Jagad Ageng and Jagad Alit In Traditional Kayons

Kayon is a shadow puppet character who symbolizes the world. In the Java world, there are two types of world concepts, namely the jagad ageng and the jagad alit. This study aims to examine the concepts of jagad ageng and jagad alit, which are symbolized by the traditional kayons in purwa shadow puppets. The focus of this research study is to reveal the existence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that have world essence, namely the jagad ageng and the jagad alit. Therefore, this study aims to reveal the existence and essence of Kayon Blumbangan and Kayon Gapuran as traditional kayons that store the concepts of jagad ageng and jagad alit. The method used in this research is iconography. Form theory which is divided into fields and ornament will become the main scalpel in analyzing the existence of Kayon Blumbangan and Kayon Gapuran. This research results that Kayon Blumbangan and Kayon Gapuran have the same shape structure with different widths of fields. The ornamental elements that form the kayon of the two traditional kayon are basically the same, namely forming four elements, including fire, water, wind, and earth. The four elements are the elements that make up the jagad ageng and the jagad alit. So, Kayon Blumbangan and Kayon Gapuran have a symbol of cosmological concepts regarding the concepts of jagad ageng and


Introduction
The world is often understood as a material space that presents both beauty and concern captured by the senses. The world is a reality, but in this case, the reality is not only limited by the human senses. The world is not taken for granted as a reality for humans as a subjective meaning, but it is the thoughts and actions of people who are nurtured as 'real' by their thoughts and actions (Berger and Luckman 2013, 28). Likewise, the opinion of Franz Magnis-Suseno, that the world view is a whole of all descriptive beliefs about reality insofar as it is a unity of human beings gives a meaningful structure to the nature of their experience (Magnis-Suseno 1984, 82). Thus, the world can be understood as a reality that gives meaning to humans in the form of experience. In this case, the concept of the world to be discussed is the world of Java.
The concept of the world in Javanese society in this writing will be demonstrated through the discussion of kayon, mainly traditional kayon found in purwa shadow puppets. Tradition refers to the rules that arise from the community in accordance with their needs which become a norm (Soekanto 2010, 157). As for Soedarso Sp. argues that tradition refers to what already exists (Soedarso Sp 2006, 71). Thus, traditional kayons is meant as kayons which is used from generation to generation and is institutionally confirmed in the purwa shadow puppets show. Kayons included in the traditional kayon include Blumbangan Kayon and Gapuran Kayon.
The kayon in the Javanese world of wayang and Javanese culture was seen as a symbol of the life of Javanese people in particular and even humans universally (Rusdy 2015, 93-94). There are three stages of world development that can be seen from the triangular form of the kayon, namely the old world (purwa), the middle world (middle), and the final world (wasana) (Rusdy 2015, 95). Kayon is the axis mundi, is the relationship between humans and the creatures of the upper world (Sumardjo 2006, 203). The concept of the world contained in kayon has three levels, namely the triloka/tribuana, including the underworld (sakala), the middle world (sakala-niskala), and the upper world (niskala) (Dharsono 2007, 58).
Kayon, in general, is one of the shadow puppet characters found in purwa shadow puppets which always appears as an opening and closing of shadow puppets show. Sunarto further categorizes the kayon into the morgan group (Sunarto 1997, 118). Whereas in the question and answer session between Sastramiruda and his teacher, Kanjeng Pangeran Arya Kusumadilaga, the kayon was referred to as the ricikan group. "Even though it is only a complementary tool, the existence of this puppet can determine the proper implementation of one play" (Kamajaya 1981, 29). This was also expressed by Jakob Sumardjo who explicitly revealed that there is no shadow puppet show without kayon (Sumardjo 2006, 203). In addition to opening and closing puppet shows, Kayon Blumbangan and Kayon Gapuran on a number of puppeteers also offered other meanings, sometimes interpreted as water, fire, wind, mountains, forests, and so forth. Junaidi revealed that the kayon could be applied as a sign of scene change, as a sign of rhythm, as a sign of time, and as a substitute for natural objects in a carving that were not available, such as wind, fire, earth, stone, trees, air, water, clouds, sun , month, gate, house, etc. (Junaidi 2012, 55). The kayons function in the performances could be divided into three categories, namely as a gesture for gamelan musicians; as a repertoire; and as an introduction to abstract scenes and objects (Soetarno and Sarwanto 2010, 27). In the purwa shadow puppet show, there are two kinds of traditional kayon, namely Kayon Blumbangan and Kayon Gapuran. Kayon Blumbangan is the oldest kayon concept among other kayons. This kayon was created by Sunan Kalijaga in 1443 the year of Java or 1521 AD which is known from its sengkalan, geni dadi sucining jagad. Then there was the development of kayon in 1659 Javanese year or 1734 AD which is known from the sengkalan, namely gapura lima retuning bumi created by Susuhunan Paku Buwono II which later became known as Kayon Gapuran (Sabdho and Basir 2014, 4). Visual differences that appear between Kayon Blumbangan with Kayon Gapuran are found in ornaments in the middle of the kayon. In Kayon Blumbangan there is a pond motif which in Javanese is called blumbang because it is called the Kayon Blumbangan. As for Gapuran Kayon, there is a gate motif so that it is called Gapuran Kayon. However, whether the difference will affect the meaning of the kayons?
This study raises the title "Jagad Ageng and Jagad Alit in Traditional Kayon". In Javanese, "jagad" is defined as "the world", while "ageng" means "big" while "alit" means "small". Therefore, the jagad ageng can be interpreted as the universes while the jagad alit is interpreted as the small world. The jagad ageng and the jagad alit are cosmological concepts in Javanese society. In Javanese cosmology, the world is formed from four elements, namely wind, fire, water, and earth (Mertowardojo 2014, 41). The world referred to in this case is the jagad ageng, which is the universe in which living things live. The human body is also formed from the same four elements as the jagad ageng, so it is also called the jagad alit (Mertowardojo 2014, 44). Previously, the opinion of experts has been conveyed that the kayon is a symbol of the world, both as an axis mundi, triloka and world development, but does the kayon also symbolize cosmology about the jagad agung and the jagad alit?
Research on kayon was carried out by Sunarto in 1991 with the title " Bentuk dan Fungsi Kayon Wayang Kulit Purwo Yogyakarta " in the form of a research report published by the Indonesian Institute of Art Research Institute Yogyakarta. Sunarto's research with this study together discusses two traditional kayons, namely Kayon Blumbangan called Kayon Alasan in the Yogyakarta style shadow puppets and Kayon Gapuran. The second difference of this research is that Sunarto focuses on the form and function of the two kayons (Sunarto 1991, 47). While this study discusses the visual, namely the form is seen from the shape, and the ornament will be part of the study that will reveal the meaning contained in the two kayons. Another similar study was also conducted by Wahyuntoro Sabdho with Ujang Pairin M Basir in 2014 with the title "Makna Simbolis lan Nilai Filosofis Gunungan ing Pagelaran Wayang Kulit", which was published in "Baradha" Journal. Sabdho and Basir's research also has the same study to reveal the meaning of Kayon Blumbangan and Kayon Gapuran. It's just that, extracting the meaning of the kayon only stops to reveal the motif symbols contained in it. Whereas in this study, in addition to revealing the symbols that are the contents of the kayon stuffing, it also reveals the concepts contained in the motif pattern as a symbol of the world.

Method
This study uses the iconographic method. Erwin Panofsky revealed that iconography is the study of the meaning of a work of art through its forms (Panofsky 1955, 25). This method will focus on dissecting the shapes of Kayon Blumbangan and Kayon Gapuran purwa shadow puppets. Iconography has three stages in studying the meaning in works of art, including pre-iconography, iconography, and iconology. First, pre-iconography is a description of the primary or natural element in a work of art (Panofsky 1955, 28). At this stage, both Kayon Blumbangan and Kayon Gapuran will be dissected based on the shape and ornament. Second, iconography is the identification of several images, stories, and figures of speech found in works of art (Panofsky 1955, 29). At this stage, the meaning of each symbol that has been dissected will be identified. In this case, it will focus on the ornament motifs. Third, iconology is the withdrawal of meaning or concept that lies behind the signs in the art (Panofsky 1955, 30). In this final stage, the meaning of the relation between motifs in the two traditional kayons will be drawn.
This study uses an interactive model analysis technique proposed by A Michael Huberman and Mattew B Miles. The interactive model involves four components, including data collection, data reduction, data presentation, and drawing conclusions / verification (Huberman and Miles 2009, 592). Data collection was carried out by means of interviews and observations conducted in November 2019 at Sanggar Ciptoning, Sangkrah, Surakarta with guest speaker Ki Bambang Suwarno, and documentation. The data that has been collected is then reduced by focusing on ornament patterns and motifs found in Kayon Blumbangan and Kayon Gapuran. The data presented are data related to the motives that make up the meaning of the jagad ageng and jagad alit. From the presentation of these data, conclusions will be drawn about the kayon representation, which is a symbol of the world.

The Existence of Traditional Kayon
The shape of the kayon is seen from the shape and ornament. The shape can be interpreted as a flat space bounded by lines that overlap and only have two dimensions, namely length and width. There are two types of plane shapes, namely geometric and non-geometric shapes. A geometric shape is a field formed mathematically by calculating certain angles while a non-geometric shape is a plane formed freely either by following organic forms, a combination of curved and straight lines, or forming virtual fields (Sanyoto 2010, 104). Following is the identification of Kayon Blumbangan and Kayon Gapuran fields.

Figure 2 Shape Identification of Kayon Blumbangan (left) and Kayon Gapuran (right)
Based on the picture above, it can be stated that the areas of Kayon Blumbangan and Kayon Gapuran are formed from geometric shapes with the triangular arrangement at the top, ellipse in the middle, and trapezoid at the bottom with a combined contour of curved lines and straight lines. The difference between the two kayons lies in the width of the plane. The shape of Kayon Blumbangan is wider than the area of Kayon Gapuran. Based on the narrative of Ki Bambang Suwarno, that Blumbangan Kayon is also called kayon wadon (female) with more extensive shape markings while Gapura Kayon is also called kayon lanang (male) with slimmer shape markings. Besides being formed from a combined look, the kayon shape also has a structure.
The kayon shape structure is divided into three parts, namely the upper part which is also called pucuk, the middle part which is divided into two forms, namely genukan and lengkeh, and the lower part is palemahan (Sumardjo 2006, 204;Soetarno and Sarwanto 2010, 27). At the top called pucuk is the shape that forms an isosceles triangle. The centre of the outer side forms a genukan or convex and is equipped with a lengkeh or basin. Whereas at the bottom, what is called palemahan is an extended plane at the very bottom. The following is the identification of the structural shape in the two kayons.

Figure 3 Kayon Shape Structure at Kayon Blumbangan and Kayon Gapuran
The division of the structure above is used to see the conditions contained in Kayon Blumbangan and Kayon Gapuran. Isen-isen is a motif that has become an ornament in kayon. The ornament itself is an applied art that can beautify an object. Gustami argues that ornament is components of art products that are intentionally added or intentionally made for decoration purposes (Gustami 2008, 4). However, in its application, ornament does not stop at aesthetic functions but also function as reinforcing meanings or even influencing the function of the objects they contain. Ornament often has symbolic values or specific purposes related to the way of life of humans or their creator society so that an object known as ornament art will have a meaning accompanied by certain expectations in accordance with the aims and ideas of its making (Gustami 2008, 4;Sunaryo 2009, 3 The tiger on the Kayon Blumbangan is a guardian animal, like the Gupala in Kayon Gapuran. The Gupala is twofold, and the left side is Cingkarabala while the right side is Balaupata.

-Floor
The floor is a symbol of the element of the world, namely earth.

Palemahan Yellow and green
Yellow and green In this section, only a shape plane consisting of two layers of colour, yellow and green, is presented. Basically, the absence of motives at this level is meant that, in the lower realms, the human realm is basically nature without meaning.

Figure 4 Ornaments Identification on Blumbangan Kayon and Gapuran Kayon
The form is a structure or composition consisting of repetition or arrangement of patterns (Dharsono 2016, 77). In an ornament, the pattern is intended as the embrace of motives, both similar and varied, which have certain formations. The motif can be defined as the form of points, lines, fields, or images that become an aesthetic idea or meaning in ornamentation. The patterns can be dissected into three motives, namely the main motive is the metaphorical language which contains teachings, the supporting motive is the motive to beautify the pattern, and the filling motif is the element to beautify the motif (Dharsono 2016, 77-78). This theory of form will be used by researchers to analyze the pattern of kayon ornamentation in Kayon Blumbangan and Kayon Gapuran.
Based on the narration of Ki Bambang Suwarno, there are four elements of the motifs, which are a condition as a kayon filling, namely fire, water, wind, and earth. The element of fire can be described in the form of banaspati or bintulu motifs, the wind element can be described in the form of lar garuda or bledegan, the water element can be described in the blumbangan motif, clouds or gate roof with water motifs, and the earth element can be described with snake, dragon, floors, and soil itself. From this basis, a kayon pattern can be obtained, namely, first, the main motive on both kayons is the tree of life which is the centre of the world. Second, to support the existence of the world, there are four elements of the world as supporting motives. Supporting motifs include, the fire element is symbolized in the Banaspati motif, the wind element is symbolized by the Lar Garuda motif, the water element is symbolized by the Blumbangan, and the earth element in Kayon Blumbangan is symbolized by the Snake motif while the Kayon Gapuran symbol is symbolized by the Floor motif.

Jagad Ageng and Jagad Alit as Javanese Cosmology
Cosmology is a view of the natural order of the world (Dharsono 2007, 161). On the other hand, cosmology refers to people's belief in the controlling power in the context of universality (Endraswara 2013, 187). From these two views, it can be understood that cosmology is related to people's beliefs about a universal force which is their perspective on the world. The cosmos is a coordinated and organized unity, a unity of existence in which every symptom, material, and spiritual meaning is far beyond what appears (Magnis-Suseno 1984, 86).
In Javanese cosmology, there is a concept that states the unity and regularity of humans with nature, namely keblat papat limo pancer (Dharsono 2007, 33;Endraswara 2013, 187). On another occasion, Endraswara also mentioned this concept with sedulur papat limo pancer while Ahmadi called it with saderek sekawan gangsal pancer (Endraswara 2012, 81;Ahmadi 2016, 178). Although there are similar similarities between keblat papat limo pancer and sedulur papat limo pancer, basically the two concepts have different emphases. The concept of kebat papat limo pancer refers to the jagad ageng or macrocosm while the concept of sedulur papat limo pancer refers to the jagad alit or microcosm. Even so, the elements that make up both the keblat papat limo pancer and the sedulur papat limo pancer remains the same, namely the four kinds of elements, including fire, water, wind, and earth, and pancer. Pancer can be interpreted as the centre or shaft. The four elements and pancers each have a colour emission, including red fire, yellow water, white wind, black earth, and green pancer (Dharsono 2007, 33;Ahmadi 2016, 178).
The word 'keblat' refers to the word 'qibla' which means the point of the wind that leads to the four directions, namely north, south, east, and west. The north is earth-based, the east is water-based, the south is fire-based, and the west is wind-based (Dharsono 2007, 33;Endraswara 2013, 187). The fifth is the pancer which is the centre of the earth. Four elements that refer to the four cardinal directions and one element point to the centre of the earth so this cosmological view refers to the jagad ageng or macrocosm. The jagad ageng or macrocosm in Javanese mysticism was intended as natural birth (Magnis-Suseno 1984, 118). Astiyanto revealed that the jagad ageng is a universe of everything that can be responded to by the senses and then stored in the unconscious as the pancamaya (Astiyanto 2006, 338).
Furthermore, the words "sedulur" or "sederek" refer to your meaning. In Javanese mysticism, human passions are the incarnation of his own brother, namely luamah, anger, sufiah, and mutmainah (Mertowardojo 2014, 44). In other words, that sedulur papat or sederek sekawan refers to the human passions of four, namely luamah, anger, literacy, and mutmainah. These four passions are formed from the four elements that make up the human body. First, luamah is created from soil elements, is in the flesh, has an evil character, is greedy, lazy, does not know goodness, but if it can be controlled, it can be the basis of strength. Second, amarah is created by the fire element, is in the blood, has a strong desire, is easily offended, has a temper, is angry, but if it can be controlled, it can be the basis for the strength of other brothers to achieve their goals. Third, sufiah is created by water, in the bone marrow, causing desires, love, and sengsem. Finally, mutmainah is created by the elements of the wind or atmosphere, in the breath, with a bright, holy, devoted, and compassionate character (Mertowardojo 2014, 51-52). The pancer in sedulur papat limo pancer or sederek sekawan gangsal pancer can be interpreted as a human soul that has the character kama or benevolence (Dharsono 2007, 33;Endraswara 2013, 187). This is similar to the concept of waranggana in the astabrata teachings, which is a female dancer who is seduced by four male dancers to turn her attention away from a man who has been given sampur by the dancer (Herusatoto 2008, 143-44). Four male dancers are symbols of the four passions that will tempt the human soul which are symbolized as female dancers so that men who are given sampur, which become human symbols themselves must continue to move to get the attention of female dancers. Thus, the concept of sedulur papat limo pancer or sederek sekawan gangsal pancer is a cosmology that refers to the jagad alit.
The jagad alit or microcosm is intended as a human body (Magnis-Suseno 1984, 118). The Dharsono revealed that the microcosm is human in essence while the macrocosm is the universe or human existence (Dharsono 2007, 161). In other words, that the human body in terms of the concept of the universe is not a physical body that can be sensed by humans but a subtle body that refers to the sedulur papat which is human lusts whereas the coarse physical bodies of humans that can be sensed are a unity and are influenced by the state of jagad ageng as their place of life. This is because humans need four elements contained in the universe to fulfil the four elements contained in human beings. So Mulder asserted that the jagad ageng model is considered a paradigm for humans as the jagad alit (Mulder 1983, 14).

The Essence of Traditional Kayon
It is known that both the jagad ageng and the jagad alit are formed by four elements, including fire, water, wind, and earth and the pancer as the center of each cosmos. This cosmology is obtained from the concept of keblat papat limo pancer and on the sedulur papat limo pancer. Basically, these five things are contained in Kayon Blumbangan and Kayon Gapuran. From the results of dissection of shape and ornament through pre-iconography and iconography, there are five elements that make up these two kayons, including the tree of life as the central motif, and four supporting motives, including banaspati, blumbangan, lar garuda, and snakes in Kayon Blumbangan and floor in Kayon Gapuran. The tree of life is a pancer or centre of the kayon while the four supporting motives are the four elements, namely banaspati as fire element, blumbangan as water element, lar garuda as wind element, and snake in Blumbangan Kayon and floor in Kayon Gapuran as the earth element. In addition to the ornament, this cosmology can also be seen from the use of colours used. The colours used in the two kayons of this tradition include five colours, namely red, yellow, white, black, and green which symbolize the colours of the elements as well as the glitter. Thus, the tradition kayons contain the concept of the world, namely the jagad ageng and the jagad alit which become the Javanese cosmology about the keblat papat limo pancer and sedulur papat limo pancer.

Figure 5 World's Elements in Kayon Blumbangan and Kayon Gapuran
Kayon, as a unity of wayang kulit, cannot only be understood by observing the ornamental shape and ornament as a form. To see the relationship between the shape of the kayon and the concept it promotes, it is also necessary to observe the function of the kayon. It has been said before that the kayon has an essential function in shadow puppet shows. There are at least four functions of the kayon, namely as a means of dividing the act, pointing, representing nature as a context enhancer, and strengthening the spiritual atmosphere. However, in this case, the researcher did not reveal the functions of Kayon Blumbangan and Kayon Gapuran. At this point, the researcher will only focus on the function of the kayon which shows the essence of the ageng universe and the universe.
The concept of the jagad ageng can be seen in the kayon function, which shows the place and the representation of nature. The place is a material space that has a direction, north, south, east, and west. The representation of nature is the utilization of the elements that already exist in the kayon itself by being strengthened through a sabet. Place and nature are part of the world as a concept of the jagad ageng. While the concept of jagad alit can be seen in the function of the kayon that builds a spiritual atmosphere in a puppet character. The development of the spiritual atmosphere is a mystical condition found in humans who are the universe.

Conclusion
This study produced four conclusions. First, the difference between Kayon Blumbangan and Kayon Gapuran can be seen from both the shape and the ornament. The shape of Kayon Blumbangan is wider than Kayon Gapuran. In Kayon Blumbangan, there is 15 tree of life branches, blumbangan motifs look more prominent, have tiger motifs as guards, and snake motifs. Whereas in Kayon Gapuran, there is five trees of life branches, there are gateway motifs and guarded by gupala. Second, there is an iconographic similarity between the two traditional kayon, which both have the primary motive in the form of a tree of life, and the four supporting motives, namely fire, water, wind, and earth. Third, the primary and supporting motives in Kayon Blumbangan and Kayon Gapuran show that the two traditional kayons have elements that make up the jagad ageng and jagad alit that can be traced through Javanese cosmology, keblat papat limo pancer and sedulur papat limo pancer. Fourth, the jagad ageng can be seen through the function of the kayon which shows the state of the place and nature of the wayang kulit performance while the jagad alit can be seen through the function of the kayon which shows the strengthening of the spiritual atmosphere of a shadow puppet character.