* 1 Recent history
* 2 The Three Villages
o 2.1 Ubud Painting
o 2.2 Batuan Painting
o 2.3 Sanur Painting
* 3 Young Artist Painting
* 4 References
* 5 Further reading

Recent history

Prior to 1920s, Balinese traditional paintings were restricted to what is now known as the Kamasan or Wayang style. It is a visual narrative of Hindu-Javanese epics: the Ramayana and Mahabharata. These two-dimensional drawings are traditionally drawn on cloth or bark paper (Ulantaga paper) with natural dyes. The colouring is limited to available natural dyes: red, ochre, black, etc. In addition, the rendering of the figures and ornamentations must follow strictly prescribed rules, since they are mostly produced for religious articles and temple hangings. These paintings are produced collaboratively, and therefore mostly anonymously.

In the 1920s, with the arrival of many western artists, Bali became an artist enclave (as Tahiti was for Paul Gauguin) for avant-garde artists such as Walter Spies (German), Rudolf Bonnet (Dutch), Adrien-Jean Le Mayeur (Belgian), Arie Smit (Dutch) and Donald Friend (Australian) in more recent years. Bali has also attracted world famous anthropologists, from Stutterheim (Dutch) to Gregory Bateson and Margaret Mead (American).

On his first visit to Bali in 1930, the Mexican artist Miguel Covarrubias noted that local paintings served primarily religious or ceremonial functions. They were used as decorative cloths to be hung in temples and important houses, or as calendars to determine children’s horoscopes. Yet within a few years, he found the art form had undergone a “liberating revolution.” Where they had once been severely restricted by subject (mainly episodes from Hindu mythology) and style, Balinese artists began to produce scenes from rural life. What’s more, these painters developed increasing individuality.

This groundbreaking period of creativity reached a peak in the late 1930s. A stream of famous visitors, including Charlie Chaplin and the anthropologists Gregory Bateson and Margaret Mead, encouraged the talented locals to create highly original works. During their stay in Bali in mid 1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan.

Among western artists, Spies and Bonnet are often credited for the modernisation of traditional Balinese paintings. They provided painting media and introduced western painting concepts, such as western perspectives and techniques concerning picture and colour composition and human anatomy. More importantly, they acted as agents of change by encouraging individual freedom of expression, and promoted departures from the confining traditional Balinese painting traditions. The result was an explosion of individual expression that lead to the birth of the neo-traditional Balinese painting. The Ubud painters particularly embraced it with courage and enthusiasm. This modernisation took the forms of: (1) the shifting of the choice of subject matter from the narration of religious epics to the depiction of daily Bali life and drama; (2) the change of the patron of these artists from the religious temples and royal houses to western tourists/collectors; (3) shifting the picture composition from multiple to single focus. The latter is most evident in the works of Ubud artists.

Despite the adoption of modern western painting traditions by many Balinese and Indonesian painters, the neo-traditional Balinese painting tradition is still thriving and continues by descendants/students of the artists of the pre-war modernist era (1928-1942). The schools of neo-traditional Balinese painting include: Ubud, Batuan, Sanur, Young Artist and Keliki schools of painting.

The Three Villages

Much of the buzz emanated from three villages: Ubud, where Spies settled, Sanur on the southern coast, and Batuan, a traditional hub of musicians, dancers, carvers and painters. The artists painted mostly on paper, though canvas and board were also used. Often, the works featured repetitive clusters of stylized foliage or waves that conveyed a sense of texture, even perspective. Each village evolved a style of its own. Ubud artists made more use of open spaces and emphasized human figures. Sanur paintings often featured erotic scenes and animals, and work from Batuan was less colourful but tended to be busier.

Ubud Painting

Examples of Ubud School Painting:

Mask Dancer, A.A. Gde Anom Sukawati (b. 1966), Acrylic on canvas

Balinese Masks - Tumpek Landep, I Nyoman Meja (b. 1952), Acrylic on canvas

Ubud has been the center of art for centuries, with the surrounding royal houses and temples as the main patrons. Prior to the 1920s, traditional wayang style paintings dominated the subject matters, although Jean Couteau (1999) believes that both secular and religious theme paintings have long been co-existing in the form of the expression of the unity of opposites (Rwabhinneda in Balinese belief system).

It was not until the late 1920s that this balance was tilted toward secular art by the arrival of western artists such as Covarubias, Le Mayeur de Mepres, Theo Meier, Walter Spies and Rudolf Bonnet. The last two artists were often credited as the agents of change that brought Balinese Art to modernity. Their influence culminated with the founding of the Pitamaha Art Guild in 1936, with Tjokorda Gde Agung Sukawati as one of its founders. Its mission was to preserve the quality of Balinese Art in the rush of tourism to Bali. The board members of Pitamaha met regularly to select paintings submitted by its members, and to conduct exhibitions throughout Indonesia and abroad. Pitamaha was active until the beginning of the second world war in 1942. The subject matters shifted from religious narration to Balinese daily life. Ubud artists who were members to Pitamaha came from Ubud and its surrounding villages; Pengosekan, Peliatan and Tebasaya. Among them were: Ida Bagus Made Kembeng of the village of Tebesaya and his three sons — Ida Bagus Wiri, Ida Bagus Made and Ida Bagus Belawa; Tjokorda Oka of the royal house of Peliatan; I Dewa Sobrat, I Dewa Meregeg, I Dewa Putu Bedil, I Dewa Dana of Padangtegal; I Gusti Ketut Kobot, I Gusti Made Baret, I Wayan Gedot of Pengosekan; and I Gusti Nyoman Lempad.

The spirit of Pitamaha is well preserved by the descendents of these artists. Contemporary Ubudian artists include I Ketut Budiana, I Nyoman Meja, I Nyoman Kayun, A.A. Gde Anom Sukawati, I Gusti Agung Wiranata, Ida Bagus Sena, and many others.

Batuan Painting

Batuan Painting Examples:

The Wheel of Life, I Ketut Murtika (b. 1950), Gouache on canvas

The Batuan school of painting is practiced by brahman artists in the village of Batuan, which is situated ten kilometres to the South of Ubud. The Batuan artisans are gifted dancers, sculptors and painters. Major Batuan artists from the pre-modernist era include I Dewa Njoman Mura (1877-1950) and I Dewa Putu Kebes (1874-1962), who were known as sanging; traditional Wayang-style painters for temples’ ceremonial textiles.

The western influence in Batuan did not reach the intensity it had in Ubud. According to Claire Holt, the Batuan paintings were often sultry, crowded representations of either legendary scenes or themes from daily life, but they portrayed above all fearsome nocturnal moments when grotesque spooks, freakish animal monsters, and witches accosted people. This is particularly true for paintings collected by Margaret Mead and Gregory Bateson during their field studies in Bali in 1936 to 1939. Gradations of black to white ink washes laid over most of the surface, so as to create an atmosphere of darkness and gloom. In the later years, the designs covered the entire space, which often contributed to the crowded nature of these paintings.

Among the early Batuan artists, I Ngendon (1903-1946) was considered the most innovative Batuan School painter. Ngendon was not only a good painter, but a shrewd business man and political activist. He encouraged and mobilised his neighbours and friends to paint for tourist consumption. The major Batuan artists from this period were: I Patera (1900-1935), I Tombos (b. 1917), Ida Bagus Togog (1913-1989), Ida Bagus Made Jatasura (1917-1946), Ida Bagus Ketut Diding (1914-1990), I Made Djata (1920-2001), and Ida Bagus Widja (1912-1992). The spirit of the Pitamaha period is still strong and continues by contemporary Batuan Artists such as I Made Budi, I Wayan Bendi, I Ketut Murtika, and many others.

Sanur Painting

Sanur Painting Examples:

Beached Whale, Ida Bagus Nyoman Rai, Ink wash on canvas 

Sutasoma Sacrifice, I Made Soekaria, Ink wash on paper 

Unlike Ubud and Batuan which are located in the inland of Bali, Sanur is a beach resort. Sanur was the home of the welknown Belgian artist Le Mayeur de Mepres, who lived with a Balinese wife (Ni Polok) and had a beach house in Sanur beach.

Tourists in 1930s came to Bali on cruise ships docked in Sanur and made side trips to Ubud and neighboring tourist sites. Its prime location provided the Sanur artist with ready-access to Western tourists who frequented the shop of the Neuhaus Brothers who sold Balinese souvenirs and tropical fishes. Neuhaus brothers became the major art dealer of Sanur paintings.

The playful atmosphere pervades the Sanur paintings, and are not dictated by the religious iconography (Helena Spanjaard, 2007). It is lighter and airy than those of Batuan and Ubud with sea creatures, erotic scenaries and wild animals drawn in rhythmic patterns; often in an Escher-like manner. Most early works were black and white ink wash on paper, but at the request of Neuhaus, latter works were adorned with light pastel colors. The colors often added by another artist who specialized in coloring the ink-wash drawings.

The Sanur school of painting is the most stylized and decorative among all modern Balinese Art. Major artists from Sanur are I Rundu, Ida Bagus Nyoman Rai, I Soekaria, I Poegoeg, I Rudin, and many others.

Young Artist Painting

Young Artist Painting Examples:

The snake tree, I Wayan Pugur, Gouache on paper

The development of the Young Artist School of painting is attributed to the Dutch artist Arie Smit, a Dutch soldier who served during the 2nd world war and decided to stay in Bali. In the early 1960s, he came across children in the village of Penestanan near Tjampuhan drawing on the sand. He encouraged these children to paint by providing them with paper and paints.

Their paintings are characterized by “child-like” drawings and bright colors. By 1970s, it attracted around three hundred peasant painters to produce paintings for tourists. In 1983, the National Gallery of Malaysia held a major exhibition on the Young Artist paintings from the collection of Datuk Lim Chong Kit. Major artists from the Young Artist School are I Wayan Pugur, I Ketut Soki,[1] I Ngurah KK, I Nyoman Londo, I Ketut Tagen, and many others.

References

1. ^ Soki, Ketut. Pak Soki. Artist from Penestanan, the ‘Village of Young Artists’. I Ketut Soki. Retrieved on 2008-05-04.

* Peasant Painters from the Penestanan Ubud Bali - Paintings from the Collection of Datuk Lim Chong Keat, National Art Gallery Kuala Lumpur (1983)
* Agus Dermawan, “Bali Bravo - A Lexicon of 200-years Balinese Traditional Painters,” Bali Bangkit (2006)
* Anak Agung Djelantik, ” Balinese Paintings,” Oxford University Press (1990)
* Jean Couteau, Museum Puri Lukisan Catalog, Bali, Indonesia (1999)
* Joseph Fischer, “Problems and Realities of Modern Balinese Art,” in Modern Indonesian Art: Three Generations of Tradition and Change 1945-1990, Joseph Fischer, editor (1990)
* Haks, F., Ubbens J., Vickers, A. , Haks, L. and Maris, G., “Pre-War Balinese Modernists,” Ars et Animatio (1999)
* Helena Spanjaard, Pioneers of Balinese Painting, KIT Publishers (2007). For USA and Canada follow this link, Stylus Publishers
* Hildred Geertz, Images of Power: Balinese Paintings Made for Gregory Bateson and Margaret Mead, University of Hawaii Press (1994)
* Klaus D. Höhn, The Art of Bali: Reflections of Faith: the History of Painting in Batuan, 1834-1994, Pictures Publishers Art Books (1997)
* Moerdowo, “Reflections on Balinese Traditional and Modern Arts,” Balai Pustaka (1983)
* Neka, Sutedja and Kam, Garrett, “The Development of Painting in Bali - Selections from the Neka Art Museum,” 2nd edition, Museum Neka Dharma Seni Foundation (2000)
* Rhodius, Hans and Darling, John, ” Walter Spies and Balinese Art,” Terra, Zutphen (1980)
* Ruddick, Abby, “Selected Paintings form the Collection of the Agung Rai Fine Art Gallery,” The Agung Rai Fine Art Gallery (1992)
* Taylor, Alison, “Living Traditions in Balinese Painting,” The Agung Rai Gallery of Fine Art (1991)

Further reading

* Copeland, Jonathan in consultation with Ni Wayan Murni (2008). Secrets of Bali, Fresh Light on the Morning of the World. Jakarta: Gateway Books International.

Retrieved from “http://en.wikipedia.org/wiki/Balinese_art”
Categories: Bali

* This page is presented courtesy Wikipedia

After the Japanese defeat, the Dutch tried to regain control over their former colonies, but on August 17th 1945, Indonesia was declared independent by its first President, Sukarno. After 4 years of fighting, and strong criticism from the international community, the Dutch government finally ceded and in 1949, Indonesia was recognised as an independent country.

Those looking for spiritual and bodily renewal on a visit can indulge themselves in some of the many spas and therapeutic resorts available. There are many options available including Spa Vacations, Spa Packages, Resorts and Retreats. There are even Spa schools where one can join intensive courses in Balinese and other massage therapies.

Offerings play a significant role in Balinese life as they appease the spirits and thus bring prosperity and good health to the family. Every day small offering trays (canang sari), containing symbolic food, flowers, cigarettes and money, are respectfully put on shrines, in temples, in front of houses and shops, and at dangerous crossroads.

Festivals are another  great occasions for soothing the gods. The women carry huge, beautifully arranged pyramids of food, fruit and flowers on their heads while the men might conduct a blood sacrifice through a cockfight. The gods are invited to descend and join the festivities with music and traditional dances to go with it. This kind of event is extremely exciting, memorable and well worth attending.

It appears that the main religion around 500 AD was predominantly Buddhist in influence. In 670 AD, a Chinese scholar (Yi-Tsing), on a trip to India, reported that he had visited a Buddhist country called Bali.

It wasn’t until the 11th century that Bali received the first strong influx of Hindu and Javanese cultures. The most famous event in early Balinese history occurred towards the end of the 10th century, when a princess of East Java, Princess Mahendratta, married the Balinese king Udayana. Their marriage portrait is believed to be depicted in a stone in the Pura Korah Tepigan in the Batur area. With the death of his father, Udayana, around AD 1011, their son, the Balinese Prince, Airlanggha, moved to East Java and set about uniting it under one principality. Having succeeded, he then appointed his brother, Anak Wungsu, as ruler of Bali. During the ensuing period, there was a reciprocation of political and artistic ideas. The old Javanese language Kawi, became the language used by the aristocracy, one of the many Javanese traits and customs adopted by the cause.

With the death of Airlanggha, in the middle of the 11th century, Bali enjoyed a period of autonomy. However, this proved to be short-lived, as in 1284 the East Javanese King Kertanegara, conquered Bali and ruled over it from Java. In 1292, Kertanegara was murdered and Bali took the opportunity to liberate itself once again. However, in 1343, Bali was brought back under Javanese control by its defeat at the hands of Gajah Mada, a general in the last of the great Hindu-Javanese empires, the Majapahit.

With the spread of Islam throughout Sumatra and Java during the 16th century, the Majapahit empire began to collapse and a large exodus of aristocracy, priests artists, and artisans to Bali ensued. For a while Bali flourished and the following centuries were considered the Golden Age of Bali’s cultural history. The principality of Gelgel, near Klungkung, became a major centre for the Arts, and Bali became the major power of the region, taking control of neighbouring Lombok and parts of East Java.