Trinity figures in wayangkulit

 

Bathara Guru

BATARA GURU in the puppet world of the gods who are leaders instructed
throne of heaven, which is inhabited by the gods of nature. In Puppet crafts
Purwa, Guru depicted with four arms, small fangs, blue-necked, ka-
lear his leg (sort of polio), and almost always in the bull andini.
Father Guru named Sang Hyang Tunggal. His mother named Dewi Rekatawi. One time Dewi Rekatami childbirth intangible luminous egg.
 With its magic Hyang Tunggal change the egg intentions. The eggs turned into a skin Hyang Supreme Squad, he is considered the firstborn. Egg whites turned into Hyang Ismaya (Semar), he was considered a second child. While the yolk into
Manikmaya hyang (Guru), regarded as the third child. Her siblings were given the task to officials in the world, while Sang Hyang
Manikmaya is in charge of the gods in Khayangan.
For the Hindu religion Guru is another name of Shiva Batara.
Meanwhile, according to purwa shadow puppets, the Guru often diphtheria different impression
by Batara Siwa. After all, as one of the puppet characters, although classified as a god, Batara Guru is not a perfect being. As with humans, and the other gods, he was often done wrong. In various plays Purwa, Batara Guru told several times not able to control his sexual desire, anger, and revenge.

SEMAR / Bathara Ismaya /Badranaya Semar is the name of the main character in the puppet panakawan Javanese and Sundanese. This figure is reported as a nanny and advisor of the knights in staging the stories of the Mahabharata and Ramayana. Of course Semar name not found in the original script that both the Sanskrit epic, because this is an original character created by poet Java

TOGOG or Tejamantri is the servant of the group on the mission of a monster with evil.

His name is also drama course in every scenario in between the two sides will there is a conflict. Between Idea Good against Evil Idea. Then figure Bilung Togog and some have argued is not from the group's clown - Indeed, they are part of an organization whose role as an air-provakator, agitator, or even handyman feeder issues.

Togog figures depicted in the form of shadow puppets, hand mengadah - beggar creature, a living by inggih sendiko palace - take down to get something. Similarly Bilung tangible with a closed hand - tempered thief, mafioso, and all sorts of efforts to corrupt.

Their eyes also illustrates mimic, gesture and gimmick - the characterizations and character customization, for dilakonkan. Well - if this time, if there is no puppet show - the characters so we can find, in the print media narrative or scene more clearly in the electronic media. It's easy for begituan spectacle in Indonesia