As a response to Indian influence, East Javanese culture developed a numberof new elements between the tenth and early sixteenth centuries seen in art, religion, and literature. Figures with caps were initiated during this time. Initially the figures depicted commoners, but eventually changed to depict noble status--e.g., Prince Panji and finally a statue of a half-human and half-divine character. The emergence of Panji and other cap-figures became an icon for the local Javanese culture of the Majapahit period (1300-1500 AD). Its ongoing popularity continues in Balinese paintings and dance. Kieven (Asian studies, University of Frankfurt, Germany) aims to answer three research questions: what is the symbolic meaning of the cap-figure in the narrative relief depictions? What is the function of the cap-figure in the whole temple? Why was the cap-figure depicted frequently and exclusively in the Majapahit temples? In 11 chapters, the author covers narrative reliefs and Panji stories, iconography of late East Javanese, temple reliefs, puts temple in religious and political context, places cap-figures in chronological order, spotlights specific temples, and treats cap-figures in the context of tantric doctrine. This volume represents the first wide-scale systematic investigation of cap-figures and particularly Panji stories. It targets art historians, anthropologists, and historians, and scholars and students of Asian Studies. There is a multitude of color and black-and-white figures, tables, and plates, as well as an appendix, glossary of Javanese and Old Javanese terms, and a bibliography. Annotation 2013 Book News, Inc., Portland, OR (booknews.com)
