that those of the women may be slightly smaller. Rakhil Kuning, the wife of Gunung Sari, has a yellow mask as her name suggests.

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