[DE-SBB] Schoemann II 4 — Serat Dewa Kusuma (Panji novel) — Serat Dewa Kusuma (Panji novel)

İsim	[DE-SBB] Schoemann II 4 — Serat Dewa Kusuma (Panji novel) — Serat Dewa Kusuma (Panji novel)
Basım Tarihi:	copy: approximately first half of the 19th century
Basım Yeri	Staatsbibliothek zu Berlin - Preußischer Kulturbesitz - Staatsbibliothek zu Berlin - Preußischer Kulturbesitz
Konu	literature
Tür	Kitap
Dil	Cava dili
Dijital	Evet
Yazma	Evet
Sayfa Sayısı	268
Fiziksel Boyutlar	34 x 21 cm
Kütüphane:	Kalamos
Demirbaş Numarası	Schoemann II 4
Kayıt Numarası	DE1Book_manuscript_00007746
Lokasyon	Staatsbibliothek zu Berlin - Preußischer Kulturbesitz
Tarih	copy: approximately first half of the 19th century
Notlar	dark brown leather binding — Javanese script; the writing is cursive and easy flowing — f. 1a and f. 1b have polychrome frames (flowering), for the rest the pada marks are coloured (red and blue) — paper — Javanese Panji romance in macapat verse, relating the beginning of the legendary history of the kingdom of Janggala (in East Java, a district in the delta of the river Brantas). In the beginning king Dewa Kusuma of Janggala and his elder sister Kili Suci of Pucangan are mentioned. The panakawans of the King of Janggala, Prasanta and Sadu Lumur, figure largely in the plot. The marriage of Panji Ino, the prince of Janggala, with his first cousin Dewi Sekar Taji, the princess of Kadiri, is the main point of the tale. At the end of the book the amorous adventure of Jaka Sangkala and Lara Widuri, a husbandman’s daughter, is told partly. The happy ending is missing. It is a folk-tale, originating from a rice myth, so it naturally fits in the “Panji” romance which is also based on myth. The Dewa Kusuma tale is also told in the Serat Kanda, the Book of Tales, cod. LOr 6379 (Lit. of Java, vol. II, p. 360), the names of the principal persons are different, though. This tale is also told in Babad Arung Bondhan, FSUI SJ 181 (see Titik Pudjiastuti, 2008). The illustrations in wayang style are mostly well drawn. They represent crucial points of the tale in the manner of scenes of a theatrical show. The figures are wayang gedhog puppets put in position in exactly the same way as if they were manipulated by the dalang of а wayang performance. This manner of illustrating a romantical tale shows the close affinity existing in Javanese culture between literature and theatrical performances. The style of the text is rather prolix. Several Dutch and Malay words referring to navigation are used. The scribe’s patron, mentioned in the beginning, was a young man of good family, from a Kampung Malayu, called encik Apla. Encik is a Malay title. Apla looks like a corrupt Arabic word. Probably the author was a native of one of the harbour towns on the North Coast of East Java, perhaps Gresik or Surabaya. Many pages of the book are dirty and torn (afterwards repaired), evidently it was much used in its time (see SB Schoem. II 5). The “Panji” tales were popular in the North-East Pasisir districts. * Carita ngiwa (see beginning of text), leftish tale, refers to the division made in Javanese legendary history between the right-hand line of descent of Kings (from the Prophets and the Muslim Saints) and the left-hand line (from the gods and the heroes of antiquity). The “Panji” tales belong to the latter category. See Pigeaud, Lit. of Java, vol. I, p. 151b.
Örnek Metin	// puh asmaradana //O// tatkala wiwit tinulis, ing dinten ngahat punnika, nuju wage pasaranne, sasi sura kang lumampah, tanggale ping wolu las, jimawal tahun puniku, anuju kanem mangsana // wonten dene каng annulis, tiyang sepah kawelas arsa, ing kapuran ika wismanne, awasta pun surakrama, kaperdi pawong sanak, kedah kinen ananurun, wong bodo kinen pintera // milane sinau nulis, kinarya lemes kang tangan, ala nganggur ala turon, becik sinahu nenurat, menawi kaleresan, nanging sampun den geguyu, aksarane dereng pokra // tandukipun tuna sisip, ukara dereng acetha, lan malih kithal tembungne, aksaranne kathah mada, sampun nanggung den wada, sarta sampun den geguyu, bawinne wong durung bisa // kang darbe serat punniki, lare anom tur sujana, kampung melayu wismane, ajejuluk encik apla, sedeng among asmara, ber manahe kelangkung permila ing mangke yasa // ambanging carita lagi, dapure carita ngiwa,* kang kinnarya bubukanne, nenggih negari jenggala, raja dewa kusuma, bebisikane sang prabu, ratu agung binethara// * Carita ngiwa, leftish tale, refers to the division made in Javanese legendary history between the right-hand line of descent of Kings (from the Prophets and the Muslim Saints) and the left-hand line (from the gods and the heroes of antiquity). The “Panji” tales belong to the latter category. See Pigeaud, Lit. of Java, vol. I, p. 151b.
Sınıf numarası	Schoemann II 4
Koleksiyon	Staatsbibliothek zu Berlin - Preußischer Kulturbesitz
Editör	th
Lisans	CC0 1.0
Çoğaltma	Scan, Digitalisat MiniDig
Düzenleme durumu	First input complete
Katalog	VOHD 31, 31, Titik/Hanstein (Seite 497 - 499)

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[DE-SBB] Schoemann II 4 — Serat Dewa Kusuma (Panji novel) — Serat Dewa Kusuma (Panji novel)

Basım Tarihi copy: approximately first half of the 19th century

Basım Yeri Staatsbibliothek zu Berlin - Preußischer Kulturbesitz - Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Konu literature

Tür Kitap

Dil Cava dili

Dijital Evet

Yazma Evet

Sayfa Sayısı 268

Fiziksel Boyutlar 34 x 21 cm

Kütüphane Kalamos

Demirbaş Numarası Schoemann II 4

Kayıt Numarası DE1Book_manuscript_00007746

Lokasyon Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Tarih copy: approximately first half of the 19th century

Notlar dark brown leather binding — Javanese script; the writing is cursive and easy flowing — f. 1a and f. 1b have polychrome frames (flowering), for the rest the pada marks are coloured (red and blue) — paper — Javanese Panji romance in macapat verse, relating the beginning of the legendary history of the kingdom of Janggala (in East Java, a district in the delta of the river Brantas). In the beginning king Dewa Kusuma of Janggala and his elder sister Kili Suci of Pucangan are mentioned. The panakawans of the King of Janggala, Prasanta and Sadu Lumur, figure largely in the plot. The marriage of Panji Ino, the prince of Janggala, with his first cousin Dewi Sekar Taji, the princess of Kadiri, is the main point of the tale. At the end of the book the amorous adventure of Jaka Sangkala and Lara Widuri, a husbandman’s daughter, is told partly. The happy ending is missing. It is a folk-tale, originating from a rice myth, so it naturally fits in the “Panji” romance which is also based on myth. The Dewa Kusuma tale is also told in the Serat Kanda, the Book of Tales, cod. LOr 6379 (Lit. of Java, vol. II, p. 360), the names of the principal persons are different, though. This tale is also told in Babad Arung Bondhan, FSUI SJ 181 (see Titik Pudjiastuti, 2008). The illustrations in wayang style are mostly well drawn. They represent crucial points of the tale in the manner of scenes of a theatrical show. The figures are wayang gedhog puppets put in position in exactly the same way as if they were manipulated by the dalang of а wayang performance. This manner of illustrating a romantical tale shows the close affinity existing in Javanese culture between literature and theatrical performances. The style of the text is rather prolix. Several Dutch and Malay words referring to navigation are used. The scribe’s patron, mentioned in the beginning, was a young man of good family, from a Kampung Malayu, called encik Apla. Encik is a Malay title. Apla looks like a corrupt Arabic word. Probably the author was a native of one of the harbour towns on the North Coast of East Java, perhaps Gresik or Surabaya. Many pages of the book are dirty and torn (afterwards repaired), evidently it was much used in its time (see SB Schoem. II 5). The “Panji” tales were popular in the North-East Pasisir districts. * Carita ngiwa (see beginning of text), leftish tale, refers to the division made in Javanese legendary history between the right-hand line of descent of Kings (from the Prophets and the Muslim Saints) and the left-hand line (from the gods and the heroes of antiquity). The “Panji” tales belong to the latter category. See Pigeaud, Lit. of Java, vol. I, p. 151b.

Örnek Metin // puh asmaradana //O// tatkala wiwit tinulis, ing dinten ngahat punnika, nuju wage pasaranne, sasi sura kang lumampah, tanggale ping wolu las, jimawal tahun puniku, anuju kanem mangsana // wonten dene каng annulis, tiyang sepah kawelas arsa, ing kapuran ika wismanne, awasta pun surakrama, kaperdi pawong sanak, kedah kinen ananurun, wong bodo kinen pintera // milane sinau nulis, kinarya lemes kang tangan, ala nganggur ala turon, becik sinahu nenurat, menawi kaleresan, nanging sampun den geguyu, aksarane dereng pokra // tandukipun tuna sisip, ukara dereng acetha, lan malih kithal tembungne, aksaranne kathah mada, sampun nanggung den wada, sarta sampun den geguyu, bawinne wong durung bisa // kang darbe serat punniki, lare anom tur sujana, kampung melayu wismane, ajejuluk encik apla, sedeng among asmara, ber manahe kelangkung permila ing mangke yasa // ambanging carita lagi, dapure carita ngiwa,* kang kinnarya bubukanne, nenggih negari jenggala, raja dewa kusuma, bebisikane sang prabu, ratu agung binethara// * Carita ngiwa, leftish tale, refers to the division made in Javanese legendary history between the right-hand line of descent of Kings (from the Prophets and the Muslim Saints) and the left-hand line (from the gods and the heroes of antiquity). The “Panji” tales belong to the latter category. See Pigeaud, Lit. of Java, vol. I, p. 151b.

Sınıf numarası Schoemann II 4

Koleksiyon Staatsbibliothek zu Berlin - Preußischer Kulturbesitz

Editör th

Lisans CC0 1.0

Çoğaltma Scan, Digitalisat MiniDig

Düzenleme durumu First input complete

Katalog VOHD 31, 31, Titik/Hanstein (Seite 497 - 499)