311 Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and Gagahan Profiles in Bobung, Yogyakarta Yasin Surya Wijaya, Sindung Tjahyadi, Vissia Ita Yulianto Universitas Gadjah Mada, Indonesia Submitted: 2022-06-17. Revised: 2022-10-21. Accepted: 2022-11-17 Abstract This study focuses on Panji masks in Bobung, Yogyakarta region. The study aims to explain the shape, meaning, and paradoxical aesthetic value in the visual form of panji masks focused on alusan and gagahan profiles. A qualitative approach with a multiple- case strategy conducted in the research. Data sources derived from documents/archives, informants, and places/events collected by document analysis techniques, in-depth in- terviews, and participatory observation. Data validity was tested by data sources trian- gulation and review informants. Interactive techniques with data reduction procedures, data display, and data verification analyzed data. The results show that the structure of the panji mask in Bobung was composed of visual forms which contained philosophical meanings. The shape and meaning of the Bobung panji masks in Alusan and Gagahan profiles contain an aesthetic value that is dualistic antagonistic (paradoxical). The panji masks in Bobung contain paradoxical aesthetic values in two patterns, three patterns, four patterns, and five patterns. The conclusion is that the visual form of Panji masks in Bobung, Yogyakarta, is structured by paradoxical aesthetic value. Keywords: Paradoxical Aesthetics, Panji Mask, Visual Structure, Bobung, Alusan, and Gagahan profile How to Cite: Wijaya, Y. S., Tjahyadi, S., & Yulianto. V. I. (2022). Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and Gagahan Profiles in Bobung, Yogyakarta . Harmonia: Journal of Arts Research and Education, 22(2), 311-325 Harmonia: Journal of Arts Research and Education 22 (2) (2022), 311-325 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v22i2.37093 the larger community and even throug- hout the archipelago and Southeast Asia. Panji romance spread and was trans- formed into various works of regional cultural arts. Wayang beber, wayang topeng, wayang golek, wayang thengul, gambuh, wa- yang gedog, and other traditional cultural arts have emerged as a result of the trans- formation of the panji story (Manuba et al., 2013). Subiyantoro et al. (2021) added that roman panji has developed into various forms of art tradition, even in Thailand, in the form of a classical performance called INTRODUCTION The panji story is a legacy of the Ja- vanese tradition that has existed since the Kediri Kingdom and peaked in popularity during the Majapahit Kingdom (Manu- ba et al., 2013). Panji art has significantly impacted the development and creation of cultural arts in Java, Indonesia, and even Southeast Asia (Manuba et al., 2013). Panji is a story with flexibility in ethnic, religio- us, social, and ideological fields, allowing its existence to be spread and accepted by Corresponding author: E-mail: yasin.s.w@mail.ugm.ac.id p-ISSN 2541-1683|e-ISSN 2541-2426 Harmonia: Journal of Arts Research and Education 22 (2) (2022): 311-325312 Ino. The panji romance’s art of mask transformation spread to various regions in Indonesia. Each region has its shape, function, and significance. The functions are Cirebon mask for medium of da’wah, Malang masks for magical and mystical rituals, barongan mask for ceremonial medium of rejecting reinforcements, and Reog mask for entertainment. Panji mask art also spread to neighboring countries, namely Semenanjung Malaysia, Thailand, Myanmar, Laos, and Kamboja (Satrya & Indrianto, 2018). Bobung, more specifically Putat Vil- lage, Patuk District, Gunung Kidul Re- gency, Special Region of Yogyakarta, has a strong panji influence. The spread of the panji culture from the Pacitan and Wonogi- ri areas influenced the Bobung panji masks in the form of wayang beber. Wayang beber is the oldest wayang art in Indone- sia based on the Panji story (Rahmawati, 2018). Based on this statement, the Panji mask in Bobung is a mask art that’s very close to Panji’s historical sources, and this is very good to study. The panji mask’s current presence is inversely proportional to its popularity during the Majapahit Kingdom’s golden age. Today’s young people are less aware of mask performances, despite beingich in cultural values (Putra, 2020). Another fac- tor to consider is the presence of the panji mask, which is rapidly becoming extinct. The mask’s expression and color depict human nature, so it’s a shame if this an- cient art is lost due to a lack of knowledge (Lawrence & Kurniawan, 2014). On the ot- her hand, Setyaningsih et al., (2020) added that art tradition representcommunity va- lues, knowledge, and beliefs. The form and meaning of each cha- racter in the panji mask are unmistakably linked to their profile. There are dozens of panji mask figures, each with its own name and colour, according to Nurcahyo & Yu- lianto (2021), and each character is divided into alusan and gagahan characters. This character develops into a paradoxical bina- ry opposition classification that few peop- le realize. Not only masks but also figures and characters in other cultural stories are divided into two binary oppositions. The nature of the binary opposition concept, which is paradoxical, is not well understood. The binary opposition system divides everything into two structural and related classifications (Supir, 2019). The presence of resistance and contradiction between the two classifications is related to paradox. Everything that contradicts it is, in essence, a unity that cannot be sepa- rated. The pair of paradoxical oppositions emphasizes the two structures’ contra- diction, but the meanings are eventually realised to be complementary (Sumardjo, 2006). The Panji mask’s paradoxical cha- racter is a metaphor for human life, both good and bad, as a lesson learned. There must be a negative to every positive thing, and everything is said to be positive if so- mething negative happens. Based on the aforementioned con- text, the panji mask, particularly Panji in Bobung, requires further study in order to determine the shape and interpret the meaning manifested behind the parado- xical profile of alusan and gagahan. This study aims to focus on two things: 1) the shape and meaning of the panji mask in Bobung, and 2) the paradoxical aesthetics in the visual structure of the panji mask in Bobung, the alusan and gagahan profiles. Several previous studies have been undertaken on masks in general. Suarda- na (2006) explored the visual structure of traditional Balinese masks. Ratnaningrum (2011) studied the symbolic meaning and endel mask dance roles. In Kelurahan, Ma- gelang Regency, Hapsari (2013) explored the function of the ireng mask. Pujiyanti (2013) examines the existence of the ireng mask dance as a fulfillment of the people of Pandesari, Parakan, and Temanggung’s aesthetic needs. Murni et al. (2016) looked at the art of barongan masks in Kendaya- kan, Tegal, as symbolic expressions of the local culture. Martono et al., (2017) studied the archipelago’s ethnic masks in the deve- lopment of global culture. Hidajat (2011) explored the mancapat Yasin Surya Wijaya et al., Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and 313 concept’s reflection on the characteriza- tions of Malang masked puppets. In a case study of Kedungmonggo Hamlet, Paki- saji, Malang Regency, Astrini et al., (2013) probed the semiotics of Malangan masks. Pramutomo (2014) examined the tradi- tional mask performing arts in Surakarta and Yogyakarta. Hikmah (2016) examined the structure of the Panji story in the per- formance of the Malang masked puppet dance drama Panji Reni in relation to Pan- ji. Setyastuti (2017) conducted additional research on the mask dance of Ireng Ban- dungrejo, Ngablak, and Magelang. Several previous researchers have also conducted studies on mask aesthetics. Irawanto (2013) examined the representa- tion of Javanese aesthetics in the Malangan mask dance’s decorative structure. Melany & Nirwana (2015) conducted an aesthetic study of the Malangan mask at the Asmo- robangun Studio in Kedungmonggo Vil- lage, Pakisaji District, Malang Regency. Wijayanti & Prabowo (2016) probed the aesthetic value of Edy Kurnia’s wooden masks in Bandar Lor Village, Mojoroto District, Kediri City. Wirawan (2021) un- covered the philosophical theo-aesthetics of the Sidakarya mask in Balinese Hindu religious practice. Aside from the aesthetics of the mask, several academics have conducted a study on the Panji mask in particular. Nurwanti (2009) explored the Panji Jabung mask’s presence in the phenomenon of the traditional art performance. Hidajat (2013) examined the Malang mask puppet’s sym- bolization of the central character of the panji play. Yuhanda (2017) explored the meaning of the Cirebon panji mask dan- ce. Wijaya et al. (2018) probed the value of character education in the visual sym- bolism of the panji mask and its relevance to high school art appreciation learning. Wijaya (2020) examined the significance of characters in the visual symbolic structure of a Yogyakarta-style panji mask. The findings revealed that previous researchers had not looked into the aesthe- tic (paradoxical) of the panji mask, particu- larly in Bobung. Prior studies focused on masks from Malang, Kediri, Bali, Cirebon, and other Indonesian cities. Several panji masks studied in Yogyakarta show that there is no particular emphasis on aesthe- tic discipline. Paradox aesthetics (binary opposition) has never been used as a scal- pel for the study of the Panji mask in Bo- bung and has only been used in this scien- tific work. The material object of the Panji mask in Bobung, which is studied through the formal object of paradoxical aesthetics (binary opposition), is unquestionably a study novelty. The hypothesis of this study is that the visual structure of Panji mask contains values and meanings, both positive and negative. The characters of alusan and ga- gahan on Panji masks represent an aesthe- tic structure based on the paradox concept. The paradoxical aesthetic value of Panji is related to the context of human life. METHOD The study was conducted in Bobung, Putat Village, Patuk District, Gunung Ki- dul Regency, Yogyakarta Special Region. The study used a qualitative approach with a multiple case strategy. This case is based on the interactive analysis of two profiles of alusan and gagahan masks. Pur- posive sampling was used to determine the object and subject of the study, which took specific factors into account. The object of research (Panji mask) is related to the cate- gory of alusan and gagahan profile masks, whereas the subject is related to relevant informants, namely craftsmen, conser- vationists, and mask dancers in Bobung, Gunung Kidul, Yogyakarta. Data sources include documents/archives, informants, and locations/events gathered through content analysis techniques, in-depth in- terviews, and participatory observation. Data was gathered using a voice recorder, a photo recorder, a video recorder, and a notepad. The obtained data were then va- lidated using two techniques: triangulati- on of data sources and informant review. The data were analysed using interactive analysis techniques in three stages: data Harmonia: Journal of Arts Research and Education 22 (2) (2022): 311-325314 reduction, data presentation, and verifica- tion/drawing conclusions. This analysis technique is determined by the case stra- tegy used, which is multiple cases. Panji masks in Bobung have a lot of figures, and each figure has different forms and mea- nings but is related to one another. In addi- tion, the meaning behind the mask is rela- ted to the context and needs to be analyzed based on the case’s relationship. RESULTS AND DISCUSSION Panji mask is a traditional Javanese cultural art form that evolved from Pan- ji romance and spread to various regions (Subiyantoro et al., 2020). Each region has its own shape, function, value, meaning, and significance. The functions are Cire- bon mask for medium of da’wah, Malang masks for magical and mystical rituals, ba- rongan mask for ceremonial medium of re- jecting reinforcements, and Reog mask for entertainment. There is a mask art that has develo- ped in Bobung, specifically in Putat Villa- ge, Patuk District, Gunung Kidul Regency, Special Region of Yogyakarta, the Panji romance influences that. The spread of the Panji culture from the Pacitan and Wo- nogiri areas influenced the Bobung Panji masks in the form of wayang beber. Accor- ding to Hermanu (2012), the Beber puppet originated in Pacitan (Jaka Kembang Kuning tale) and the Karangmojo area of Yogya- karta, which is close to the Bobung area. Panji masks in Bobung have their own uni- que characteristics, both in terms of shape and meaning, and can be divided into two categories: alusan and gagahan. This cor- responds to Nurcahyo & Yulianto (2021) statement that there are dozens of Panji mask figures, each with its own name and colour, and each character is divided into alusan and gagahan characters. Nurjoyo et al., (2022) added that Panji masks contain high cultural values, complex manufactu- ring techniques, and hidden meanings in the forms. The Shape and Meaning of the Panji Mask on Bobung Alusan and Gagahan Profile The Panji masks carried are classi- fied as Panji masks with alusan and gaga- han profiles. Alusan masks have smooth or slow dance movements, whereas gagahan masks have fast and broken movements. The masks’ visual form shows the cha- racter difference between the Panji masks and the Bobung alusan and gagahan. Each part of the mask, whether jamang/crown, brows, eyes, nose, mouth, mustache, beard, or color, has a paradoxical shape and can be classified. This difference in form is un- doubtedly related to the meaning embed- ded in it. Almost every Panji masked figure in the Bobung is crowned, and only a few are not. Jamang relung and jamang rujen are the shapes of the jamang found on the alusan profile Panji mask, while jamang rujen buto Table 1. The Form and Meaning of the Panji Mask on Bobung alusan and gagahan Profiles Shapes Alusan Meanings Gagahan Meanings Crown Relung & Rujen Honor Rujen Buto & Gundul Power & Greed Eyebrow Nanggal sepisan & Manjangan Ranggah Soft & Strong Nanggal sepisan & Manjangan Ranggah Soft & Strong Eye Leyepan Good & Thorough Plolot/Melotot Evil / Meticulous Nose Walimiring Honest Pangotan lying Mouth Mingkem & Prenge- san Simple Prengesan & Gusen Greedy Mous- tache No moustache & Thin Moustache Fine A thick mustache Scary/fierce Beard No Beard Fine Bearded & Some Not Scary/fierce Colour White, Yellow, Light Blue & Green Holy, Cheerful, Friendly, and Peaceful Red, Dark Blue, Or- ange & Yellow Anger, Depth, En- ergy & Cheerfulness (Source: Document/Archive Data Analysis, 2021) Yasin Surya Wijaya et al., Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and 315 appears in the heroine. Tumpal, Relung, and Kolo, or Garuda Mungkur, are the three parts that make up Jamang (Wijaya et al., 2018). Tumpal, which is located in the mid- dle of the jamang, is shaped like a jagged Pudak flower or resembles the shape of an onion. According to Widayanti (2008), the pudak flower’s shape resembles that of a white pandan flower with a fragrant scent, making it a symbol of purity. On the right and left sides of the jamang are tumpal jagged niches (Figure1). The garuda mungkur, or garuda kolomakara, is the shape of the garuda’s head facing backwards. In the alusan Panji mask profile, the crown it- self becomes a symbol of honour (Wijaya, 2020). The head is above, its existence is sacred, and no one can hold it because it is a privilege. The shape of the garuda facing backward (garuda mungkur) symbolizes vi- gilance in both Relung and Rujen crowns (Wijaya et al., 2018). Because Pudak flowers are basically white and smell good, so they symbolize a pure human heart. Relung and Rujen crowns also mean holiness. Figure 1. Tumpal, relung, dan garuda mungkur (Alusan) (Source: Personal Documentation, 2020) The alusan profile Panji mask has the same jamang (crown) as the gagahan mask. Some gagahan masks lack jamang and are simply hairy or bald. The gagahan mask’s tumpal is shaped like a buto with a sca- ry face that resembles a kalamakara. The shape is frightening, with sharp canine teeth symbolising Buto’s greed. This is in contrast to the kalamakara symbol, usual- ly found at the temple’s entrance and in- terpreted as a deterrent to reinforcements and a reminder of death (Sahruni & Bir- syada, 2021). Jamang has a jagged shape with terraces called niches on the right and left sides. The kolo is shaped like the garuda facing backward or Garuda Mungkur on the Panji alusan mask. This type of jamang ru- jen buto embodies the values of power and greed (Figure 2). Figure 2. Tumpal, relung, dan garuda mungkur (Alusan) (Source: Personal Documentation, 2020) Some gagahan Panji mask profiles lack the jamang, leaving them with only blonde or bald hair. This represents the character’s lack of honor. It does not, ho- wever, imply that the character is power- less. Humans have an honorable relation- ship with animals that can be treated in this manner (Pradnyayanti & Safira, 2021). Animals, on the other hand, have other abi- lities when they are threatened, and they are very likely to attack regardless of the human’s status. Evil comes from creatures lower than humans such as buto (giants), demons, ghosts, and other sacred creatu- res that humans can sometimes defeat by these creatures because human hearts are fragile and easily manipulated. This makes humans need protection in the form of get- ting closer to the Creator of the universe (manunggaling kawulo gusti). The brows on the alusan and gaga- han profile masks have a slightly diffe- rent shape. The Panji mask in the alusan Bobung profile has a nanggal sepisan brow shape, but there are some characters who have Manjangan Ranggah brows. Gaga- han mask’s brows are typically long and stoic, but some characters have thin brows. Nanggal Sepisan’s brows are thinly cur- ved in the shape of a young date’s moon (Purwaningrum & Pangestu, 2021). Accor- ding to the alusan mask’s profile, which has a subtle character, these brows have a meaning of softness. On the alusan and gagahan masks, menjangan ranggah brows are strong because they are branched and appear stiff. Softness and strength are not mutually exclusive in this brow shape (Fi- Harmonia: Journal of Arts Research and Education 22 (2) (2022): 311-325316 gure 3). Figure 3. Nanggal Sepisan & Manjangan Rang- gah Eyebrow (Source: Personal Documenta- tion, 2020) The eye shape of the Panji mask in the Bobung profiles of alusan and gagahan has a distinct personality. The Panji alusan mask’s figure has leyepan or kedelen eye shaped, whereas the Panji gagahan mask’s profile has plolot or bulging eyes. The leye- pan eye is also known as the eye of ndamar kanginen because its shape resembles a flame on the wick of a stove that is blown by the wind (Purwaningrum & Pangestu, 2021). This eye shape represents a good and thorough personality. Unlike plolot eyes, which have a large round shape like a ball. The impression given by these bul- ging eyes is the evil character’s eyes with great care (Figure 4). Figure 4. Leyepan Eyes & Plolot Eyes (Source: Personal Documentation, 2020) In the profiles of alusan and gagahan, the nose shape of the Panji mask in Bobung is also different. The Panji alusan mask has a walimiring nose with a pointed shape fa- cing downwards that resembles a wulen or cukil knife. This nose shape is also known as irung ngudup mlati, which is shaped like a pointed jasmine flower bud, or mbangir in Java (Purwaningrum & Pangestu, 2021). Unlike the gagahan mask, it has a large, forward-facing nose known as the Pango- tan nose (Figure 5). This nose shape repre- sents the meanings of honesty (walimiring) and lies (pangotan). Pinocchio’s character becomes an icon of honesty and lies whe- re the nose lengthens when lying. A long nose becomes a symbol of a never-ending lie (Muhammad & Triyadi, 2021). Figure 5. Pangotan & Walimiring Nose (Source: Personal Documentation, 2020) On the Bobung profile of alusan, the Panji mask’s mouth is shaped like prenge- san and mingkem, while the gagahan mask mouth is shaped like a gusen. Prengesan mouth is when the mouth is slightly open and shows a row of teeth at the top, whe- reas mingkem shaped mouth is when the mouth is not open. Prengesan and mingkem shaped mouths are symbols of simplicity, implying that only the most important and necessary things can be taken out (spea- king) or put in (eating). Unlike gagahan’s profile mask, which has gusen fangs for a mouth, this one gives off a scary atmosphe- re (Figure 6). In the shadow puppet world, this mouth shape is found in the Kurawa character, which denotes someone who talks a lot, laughs a lot, and lies a lot (Su- biyantoro et al., 2020). Figure 6. Prengesan, Mingkem, & Gusen Mouth (Source: Personal Documentation, 2020) The moustache and beard are an im- portant part of the shape of the Panji mask in Bobung because they give the alusan and gagahan profiles a certain character effect. Some alusan masks have thin moustaches, while others have thick moustaches, such as gagahan masks. The profile of the Alu- san Panji mask is mostly beardless, with the exception of the gagahan mask, which has a thick beard on the chin. The presen- ce of a moustache and beard on the alusan Yasin Surya Wijaya et al., Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and 317 mask creates a subtle impression. Unlike the gagahan mask, which has a ferocious and violent character (Figure 7). Figure 7. Moustache & beard of Alusan & Gagahan (Source: Personal Documentation, 2020) The visuals of Panji masks in Bobung are heavily influenced by color. Color is not a way to distinguish one character from another; it also has meaning. The colors on the alusan Panji Bobung mask’s profile are white, yellow, light blue, and green. Red, dark blue, orange, and yellow are the most common colors, unlike gagahan masks. White symbolizes purity, whereas it signi- fies anger (Astrini et al., 2013). Yellow color means cheerful; orange color means ener- gy, light blue color means friendliness, and dark blue color means depth (Astrini et al., 2013). The last is the green color which me- ans coolness that causes peace. Green in Is- lam is the color of heaven which means the center of human goals that is full of peace. Paradox Aesthetics on the Panji Mask on Bobung Alusan and Gagahan’s Profile The concept of binary opposition, also known as Completetio Oppositorum, underpins dox aesthetics. Completetio Op- positorum explains that reality is divided into dualistic pairs that are opposite but complementary, according to Sumardjo (Sumardjo, 2006). If a binary’s existence is positioned with its binary, it is said to be meaningful and valuable. This is in line with Levi Strauss’s claim in Barker (2004) that the way we understand the essence of life is to look at the objects or symbols that surround us paradoxically. The object or symbol undergoes a structured meaning transformation, culminating in both a sym- bol and a meaning paradox. The structural Table 2. Paradoxical Aesthetic Patterns on Panji Masks in Bobung alusan and gagahan Profiles Patterns Paradox Aesthetics Pattern II Panji Asmarabangun Dewi Sekartaji Masculine Feminin Panji Asmarabangun Klana Sewandana Kindness Angkara Jamang Rujen Jamang Rujen Buto Manjangan Ranggah brows Nanggal sepisan eyebrow Leyepan eye Plolot eyes / glaring Walimiring nose Pangotan nose Thin moustache Thick moustache No Beard Bearded White & Yellow Red and Blue Pattern III Panji Asmarabangun Dewi Sekartaji Gunung Sari Male Female both male and female Tumpal Relung Garuda Mungkur Upper World Middle World Underworld Mingkem mouth Prengesan mouth Gusen mouth Quiet Wise Too much talk Patterns IV/V Jenggala Daha Bantarangin Singasari Panji Asmarabangun Dewi Sekartaji Klana Sewandana Gunung Sari North South West East Worldly Heavenly Death Birth (Source: Document/Archive Data Analysis, 2021) Harmonia: Journal of Arts Research and Education 22 (2) (2022): 311-325318 way of thinking with the concept of binary opposition, according to Roland Barthes in Barker (2004), results in the naturalisation and mystification of an object’s meaning. Black is in opposition to white, but it also represents evil versus good. The Bobung Panji mask is constructed around symbols that represent local cultu- ral values and meanings. On the mask, fin- ding value and meaning requires looking for forms of opposition among the existing symbols. The aesthetic paradox of pat- tern two, pattern three, pattern four, and pattern five, which are based on Sumard- jo (2006) opinion, is reflected in the Panji mask in Bobung. Two-Pattern The two-pattern is visible in Bobung Panji mask figures, particularly in the central figures. There are two patterns in the visual structure of the Panji masks in Bojong, starting from the shape of the clocking, eyebrows, eyes, nose, mouth, mustache, beard, and color. Panji Asmara- bangun and Dewi Sekartaji are central cha- racters whose existence is a dualistic sym- bol of antagonistic male and female power struggles (masculine and feminine). Panji Asmarabangun and Dewi Sekartaji’s love story is a picture of true love between male and female opponents. A real man, in essence, will sacrifice everything he has to find his lover, like Panji Asmarabangun, who was willing to leave the luxury of the kingdom to find Dewi Sekartaji (Figure 8). Women in society are ideally described as Dewi Sekartaji, who are loyal figures, maintain their honor, and have strong de- termination. Sekartaji was willing to leave the kingdom because he did not want to be paired with a man who was not his choice, namely Klana Sewandana from the Sebe- rang Kingdom (Enggarwati, 2016). Figure 8. P. Asmarabangun X Sekartaji & P. Asmarabangun X Klana Sawendana (Source: Personal Documentation, 2020) Panji Asmarabangun and Klana Se- wandana, who represent kindness and an- ger, respectively, are the next opposition figures. According to another version of the story, Klana Sewandana kidnapped Se- kartaji but was stopped by Asmarabangun thanks to a war between Jenggala and Sin- gasari. Because of the existence of evil, ca- lamity, and anger, good exists, and good is valuable. Despite the fact that humans are born in a neutral state, human life cannot be separated from the binary opposition of good and evil. According to Koeswara (1991), humans are born neutral, and good and bad development comes from their environment (not innate). The jamang, or crown, on Bobung Panji masks is also built on the paradoxi- cal aesthetics of pattern two. The jamang is symmetrically arranged, with the cen- ter in the shape of a tumpal in the shape of kembang pudak (alusan) and buto (gagahan). Jamang tumpal (flower pudak) and jamang buto are binary oppositions with meanings such as good-evil, smell-rot, birth-death, white-black, and so on. Humans and other creatures exist in this universe, and their existence cannot be separated from the lights that contradict each other. Humans are actually neutral, but they are born into a world full of binary opposition. Humans behave in good and bad ways depending on their binary levels, whichs an environ- mental formation rather than an innate characteristic (Koeswara, 1991). Figure 9. Tumpal Kembang Pudak & Buto (Source: Personal Documentation, 2020) Niches and garuda mungkur (facing backward) can be found on the right and left sides of the jamang, indicating that they are in opposition to the mask’s face facing forward. Although front and back are dia- Yasin Surya Wijaya et al., Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and 319 metrically opposed binary oppositions, both must exist because there is no front without back and vice versa. All beings will undoubtedly experience front and back as a symbol of opposition, which rep- resents the future and the past. Humans must occasionally reflect in order to correct what was overlooked, lacking, or disastro- us. The purpose is unmistakably linked to the desire for a more peaceful, orderly, and perfect future. The Bobung alusan mask’s profile does not always shape in nanggal sepisan typical eyebrows, but there is also the sha- pe of an expansive horn. Even the mas- culine masks, not all manjangan ranggah eyebrows, but some figures have the nangal sepisan shaped eyebrows. This shows the paradoxical aesthetics of the Panji mask in the form of binary opposition of strength in weakness and weakness in strength. This means that every human being has a soft and strong or hard nature in one indi- vidual. The difference is only in the level of weak and strong levels. The eye shape on the Panji mask in Bobung reflects the structure of the two twin patterns (leyepan and plolot) (dualis- tic antagonistic). The leyepan eyes are nar- row, whereas the plolot eyes are round and wide. Characters with leyepan eyes are usu- ally good, while those with bulging eyes are usually evil. The Panji mask in Bobung is a transformation of the shape and per- sonality of the characters in wayang kulit. The Pandawa and the Kurawa are opposing twins, with the Pandawa representing the good side with leyepan eyes and the Kurawa representing the evil side with plolot eyes. The nose shape of the Panji mask in Bobung, like the eyes, is divided into two patterns: pangotan nose (long) and walimi- ring nose (short). The pangotan nose is long, so it becomes a symbol of lies in society’s hegemony, whereas a short nose is a sym- bol of honesty. The legend of Pinocchio, for example, is a picture of honesty and lies, implying that when one lies, his nose will lengthen. Muhammad & Triyadi (2021) emphasize that a long nose is a symbol of a recurring lie. Honesty and lies are two bi- nary opposition patterns in social life. Hu- mans could indeed grasp the value of ho- nesty in the absence of a lie, and a lie is not thought to exist in the absence of honesty. A paradox of pattern two can also be seen in the shape of the mustache and beard on the Panji alusan and gagahan masks’ profiles in the Bobung. Gagahan’s profile must have a thick and scary mous- tache, whereas the alusan Panji mask must have a thin mustache. The absence of a beard and a thin mustache creates a subtle and thoughtful impression. Furthermore, the presence of a thick mustache and beard creates a dashing, scary, and scary impres- sion. Smooth, brave, wise, and frightening are binary pairs whose existence contra- dicts one another. The true contradiction is a unifier in the form of balance, which means that the two opposing twins cannot be separated and instead complement one another. The face color of the Panji mask in Bobung plays an important role in shaping each character’s personality. The alusan profile Panji masks are typically white and yellow, whereas the gagahan profile masks are typically red and dark blue. White is a color associated with purity and good- ness, whereas red is associated with rage and bloodshed (Nurwanti, 2008). This is undoubtedly a conflict between good and evil, as represented by the colors whi- te and red. The yellow color represents cheerfulness and friendliness, whereas the dark blue color represents depth and cold- ness (Astrini et al., 2013). Happiness and depth/coldness, based on their meanings, are paradoxical aspects of human nature. Some people are happy, friendly, and easy to get along with, but some are cold, quiet, and difficult to open up. Three-pattern The structure of the three worlds, namely the underworld, middle world, and upper world, is the basis for the trip- le pattern in the farming community. In pre-modern culture, this concept arose in a farming community (Sumardjo, 2006). The upper world represents the sky, from Harmonia: Journal of Arts Research and Education 22 (2) (2022): 311-325320 which rainwater will fall, the middle world represents humans, and the underworld represents the earth, which is home to va- rious living creatures. This three-pattern structure is dua- listic and antagonistic, meaning that the world above is paradoxical with the un- derworld, the world is paradoxical with the middle world, and the middle world is paradoxical with the underworld. The Panji mask in Bobung is structured in three patterns, though conceptually, it is far from a farming community. The cent- ral figure, the shape of the jamang, and the shape of the mouth all display the aesthe- tics of the triple pattern on the Panji mask in Bobung (Figure 10). Panji Asmarabangun, Dewi Sekartaji, and Raden Gunung Sari are the three central figures who serve as the foundation for the aesthetics of the triple paradox. Figure 10. Three patterns of Panji mask (Source: Personal Documentation, 2022) Panji Asmarabangun and Dewi Se- kartaji are interpreted as male and female symbols in a two-pattern (masculine and feminine). Gunung Sari, a third charac- ter who appears in both male and female forms, arises between men and women. Gunung Sari is a male character with a preening woman’s aesthetic. Gunung Sari is a paradox in and of himself, as he can be both a man and a woman in the same body. Men and women are diametrically opposed and cannot be separated because they both require and complement each other. Men sometimes have a female soul, leading to the term bencong (sissy), whe- reas women have a male soul, which is often described as boyish. So, a male soul exists in a woman, even if it is a speck, and a female soul exists in a man, even if it is a tiny piece (Yin Yang). The three-pattern aesthetic is ref- lected in the shape of the jamang or crown of the Panji mask in Bobung. The tumpal, niche, and garuda mungkur forms are used to create this pattern based on the crown. Garuda mungkur is a supernatural creature whose existence has come to represent the underworld. The perspective from behind and outside depicts how the underworld is full of mysteries guarded by supernatural beings. The shape of a niche in the form of a stylized plant that is stepped and jagged symbolizes the middle world in the Panji jamang of Bobung. The world is becoming a picture of human life and nature that care for and need each other. The upper world is represented by a tumpal in a pudak flower shaped at the middle of the jamang, which resembles a bowl of onions. The number of tumpal is limited to one, with the mid- dle and top positions symbolising God Al- mighty (the world above). This form exists in the same way that buds on the Javanese shadow puppet mountains exist. A bud signifies the beginning of a new life within another life (Loita, 2018). Humans will die and then reappear in another world, much like buds. In Javanese concepts, the under- world, middle world, and upper world represent birth, life, and death (Subiyanto- ro, 2011). Three is essentially two opposi- tes organized in a pattern (dualistic anta- gonistic). Birth (bottom) and life (middle) are initially paradoxical entities. The bina- ry opposition to the end of life is also the essence of life (middle) and death (top). The essence that God’s living creatures must experience is the underworld (birth) and the upper world (death). Figure 11. Three pattern of jamang rujen (Source: Personal Documentation, 2020) Yasin Surya Wijaya et al., Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and 321 The three-pattern structure of the Panji mask in Bobung can be seen in the three shapes of the mouth of the mask, namely the mingkem-shaped mouth, the prengesan-shaped mouth, and the gusen- shaped mouth. The meaning of shaped mingkem mouth means quiet, meaning that not many words and sentences are put forward. The prengesan shaped mouth is a symbol of wisdom, meaning that the words that come out of the mouths of wise people are valuable sentences. The gusen- shaped mouth is a symbol of people who talk a lot, laugh a lot, and say a lot of im- portant or hurtful things. The mouth can not only expel but also enter what is outsi- de of the body (food). Figure 12. Three pattern on Panji mask mouth (Source: Personal Documentation, 2020) Four and Five-Pattern The aesthetic pattern structure of pat- terns four and five is nearly identical, with the exception that the concepts are from different societies. Pattern four is inspired by coastal or island communities that rely on soil fertility and marine wealth, while pattern five is inspired by rice fields. Ac- cording to Sumardjo (2006), the four pat- terns in Javanese cosmology are related to the four elements: hilly land, sky (rain), sea, and the human world itself. The concept of pattern-four is used in five-patterns, with the center point being the fifth. Mancapat kalimo pancer or papat kiblat kalimo pancer (Islamic influence) is a five-pattern in Javanese tradition, whe- reas mancapat is a Mandala concept in the Hindu-Javanese era (Sumardjo, 2006). The center of the five-position pattern is very important, as it represents the kingdom (King) or God, and it must be oriented to the kingdom (King) or God by people from all over the world. In Java, this concept is known as manunggaling kawulo gusti. The Panji masks in Bobung and the profiles of alusan and gagahan are made up of a four- and five-pattern structure that cannot be easily separated. The characteri- zations of the masks and the royal pattern on each character reveal the four-and-five patterns on the Panji masks in Bobung. The Jenggala Kingdom (North), Daha King- dom (South), Singasari Kingdom (East), and Bantarangin Kingdom (West) are the four kingdoms mentioned in the Panji le- gend (West). The Kahuripan Kingdom, led by Airlangga, was originally one of the four kingdoms (pattern-five). An antagonistic dualistic structure is used to create this four-and-five pat- tern. Panji Asmarabangun hails from the Jenggala Kingdom (North), whereas Dewi Sekartaji hails from the Daha Kingdom (South). North is a symbol of earthly natu- re in the Javanese concept, while South is a symbol of heaven (Sumardjo, 2002). The earthly and heavenly worlds become two opposing binaries, but humans cannot be separated from the two worlds. The con- cept is symbolised by the symbols of Panji Asmarabangun and Dewi Sekartaji, who are unable to be separated despite numerous obstacles and trials. Figure 13. Four & Five Pattern on Panji Mask (Source: Personal Documentation, 2022) Northern Symbol, Panji Asmara Bangun, Jengal Kingdom, (Worldly) Harmonia: Journal of Arts Research and Education 22 (2) (2022): 311-325322 Dualistic antagonistic patterns can also be found in the Panji masks of the Kla- na Sewandana and Gunung Sari figures. The Klana Sewandana originated in the Banta- rangin Kingdom (West), while Gunung Sari originated in the Singasari Kingdom (East). According to the Javanese belief, the East and West winds are paradoxical opposites that represent the entities of birth and death (Tulistyantoro, 2005). The sun rises in the east in the morning, signa- ling the beginning of a new life, whereas the sun sets in the West, indicating dusk and the beginning of death. Humans work during the day (live) and sleep at night (dead). Qur’an Surah Al-Furqan (25: 47) Allah says, “It is He Who made for you the night (as) clothing and sleep for rest, and He made the day for waking up trying” (Juliandi, 2014). Gunung Sari is depicted as both a male and a female figure simultaneously, symbolizing a child’s birth. The gender of a person is not clear while they are in the womb; it is only after birth that the gender can be determined. With the direction of the wind, that is, West, the Klana Sewanda- na can become the Gunung Sari paradox in the form of a symbol of death. The death flag is represented by the red color on Kla- na Sewandana’s face. The death flag is ge- nerally yellow, but red is used as a symbol of death in the Solo area. Birth and death are in opposition to one another, and both become the boundaries of another binary opposition, namely earthly and heaven- ly. Heavenly (spirit) to earthly (physical) must first be born, and earthly to heavenly must first pass-through death, all of which are God’s predestined outcomes. CONCLUSION The results of the study are classified into two parts: 1) the shape and meanings of Panji masks in alusan and gagahan pro- files, and 2) the paradoxical aesthetics of Panji masks in alusan and gagahan profiles. The Panji mask in the Bobung alusan profile has a niche/rujen crown, nanggal sepisan /manjangan ranggah eyebrows, leye- pan eyes, walimiring nose, mingkem/pren- gesan shaped mouth, no mustache/thin mustache, no beard, and is typically white, yellow, light blue, and green in color. The visual form’s meaning is linked to Panji alusan’s character, which is gentle but po- werful, honorable, kind, thorough, honest, simple, smooth, holy, cheerful, friendly, and peaceful. In Bobung, the Panji mask is a gagahan’s profile with rujen buto/bald, nanggal sepisan/manjangan ranggah eyebrows, plolotan eyes, pangotan shaped nose, prengesan/gusen shaped mouth, thick moustache, beard, and red, dark blue, yellow, and orange colours. The gagahan mask’s shape represents greed/power, gentle/strong, evil/careful, lying, fierce/ fierce, anger, depth, energy, and cheerful- ness. The paradox aesthetic is based on the concept of binary opposition, which states that everything in the universe is built on opposites that complement and balance each other. The paradoxical aesthetics of the Panji masks in Bobung refer to four ae- sthetic patterns: pattern two, pattern three, pattern four, and pattern five. The four aesthetic patterns combine to form a dua- listic antagonistic structural pattern or two opposing patterns. The pattern of two on the Panji masks in Bobung results in two binary masks that contradict both form and meaning. In Bobung, the two- Panji mask patterns represent the essence of the universe, which is divided into male-fe- male binary oppositions, good-bad, black- and-white, etc. The three-pattern on the Bobung Panji mask represents the three worlds: the underworld, the middle world, and the upper world. This pattern can be seen in the shape, meaning, and characterization of the Panji mask, which is built around three antagonistic dualistic oppositions. The underworld is opposed to the mid- dle world, which is opposed to the upper world, and the upper world is opposed to the underworld. Patterns four and five on the Panji Bobung mask are inextricably linked to the Yasin Surya Wijaya et al., Paradoxical Aesthetics in Panji Mask Visual Structure: Alusan and 323 classic Javanese concept of kiblat papat limo pancer. The characterizations, mask shape, and meaning of the Panji mask in Bobung are patterned on four elements with one central point. Patterns four and five are still based on the antagonistic dualistic concept of contradictory binary. The four main characters of the Panji are from the four kingdoms and the four winds that op- pose each other; however, all of the king- doms were formerly one kingdom, notably Kahuripan. The presence of the character Panji Asmarabangun from the Jenggala kingdom (North/Duniawi) in opposition to the figure of Dewi Sekartaji from the Daha kingdom (South/Haven) exempli- fies this dualistic antagonistic pattern in patterns four and five. Gunung Sari from the Singasari Kingdom (East/Birth) stands opposite Klana Sewandana from the Banta- rangin Kingdom (West/Death). The research results imply that peop- le who read this study will understand the form, meaning, and value contained in the Panji mask aesthetics. The results of this study can be used as a source of student learning in the classroom so they know and understand the value contained in the Bobung Panji mask. 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