19 Javanese Cultural Paradoxism: A Visual Semiotics Study on Wayang Purwa Characters of Satria and Raseksa Figures Slamet Subiyantoro 1 , Kristiani Kristiani 2 , Yasin Surya Wijaya 1 1 Departement of Fine Art Education, Universitas Sebelas Maret Surakarta, Indonesia 2 Departement of Economic Education, Universitas Sebelas Maret Surakarta, Indonesia Submitted: January 4, 2020. Revised: March 9, 2020. Accepted: July 4, 2020 Abstract This study aims to explore the paradoxical character values on visual semiotics wayang purwa of Raseksa and Satria profles. Satria and Raseksa fgures were selected using a purposive sampling technique, through wayang Pandavas and Kuravas. The study was designed with qualitative re- search approach; the data were collected using the techniques of interviews, observation, and document analysis. The data were analyzed following the steps of data reduction, data display, and verifcation. The results of the research revealed that in wayang, the Raseksa and Satria fgures represent a paradoxical representation of both the external structure and the inner structure. The outer structure is in the form of wayang purwa visual elements, which turns out to be the opposite shape from both Pandavas and Kuravas fgures. The inner structure is more about the insepara- ble meaning and value from the outer structure. In semiotics, the visual element (outer structure) of Pandavas and Kuravas fgures can be represented or interpreted based on their values and meanings (inner structure) in addition to show a confict of meaning. The paradoxical cultural value in Javanese culture is essentially learning experienced-based humanity values manifested through puppet characters. This is exemplifed by the Islamic example of the Prophet Muham- mad and its mandatory and impossible natures. The wayang Satria may represent the obligatory nature (good character), and wayang Raseksa represent the impossible (bad character) of humans. Keywords: Cultural Paradoxes; Visual Semiotics; Wayang Satria; Wayang Raseksa How to Cite: Subiyantoro, S., Kristiani, K., Wijaya, Y. S. (2020). Javanese Cultural Paradoxism: A Visual Semiotics Study on Wayang Purwa Characters of Satria and Raseksa Figures. Harmonia: Journal of Arts Research And Education, 20(1), 19-28. Harmonia: Journal of Arts Research and Education 20 (1) (2020), 19-28 Available online at http://journal.unnes.ac.id/nju/index.php/harmonia DOI: http://dx.doi.org/10.15294/harmonia.v20i1.17525 (Widjajanto, et al., 2009). Wayang is made of carved skin; thus, when exposed to light, shadow puppets will appear on the screen. Puppet is a typical combination of various arts in the form of fne arts, per- forming arts, and music. Fine art in wayang can be observed based on the essence of wayang in the form of carvings on the skin and painted with sungging techniques. Performing arts through wayang perfor- mances are nothing but role-plays and sto- ries played by a dhalang. While the art of INTRODUCTION Literally, the word wayang was de- rived from ancient Javanese, which me- ans shadow (Supendi, 2007). Wayang kulit consists of two words, Wayang and Kulit; wayang is Javanese word meaning shadow or ghost, kulit means leather, and added together it translate as shadow from leat- her. So the wayang kulit is a two-dimension puppet, made of buffalo or goat leather, like paper dolls but with arms that swivel  Corresponding author: E-mail: s.biyantoro@yahoo.co.id p-ISSN 2541-1683|e-ISSN 2541-2426