Wayang has two meanings: (1) wayang as a puppet—if it is a flat puppet made of leather, it is called wayang kulit or leather wayang; if like a real, three-dimensional puppet or golekan, wayang golek; if performed by human beings, wayang orang, wayang wong, or wayang actors/wayang dance-drama; (2) wayang as narratives that originated and were developed from the two titles coming from the land of Jambhudvipa, or the Ancient India, which were present in their translated forms in Ancient Javanese in Javadvipa or Java at the end of the tenth century (i.e. the Mahabharata, which in this case meant the fragment of Wirataparwa) and in the second half of the twelfth century (i.e. Ramayana as a literary text; if as the visual text of the carving on the walls of Prambanan temple, which became verbal when narrated, certainly in the ninth or tenth century), and therefore talked of Pandava and Kaurava, and Rama and Ravana—but not of King Nusyirwan, who albeit having his own wayang narrative will never be considered simply as a ‘wayang’ character, but rather a character from a distinct stream of wayang, i.e. the wayang Menak, whose narrative originated from Persia.