scholarly journals Iringan Karawitan Pergelaran Wayang Golek Menak Yogyakarta Versi Ki Sukarno

2019 ◽  
Vol 3 (2) ◽  
Author(s):  
Aji Santoso Nugroho
Keyword(s):  
Dance Music ◽  
Dance Movement ◽  
Puppet Show ◽  
Standard Composition ◽  
The Difference ◽  
And Function ◽  
Wayang Kulit ◽  
Musical Accompaniment

This article aims to describe the musical accompaniment in the Menak Sukarno Golek Golek performance by Ki Sukarno. Musicology analysis is done using karawitan to reveal the structure, shape, workmanship, and function of karawitan in Ki Sukarno’s Menak Yogyakarta Golek Puppet show. From the observations of Ki Sukarno’s performance, it was concluded that the accompaniment of Menak Puppet Golek music used in the performance was basically not much different from the wayang kulit of Yogyakarta puppet. The difference between the two lies in the laya or rhythmic dish and the obstacle pattern, namely the wayang motion, the ater open the playon and the playon level. Laya or rhythm used refers to dance music and the pattern of resistance. This is because in the Menak Puppet Puppet contains elements of dance movement vocabulary. The performances of Menak Golek Puppet have a standard composition as accompaniment, namely the Gending Goal of Kabor Topèng, Orange Flower Sifter, Playon Kembang Jeruk, Playon Gégot, and Playon Gambuh. Karawitan in the performance of Menak Golek Puppet serves as a confirmation of scene changes, emphasizes the atmosphere of the scene, reinforces dramatic elements, emphasizes the character, and reinforces the character of puppet movements. The presentation structure of Menak Yogyakarta Golek Puppet refers to the structure of Purwa Yogyakarta Puppet Leather, both from the structure of the division of the scene, to the use of gamelan which only uses sléndro tunings. The element that  distinguishes it is only found in the scene ajon-ajon or majeng beksa, namely the motion of dance before committing a war and a fierce war scene. Artikel ini bertujuan mendeskripsikan iringan karawitan dalam pergelaran Wayang Golek Menak Yogyakarta versi Ki Sukarno. Analisis musikologi garap karawitan digunakan untuk mengungkap struktur, bentuk, garap, dan fungsi karawitan dalam pertunjukan Wayang Golek Menak Yogyakarta versi Ki Sukarno. Dari pengamatan terhadap pergelaran Ki Sukarno didapatkan kesimpulan bahwa iringan karawitan Wayang Golek Menak yang digunakan dalam pergelarannya pada dasarnya tidak berbeda jauh dari karawitan Wayang Kulit Yogyakarta. Perbedaan dari keduanya terletak pada sajian laya atau irama dan pola kendhangan yaitu ater-ater gerak wayang, ater-ater buka playon dan suwuk playon. Laya atau irama yang digunakan mengacu pada karawitan tari dan pola kendhangan. Hal ini dikarenakan dalam Wayang Golek Menak terkandung unsur vokabuler gerak tari. Pergelaran Wayang Golek Menak mempunyai gending baku sebagai iringan yaitu Ketawang Gending Kabor Topèng, Ayak-ayak  Kembang Jeruk, Playon Kembang Jeruk, Playon Gégot, dan Playon  Gambuh. Karawitan dalam pergelaran Wayang Golek Menak berfungsi sebagai penegas pergantian adegan, penegas suasana adegan, penegas unsur dramatik, penegas karakter tokoh, dan penegas karakter gerak wayang. Struktur penyajian Wayang Golek Menak Yogyakarta mengacu pada struktur Wayang Kulit Purwa Yogyakarta, baik itu dari struktur pembagian adegan, sampai penggunaan gamelan yang hanya  menggunakan laras sléndro. Unsur yang membedakannya hanya terdapat pada adegan ajon-ajon atau majeng beksa, yaitu gerak tarian sebelum melakukan perang dan adegan perang gecul.

scholarly journals FUNGSI GENDING AYAK WOLU PADA WAYANG KULIT GAGRAG JAWA TIMURAN KI SURWEDI

2019 ◽  
Vol 11 (2) ◽  
Author(s):  
Jepri Ristiono
Keyword(s):  
Function Theory ◽  
Interview Data ◽  
Art Forms ◽  
Puppet Show ◽  
And Function ◽  
Wayang Kulit ◽  
Role And Function ◽  
Anthropology Of Music

ABSTARCT This article originated from the interest of the author when he saw the phenomenon that occurred in the East Javanese leather puppet show Ki Surwedi, especially gending Ayak pathet Wolu which is very dominating. The discussion is focused on the gending function of Ayak pathet Wolu which concerns the relation of the song with the gamelan, so that it can conclude about the role and function of the song. Therefore, this article is qualitative with priority on the form of interview data and literature, and presented in descriptive-analytic. The data collected from various sources was analyzed using the function theory initiated by Alan P. Merriam in a book entitled The Anthropology of Music, translated by Hajizar in the form of "Concept as Source of Analysis". From this research, it can be concluded that the gending function of Ayak pathet Wolu in wayang Ki Surwedi is one of the art forms from ancestors that has been passed down from generation to generation. Therefore, it has become our collective duty to preserve it in order to avoid extinction. Kata kunci: ayak wolu, fungsi gendhing, wayang Jawa Timuran, Ki Surwedi

Strategies for Oral Delivery of Metal-Saturated Lactoferrin

2019 ◽  
Vol 20 (11) ◽  
pp. 1046-1051 ◽  
Author(s):  
Przemysław Gajda-Morszewski ◽  
Klaudyna Śpiewak-Wojtyła ◽  
Maria Oszajca ◽  
Małgorzata Brindell
Keyword(s):  
Biological Activity ◽  
Oral Delivery ◽  
Therapeutic Potential ◽  
Structure And Function ◽  
The Difference ◽  
And Function ◽  
First Time

Lactoferrin was isolated and purified for the first time over 50-years ago. Since then, extensive studies on the structure and function of this protein have been performed and the research is still being continued. In this mini-review we focus on presenting recent scientific efforts towards the elucidation of the role and therapeutic potential of lactoferrin saturated with iron(III) or manganese(III) ions. The difference in biological activity of metal-saturated lactoferrin vs. the unmetalated one is emphasized. The strategies for oral delivery of lactoferrin, are also reviewed, with particular attention to the metalated protein.

scholarly journals Difference in patient-reported outcomes of various patellar component designs in total knee arthroplasty: A randomized clinical study

2021 ◽  
Vol 29 (1) ◽  
pp. 230949902199606
Author(s):  
Takeshi Mochizuki ◽  
Koichiro Yano ◽  
Katsunori Ikari ◽  
Ken Okazaki
Keyword(s):  
Knee Osteoarthritis ◽  
Clinical Effects ◽  
Patellar Component ◽  
American College Of Rheumatology ◽  
Randomized Clinical Study ◽  
Component Design ◽  
Patient Reported ◽  
Total Knee ◽  
The Difference ◽  
And Function

Purpose: This study investigated the clinical effects of different patellar components without being affected by the femoral component design in total knee arthritis (TKA) for patients with knee osteoarthritis (OA). Methods: In total, 48 patients with OA who met the criteria of the American College of Rheumatology for OA were enrolled and randomly assigned in a 1:1 ratio to two groups according to the usage of patellar component design for TKA (medialized dome type [dome group] or medialized anatomic type [anatomic group]). To evaluate the clinical outcomes for TKA, knee range of motion (ROM), pain intensity of 0–100 mm visual analog scale (pain VAS), and the Japanese Knee Osteoarthritis Measure (JKOM) score were obtained at baseline and year 1. Results: The difference in knee ROM, pain VAS, or total JKOM score at year 1 was not significant between the dome and anatomic groups ( p = 0.398, 0.733 and 0.536, respectively). Moreover, similar results were obtained for changes in knee ROM, pain VAS, or total JKOM scores from baseline. In both groups, the pain VAS and total JKOM scores were significantly improved at year 1. Conclusion: Both dome and anatomic groups in TKA are significantly effective for pain and function using the JKOM score. However, their efficacy did not differ, according to the JKOM score. Results of this study are rare information focusing on the patellar component design and provide one of the insights into the TKA clinical management.

scholarly journals Modeled 3D-Structures of Proteobacterial Transglycosylases from Glycoside Hydrolase Family 17 Give Insight in Ligand Interactions Explaining Differences in Transglycosylation Products

2021 ◽  
Vol 11 (9) ◽  
pp. 4048
Author(s):  
Javier A. Linares-Pastén ◽  
Lilja Björk Jonsdottir ◽  
Gudmundur O. Hreggvidsson ◽  
Olafur H. Fridjonsson ◽  
Hildegard Watzlawick ◽  
...  
Keyword(s):  
Glycoside Hydrolase ◽  
Ligand Docking ◽  
Glycoside Hydrolase Family ◽  
Ligand Interactions ◽  
Tim Barrel ◽  
Branching Point ◽  
The Difference ◽  
Dynamics Simulations ◽  
And Function ◽  
Hydrolase Family

The structures of glycoside hydrolase family 17 (GH17) catalytic modules from modular proteins in the ndvB loci in Pseudomonas aeruginosa (Glt1), P. putida (Glt3) and Bradyrhizobium diazoefficiens (previously B. japonicum) (Glt20) were modeled to shed light on reported differences between these homologous transglycosylases concerning substrate size, preferred cleavage site (from reducing end (Glt20: DP2 product) or non-reducing end (Glt1, Glt3: DP4 products)), branching (Glt20) and linkage formed (1,3-linkage in Glt1, Glt3 and 1,6-linkage in Glt20). Hybrid models were built and stability of the resulting TIM-barrel structures was supported by molecular dynamics simulations. Catalytic amino acids were identified by superimposition of GH17 structures, and function was verified by mutagenesis using Glt20 as template (i.e., E120 and E209). Ligand docking revealed six putative subsites (−4, −3, −2, −1, +1 and +2), and the conserved interacting residues suggest substrate binding in the same orientation in all three transglycosylases, despite release of the donor oligosaccharide product from either the reducing (Glt20) or non-reducing end (Glt1, Gl3). Subsites +1 and +2 are most conserved and the difference in release is likely due to changes in loop structures, leading to loss of hydrogen bonds in Glt20. Substrate docking in Glt20 indicate that presence of covalently bound donor in glycone subsites −4 to −1 creates space to accommodate acceptor oligosaccharide in alternative subsites in the catalytic cleft, promoting a branching point and formation of a 1,6-linkage. The minimum donor size of DP5, can be explained assuming preferred binding of DP4 substrates in subsite −4 to −1, preventing catalysis.

Effects of avertin versus xylazine-ketamine anesthesia on cardiac function in normal mice

2001 ◽  
Vol 281 (5) ◽  
pp. H1938-H1945 ◽  
Author(s):  
Chari Y. T. Hart ◽  
John C. Burnett ◽  
Margaret M. Redfield
Keyword(s):  
Cardiac Function ◽  
Diastolic Pressure ◽  
Systolic Function ◽  
Pressure Rise ◽  
Left Ventricular ◽  
Lv Function ◽  
Ketamine Anesthesia ◽  
The Difference ◽  
And Function ◽  
Derivatives Of

Anesthetic regimens commonly administered during studies that assess cardiac structure and function in mice are xylazine-ketamine (XK) and avertin (AV). While it is known that XK anesthesia produces more bradycardia in the mouse, the effects of XK and AV on cardiac function have not been compared. We anesthetized normal adult male Swiss Webster mice with XK or AV. Transthoracic echocardiography and closed-chest cardiac catheterization were performed to assess heart rate (HR), left ventricular (LV) dimensions at end diastole and end systole (LVDd and LVDs, respectively), fractional shortening (FS), LV end-diastolic pressure (LVEDP), the time constant of isovolumic relaxation (τ), and the first derivatives of LV pressure rise and fall (dP/d t max and dP/d t min, respectively). During echocardiography, HR was lower in XK than AV mice (250 ± 14 beats/min in XK vs. 453 ± 24 beats/min in AV, P < 0.05). Preload was increased in XK mice (LVDd: 4.1 ± 0.08 mm in XK vs. 3.8 ± 0.09 mm in AV, P < 0.05). FS, a load-dependent index of systolic function, was increased in XK mice (45 ± 1.2% in XK vs. 40 ± 0.8% in AV, P < 0.05). At LV catheterization, the difference in HR with AV (453 ± 24 beats/min) and XK (342 ± 30 beats/min, P < 0.05) anesthesia was more variable, and no significant differences in systolic or diastolic function were seen in the group as a whole. However, in XK mice with HR <300 beats/min, LVEDP was increased (28 ± 5 vs. 6.2 ± 2 mmHg in mice with HR >300 beats/min, P < 0.05), whereas systolic (LV dP/d t max: 4,402 ± 798 vs. 8,250 ± 415 mmHg/s in mice with HR >300 beats/min, P < 0.05) and diastolic (τ: 23 ± 2 vs. 14 ± 1 ms in mice with HR >300 beats/min, P < 0.05) function were impaired. Compared with AV, XK produces profound bradycardia with effects on loading conditions and ventricular function. The disparate findings at echocardiography and LV catheterization underscore the importance of comprehensive assessment of LV function in the mouse.

Comparative analysis of the ontogeny of a sodium-dependent bile acid transporter in rat kidney and ileum

1996 ◽  
Vol 271 (2) ◽  
pp. G377-G385 ◽  
Author(s):  
D. M. Christie ◽  
P. A. Dawson ◽  
S. Thevananther ◽  
B. L. Shneider
Keyword(s):  
Bile Acid ◽  
Rat Kidney ◽  
Membrane Vesicles ◽  
Mrna Levels ◽  
Sodium Dependent ◽  
Bile Acid Transporter ◽  
Old Rats ◽  
Acid Transporter ◽  
The Difference ◽  
And Function

An apical sodium-dependent bile acid transporter (ASBT) has recently been cloned and characterized in the rat ileum. Northern and Western blotting revealed both the ASBT mRNA and protein in rat kidney. The coding sequence of the kidney transcript was found to be identical to the previously cloned ileal ASBT. Indirect immunofluorescence studies localized the ASBT protein to the apical membrane of the renal proximal convoluted tubule. Kinetic analysis of sodium-dependent taurocholate uptake using membrane vesicles revealed a similar Michaelis-Menten constant value for taurocholate in the kidney and intestine. ASBT protein and function were present in the kidney but not the ileum from 7-day-old rats. On postnatal day 7, there was a sevenfold increase in ASBT steady-state mRNA levels in the kidney relative to the ileum, yet nuclear run-on assays revealed that the nascent transcription rates at this age were virtually the same. This suggests that the difference in the neonatal expression of the ASBT gene in the kidney and ileum may be in part due to differences in mRNA stability.

scholarly journals Struktur Janturan Wayang Kulit Purwa Yogyakarta

2019 ◽  
Vol 3 (1) ◽  
Author(s):  
Endah Budiarti
Keyword(s):  
Structural Analysis ◽  
Grammatical Structure ◽  
Teaching Materials ◽  
The Third ◽  
Fourth Part ◽  
Puppet Show ◽  
Wayang Kulit

The purpose of this study was to find the structure janturan of the Yogyakarta shadow puppet. A further goal of this research is to find a method for learning puppetry language, especially janturan language. To achieve the above objectives, the researchers will first identify and categorize the structure of janturan carried out by Ki Hadi Sugito, Ki Timbul Hadiprayitno, Ki Suparman, and Mudjanattistomo. Second, the grammatical structure of the Yogyakarta senior puppeteers’ puppets wasthen reduced to the grammatical structure of the Yogyakarta shadow puppet show. To find the structure janturan of Yogyakarta Purwa shadow puppet, this study will apply structural analysis. The concept of tatas in chess aesthetics is the version of Soetarno et al. (2007) and the grammatical structure of the Sasangka version (1989) were used as analysis blades in this study. Janturan is the ukara-ukara (‘sentences’) kenès which are arranged in a complete, sequential, and not overlapping manner. As a ukara certainly has a grammatical structure. To be able to find the grammatical structure of scattering, the tatas concept and the grammatical theory of Javanese language are used. From the results of the study of the (grammatical) structure of the Yogyakarta senior mastermind’s succession, the following pattern is obtained: The first part is a section that contains worship. The second part of the janturan contains the greatness of the kingdom which is the center of storytelling. The third part of janturan contains the great king in the great kingdom who is the center of storytelling. The fourth part of the janturan is about the preparation of the trial and those present at the hearing. It is expected that the results of this study can improve teaching materials in thesubject of Bahasa Pedalangan, Pedalangan Rhetoric, and Basics of Pakeliran in the Pedalangan Department.Tujuan penelitian ini adalah menemukan struktur janturan wayang kulit purwa Yogyakarta. Tujuan lebih jauh dari penelitian ini ialah menemukan satu metode belajar bahasa pedalangan khususnya bahasa janturan. Untuk mencapai tujuan di atas, pertama-tama peneliti akan mengidentifikasi dan mengkategorikan struktur janturan yang dibawakan oleh Ki Hadi Sugito, Ki Timbul Hadiprayitno, Ki Suparman, dan Mudjanattistomo. Kedua, struktur gramatikal janturan dalang-dalangsenior Yogyakarta tersebut kemudian direduksi menjadi struktur gramatikal janturan wayang kulit purwa Yogyakarta. Untuk menemukan struktur janturan wayang kulit purwa Yogyakarta penelitian ini akan menerapkan analisis struktural. Konsep tatas dalam estetika catur versi Soetarno dkk. (2007) dan struktur gramatikal ukara versi Sasangka (1989) digunakan sebagai pisau analisis dalam penelitian ini. Janturanmerupakan ukara-ukara (‘kalimat-kalimat’) kenès yang disusun secara lengkap, urut, dan tidak tumpang tindih. Sebagai sebuah ukara tentu memiliki struktur gramatikal. Untuk dapat menemukan struktur gramatikal janturan digunakan konsep tatas dan teori struktur gramatikal bahasa Jawa. Dari hasil pelacakan terhadap struktur (gramatikal) janturan para dalang senior Yogyakarta, diperoleh pola sebagai berikut: Bagian pertama merupakan satu bagian yang berisi tentang doa pemujaan.  Bagian kedua dari janturan berisi tentang kebesaran kerajaan yang menjadi pusat penceritaan. Bagian ketiga dari janturan berisi tentang raja agung di kerajaan besar yang menjadi pusat penceritaan. Bagian keempat dari janturan berisi tentang persiapan sidang dan yang hadir di dalam sidang. Diharapkan hasil penelitian ini dapat menyempurnakanbahan ajar mata kuliah Bahasa Pedalangan, Retorika Pedalangan, dan Dasar-dasar Pakeliran di Jurusan Pedalangan.

scholarly journals Analisis Koreografi Tari Ganjur Pada Upacara Adat Erau Kutai Kertanegara Kabupaten Kutai Kertanegara, Kalimantan Timur

JOGED ◽  
2017 ◽  
Vol 10 (2) ◽  
pp. 517-532
Author(s):  
Agus Yulianti
Keyword(s):  
Surrounding Area ◽  
Dance Movement ◽  
Dance Performance ◽  
Classical Dance ◽  
Art Form ◽  
The People ◽  
City District ◽  
Evil Spirits ◽  
Musical Accompaniment ◽  
Male Dancers

Tari Ganjur merupakan kesenian yang berbentuk ritual dalam sebuah upacara adat yaitu Upacara Erau adat Kutai Kartanegara Ing Martadipura, yang dilestarikan oleh masyarakat kota Tenggarong, kabupaten Kutai Kartanegara, Kalimantan Timur.Tari Ganjur merupakan tarian Klasik yang dimiliki oleh Kesultanan Kutai Kartanegara Ing Martadipura dalam bentuk koreografi kelompok, karena dapat dilihat dari bentuk pertunjukan tari ganjur yang ditarikan oleh empat penari laik-laki. Di dalam tari Ganjur menggunakan sebuah properti Gada yang biasa disebut dengan ganjur. Tari Ganjur menggambarkan seorang pangeran yang sedang menjaga keamanan tiang ayu agar pada saat acara Bepelas Sultan tidak diganggu oleh roh-roh jahat. Tari Ganjur mengenakan busana atasan miskat sedangkan bawahannya mengenakan celana panjang berwarna hitam dipadukan dengan sarung Samarinda. Rias penari menggunakan rias natural, serta iringan tari menggunakan seperangkat alat gamelan Kutai.Dalam hal ini yang menjadi pokok permasalahan adalah analisis koreografi tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura. Untuk menjawab permasalahan tersebut, maka akan meminjam teori Y. Sumandiyo Hadi mengenai Koreografi Bentuk-Teknik-Isi. Menurut Y. Sumandiyo Hadi ketiga konsep bentuk, teknik, dan isi ini tidak dapat dipisahkan dalam sebuah pertunjukan tari. Dalam penelitian ini tari Ganjur pada Upacara Erau Adat Kutai Kartanegara Ing Martadipura dapat ditinjau dari aspek bentuk, teknik, dan isi. Aspek bentuk tari Ganjur terbagi menjadi tiga bagian, pembagian ini terlihat dari perpindahan iringan musiknya. Aspek teknik gerak tari Ganjur terdapat kesamaan dengan gerak tari Klasik yang ada di Surakarta dan Yogyakarta. Aspek isi tari Ganjur bertemakan keamanan yang bertujuan untuk menjaga keamanan daerah sekeliling Tiang Ayu. Kehadiran tari Ganjur dalam upacara Erau adat Kutai Kartanegara Ing Martadipura sangat berperan penting dalam acara bepelas sultan, karena kehadirannya diperuntukan menurunkan Pangeran Sri Ganjur untuk menjaga keamanan tiang ayu dari roh-roh jahat, dan kehadirannya selalu ada pada malam Bepelas Sultan.  Ganjur dance is a ritual art form in a traditional ceremony that is customary Erau ceremony Kutai Ing Martadipura, preserved by the people of Tenggarong city, district, Kutai, East Borneo. Ganjur dance a classical dance that is owned by the Sultanate of Kutai Ing Martadipura in the form of choreography Group, because it can be seen from the form of dance performances ganjur danced by four male-male dancers. In Ganjur dance uses a property called Gada commonly called ganjur. Ganjur Dance depicts a prince who is guarding the security pole so that at the time of the Sultan Bepelas event is not disturbed by evil spirits. Ganjur Dance wearing a clothing top miskat while his subordinates dressed in black trousers combined with sarong Samarinda. The dancers makeup using natural makeup, dance accompaniment using a set of Kutai gamelan instruments.In this case an issue of concern is the analysis of dance choreography Ganjur Ceremony Indigenous Erau Martadipura Kutai Ing. To answer these problems, it will borrow Y. Sumandiyo Hadi theory regarding Choreography Form-Fill-technique. According to Y. Sumandiyo Hadi these three concepts of form, technique, and content can not be separated in a dance performance. In this study dance Ganjur Ceremony Indigenous Erau Kutai Ing Martadipura can be viewed from the aspect of forms, techniques, and content. Aspects of dance form Ganjur is divided into three parts, this division is seen from the transfer of musical accompaniment. Techniques of motion dance movement Ganjur there are similarities with Classical dance movement in Surakarta and Yogyakarta. Aspects of dance contents Ganjur themed security that aims to maintain the security of the surrounding area Tiang Ayu. The presence of dance in the ceremony Ganjur custom Erau Kutai Ing Martadipura very important role in the event bepelas sultan, because his presence is intended to lower the Prince Sri Ganjur to maintain the security of ayu pole of evil spirits, and his presence is always there at night Bepelas Sultan.

scholarly journals PERBANDINGAN VISUAL FIGUR WAYANG KULIT TUALEN GAYA BALI SELATAN DENGAN FIGUR TUALEN BALI UTARA

2017 ◽  
Vol 7 (2) ◽  
pp. 154
Author(s):  
Putu Rendhi Kusuma Artha . ◽  
Ni Nyoman Sri Witari, S.Sn. . ◽  
I Wayan Sudiarta, S.Pd,M.Si. .
Keyword(s):  
Data Collection ◽  
Domain Analysis ◽  
Visual Comparison ◽  
Qualitative Descriptive ◽  
The Subject ◽  
The Difference ◽  
Words And Images ◽  
Observation Method ◽  
Wayang Kulit ◽  
Visual Difference

Penelitian ini bertujuan mendeskripsikan (1) Struktur rupa figur Tualen pada Wayang Kulit Bali Selatan dan Struktur rupa figur Tualen Bali Utara, (2) Penyebab perbedaan bentuk Tualen Bali Utara dengan bentuk Tualen Bali Selatan. Penelitian ini menggunakan rancangan deskriftif kualitatif. Data yang diperoleh dalam penelitian dideskripsikan dalam bentuk kata-kata dan gambar. Subjek penelitian ini adalah dalang wayang kulit Jro Dalang Gede Sudarma dari Desa Bungkulan dan Jro Dalang Nyoman Warisa dari Desa Tamblang sementara objek penelitian adalah figur wayang Tualen.Pengumpulan data dilakukan dengan metode observasi, wawancara, dan metode dokumentasi kepustakaan. metode analisis yang digunakan dalam penelitian ini adalah metode analisis domain dan taksonomi Hasil Penelitian menunjukan (1) Struktur rupa figur Tualen Bali Selatan dan figur Tualen bali Utara dari kepala, badan, kaki memang memiliki beberapa perbedaan pada bentuk dan ornamen (hiasan) yang digunakan, (2) Perbedaan Tualen Bali Utara dengan Tualen Bali Selatan terjadi karena adanya (a) pengaruh Ki Barak terhadap perkembangan kebudayaan di kerajaan Panji, Buleleng; (b) secara mitologi perbedaan visual Tualen Bali Selatan dan Utara mengacu pada asal usul tokoh Tualen yang mengalami hukuman terbakar api oleh Dewa Siwa karena mengganggu semedinya, sehinggaTualen Bali Utara digambarkantanpa jambot atau tak berambut. Kata Kunci : perbandingan visual, figur wayang kulit bali, tualen This study aims to describe (1) Tualen figure structure in Wayang Kulit Bali Selatan and Tualen Balinese Figure Structure of North Bali, (2) Cause difference of Tualen North Bali shape with Tualen form South Bali. This research uses qualitative descriptive design. The data obtained in the study are described in terms of words and images. The subject of this research is puppeteer Jro Dalang Gede Sudarma puppeteer from Bungkulan Village and Jro Dalang Nyoman Warisa from Tamblang Village while research object is Tualen puppet figure. Data collection is done by observation method, interview, and library documentation method. The method of analysis used in this study is the method of domain analysis and taxonomy The research shows (1) The structure of the figure of Tualen Bali Selatan and the northern Balinese Tualen figure from the head, body, legs do have some differences on the shape and ornaments used (2) The difference between Tualen Bali Utara and Tualen Bali Selatan is due to the fact that the structure of the Tualen figure in South Bali and the northern Balinese Tualen figure from head, body, legs have some differences in the shape and ornament, The existence of (a) the influence of Ki Barak on the development of culture in the kingdom of Panji, Buleleng; (b) mythologically, the visual difference between Tualen Bali Selatan and Utara refers to the origin of the Tualen figure who suffered a fire burning by Lord Shiva for interrupting his semed, so that Bali's North Bali is depicted without jambot or hairlessness. keyword : visual comparison, Balinese wayang kulit figure, Tualen

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