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This title is available online in its entirety in Open Access. This publication provides a new understanding of the religious function of the East Javanese temples. The study of the cap-figures and their symbolism yields an outstanding contribution to the uniqueness of Majapahit culture.

Abstract: The study of the scene of a woman grabbing the tail of a horse ridden by a male figure in Yeh Pulu relief is the author's basis of concept in the creation of contemporary painting. Before the concept was discovered, a study was conducted of the scenes in the
relief based on Panofsky's iconological theory and three stages of analysis, namely pre-iconography, iconography, and iconology. The attempt to connect the Panji narrative with the scene of a woman pulling a horse's tail aims to enrich the analysis of the interpretation. Both the
narration and the scene revolve around a love story of two people separated by distance and time. The Panji narrative tells about a love story between Raden Galuh (Rangkesari), a princess of Daha Kingdom and Prince Panji, the crown prince of Kahuripan Kingdom, who have long been separated
before they finally reunite at the end of the story. The scenes in the Yeh Pulu relief revolve around everyday heroism (which includes a love story). This connection is framed as a post-iconological interpretation, which results in three concepts of art creation: reframing, recasting, and
globalizing.