BALINESE ART AND

PATI MAHA

Identitas Kelompok

Nim Nama
2201750875 Aldo Ferdian Sugiarto
2201732834 Christoper Daniel
2201730816 Steven Ricardo
Willi Wijaya

Kelas LC33

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 BAB I
PRELIMINARY
DESCRIPTION OF BALI ISLAND

1.1 Geographical Location of Bali Island

Bali is an island located in the

Indonesian province of East Java and west
of Lombok island, Bali consists of several
small islands such as Nusa Peninda, Nusa
Lembongan, Nusa Ceningan, and is the
second largest island in Eastern Indonesia
after Makassar. Bali has the capital city of
Denpasar.
Bali is also rich in marine wealth such as coral reefs, beautiful beaches, and also a coral
triangle, and on the other hand, Bali is rich in art and culture that is still thick so far making
Bali a tourist destination for foreign tourists in Indonesia.

1.2 Population and Religion of the Island of Bali

Bali has a population of 4.225 million people, and not including foreign tourists
who are present on the island of Bali, and Bali is the only province with the majority of
Hindu Buddhists in Indonesia, with 83% of the population having Hindu Buddhist beliefs.
This is related to the early history of how religion in Bali was formed.

1.3 A Brief History of Balinese Culture

As mentioned earlier, Bali has 83% confidence in Hindu Buddhism, this is derived
from the inclusion of Hindu Buddhism from the Indian state in the past, and mostly came
from Java, and after the arrival of the Muslim empire, many people still had faith Hindu

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Buddhism from
Java Island migrated
to Bali Island,
including artists
who would later
form the
characteristic of art
in Bali and the birth
of Pati Maha.
The Balinese culture actually originated in in Java centuries ago and Bali has remained the
only place in Indonesia, where those Hindu traditions are still followed. Today, Indonesia
is dominantly a Muslim society, which makes Bali very unique and different.

1.4 The state of Bali today

Bali is the main

destination of foreign
tourists in Indonesia, where
the increase in tourist
arrivals has increased since
1980, and makes 80% of the
income of people on the
island of Bali, this is due to
the many developments in
art consisting of painting,
dance, sculpture, music, culture itself which is still thick and inherent in Balinese culture .

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1.5 Introduction of Balinese Art

Bali art is based on majapahit artists, from their migration to the island of Bali from
the island of Java at the end of the 14th century, Balinese art developed from Indian
influences namely Hindu Buddhism, making Balinese art unique from other Indonesian
provinces. from that most arts in Bali concern Hindu Buddhist beliefs, which consist of
stories of gods, their daily religious life, even popular stories such as mahabarata and
others. Then the arrival of the Pita Maha group which was founded January 29, 1936 by
Walter Spies and Rudolf Bonne stimulated the arts and secondly to give an interest in the
ease of materials to its members.
Through the support of Tjokorda Agung Sukawati, Bonnet and Spies who were considered
"teachers" by traditional Balinese artists, it was easier to enter and be accepted by local
artists.
So since then the development of art in Bali has grown rapidly and from the many Balinese
art works, it has also been followed by the increasing arrival of foreign tourists on the island
of Bali.

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 BAB II
CONTENT

2.1 Balinese Art Explanation

Bali had been known for its art because Bali did not think art as an art but as a way
of living, a part of daily life. It is something common for people to eat rice or bread. So is
art for Balinese people. Art is part of their believes in life. This started since before AD era
which were hourglass-shaped cili figures, seen everywhere in palm-leaf ornaments for
temples, on cakes, standing in rice fields, and even made out of Chinese coins sewn
together. The mysterious cili is thought to derive from the island's original rice deity, Dewi
Sri.
Continued by Golden Age of Javanese art that influenced and evolved Balinese art
into an even higher level, especially in literature and sculptures. This evolution was
confirmed to be true by Majapahit later in 14th century and has an undeniable proof to it
which is the adoption of Kawi language as Balinese. Unfortunately for Bali, because of
rule of Majapahit, in 14th century, became less flourishing. Majapahit repudiated Balinese
artstyle and typified powerful, erotic architectures instead. In 15th century, Majapahit
Empire had fallen and the Golden Age for Bali had come. To restore Bali’s glory in art,
Balinese natives adopted Hindu practices, arts, and deities that suited their taste and
rejected the rest, giving rise to today's distinctive folk art forms. This was also reformed
into something even more distinctive and innovative as a consequence of Dutch invading
Indonesia with their rifles. Then Balinese art states is as of now, contemporary.

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2.2 Historical State Of Balinese Art

1. Ancient Balinese Art

Around 300 B.C., coastal inhabitants created metal bells, lances, spiral-
shaped rings, bronze implements, bracelets, and magnificent woven textiles.
Although physical remnants of this culture are few, spirit of these first Balinese has
been passed down and is still visible today in textile patterns, sculptures, dancing
styles, theater forms, and rituals. In particular, the native Bali Aga of the highlands
still adhere to pre-Hindu practices.
An example of pure native origin motif is as mentioned in first paragraph,
hourglass-shaped cili figures, seen everywhere in palm-leaf ornaments for temples,
on cakes, standing in rice fields, and even made out of Chinese coins sewn together.
The mysterious cili is thought to derive from the island's original rice deity, Dewi
Sri.

2. Javanese Influences and Majapahit Empire Era

In the 5th century, Bali was ruled by Javanese princes. They monopolized
Balinese art which was the face of Indonesia’s art and caused a lot of political events
and disturbances that had a ripple effect on Bali’s political life. Java’s Golden age
that had influenced Bali happened around 600-800 AD. Knowing that fact, at the
the start of 11th century, great Airlangga led a renaissance of art in East Java. The
Balinese-born leader gave a new impetus to all the arts, particularly literature,
reviving the old Javanese language of Kawi as Bali's official language. But those
all efforts were all vain because of the rule of the nationalistic Majapahit Empire
on Java in the 14th century. They repudiated all classic, primitive, and religious
arts. Powerful, erotic architecture of Candi Sukuh in East Java was typified instead.
In this century, Islam and Javanese migrants populated Bali. They brought new
styles which are extravagantly decorative motifs found in all media of Balinese art:
floral patterns in the paintings, sensuous flaming motifs in the textiles, baroque
temples, fast-paced music, and the bizarre realism of Balinese sculpture. Some
examples of Balinese art at this period are of the following:

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 a. Solid Color to symbolize Deva
i.Red-Brahma

ii. White-Shiva

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 iii. Black-Wisnu

b. Motif Poleng

c. Candi Sukuh (Majapahit Empire Era)

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3. Balinization of Javanese Art
Majapahit eventually collapsed with time. After its collapse, The Balinese
natives adopted those Hindu practices, arts, and deities that suited their taste and
rejected the rest, giving rise to today's distinctive folk art forms. Even nobles
created their own house to monopolize those arts by using those houses as a place
to constitute a political and religious hub where the best orchestras practiced and
where the finest painters, weavers, sculptors, architects, blacksmiths, dancers, and
actors lived and worked as privileged wards of the ruling princes. These specialized
artisans were paid in ritual gifts, relieved of certain social duties, or awarded tax
exemptions and rice fields. Today, many of these privileged relationships remain
in effect, the descendants living from the produce of the same fields, still carrying
on their ancestors' handicraft or fine art.
This artists' utopia ended with the invasion from Dutch with their rifles in
1906. From that point on, Bali, as a colony of the Netherlands East Indies empire,
was soon profaned with modern technology, tourists, films, books, magazines. As
a result of a drastic political reorganization, most princes could no longer afford to
patronize the arts; palace gamelan were sold, royal theater groups broke up, and
Balinese art became a true art for people.
Art also became less representational, decorative, and formalized.
Influenced by incoming European artists in the 1920s, Balinese artists for the first
time dated and signed their paintings. They began to experiment with new styles,
techniques, themes, and media. They created sales organizations and the most
outstanding among them received recognition overseas.
The 1930s are known as the "classical" period of modern Balinese art, when
many of the finest and most innovative pieces of the 20th century were produced.
Samples of these works may be viewed today in the Neka Museum, Neka Gallery,
Agung Rai Gallery, and in the famed Puri Lukisan Museum-all in or around Ubud,
Bali's traditional arts center.

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4. Contemporary Art

Because of the great inflation in 1998, all local aristocratic families has been
ceased leaving no sponsorship. This wrought great changes. Art no longer occupy
any traditional place nor purpose within communities. It is no longer produced to
serve deities. Now it is created for its own sake or just to make money
When perhaps nowhere artists are more appreciated by their own people
other than on Bali, yet Balinese fine art isn't taken seriously by foreign buyers. In
order to earn a living, artists have had to sacrifice quality otherwise it would be
expensive. The "tourist corridor" in Bali is often or if not always lined with opulent-
looking galleries filled with an overwhelming range from kitschy junk to some
considerably good ones with signs that say "You drop it, it's yours."
Inside the galleries, you'll see row upon row of lookalike carvings,
stereotypical market scenes, fantastical birds from the island's Hindu lore,
predictably posed nude figures, mass-produced half-life-sized copies of dramatic
masks, and "custom-made" reproductions of antiques.
This statement can really be seen on a weekend afternoon. The galleries are
packed with tourists, yet Ubud's Puri Lukisan museum, where for 35 American
cents you can marvel at the bygone genius of Balinese painting is often deserted.
The island's two principal museums, one in Ubud and the other in Denpasar, lack
the money to keep or continue buying contemporary works. As a result, the really
remarkable, high-quality pieces are bought by discerning tourists or foreign art
dealers, taken overseas, and lost to Bali forever.

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2.3 Modern Style (Gaya ) Balinese Painting

1. Gaya Ubud
The influence of Spies and Bonnet is seen
in more dynamic composition processing,
perspective cultivation, and color enrichment.
In this case also began to be introduced with
painting materials imported from the Netherlands
such as tempera, watercolor, and oil paint.
The influence can be seen from the introduction of
the Spies technique and the typical anatomy of
Bonnet.

2. Gaya Batu
Gaya Batuan paintings are characterized
by a frightening night time atmosphere which also
include mythical creatures such as ghosts,
monsters , and witches. There is no trace of the
puppet style. Objects, human figures are drawn
frontal and in the form of profiles. The mountains,
trees, leaves, and large flowers remain decorative
stylized as in traditional Balinese paintings.
The Gaya Batuan painting is also characterized by
terrifying magical creatures, a personal expression
of the mystical world and Balinese beliefs.
Famous artists include I Ngendon, a modern-
educated artist, whose work has evolved in several
years from puppet styles to scenes and even
portraits.

3. Gaya Sanur
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 Sanur painting is inspired by the sea and
everyday life. It’s also made with sophisticated
Chinese ink coating techniques. Artists depict sea
life, sea creatures, turtles, crabs and bathing scenes.
Artists who pursue Sanur Style include Ida Bagus
Nyoman Rai and I Ketut Regig.

After the occupation and the emergence of Pita Maha, the patterns of art in Bali
underwent a change. Especially in the use of painting tools and materials began to use
canvas and chemical-based paints, new techniques such as sfumato and chiarrascuro. In
addition, the orientation began to shift in creating works of art that were also used to fulfill
market demand in addition to religious interests.

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 BAB III

BALI ART SHOWCASE

3.1.1 Balinese Painting

Balinese painting is highly stylised and there are sets of conventions about the
representation of characters that are rigidly followed. These concern principally the face of
the character and the costume, particularly the head-dress. The limbs and body are much
freer of restriction and can be used to show action, while the position of the hands and arms
often denotes emotion in a series of conventionalised .

Animals are usually shown in profile. The trunks of humans, gods and other non-
animals are shown full on, with arms and legs turned the same way as the head. Heads are
shown in three-quarter view, but raksasa, peluarga and other mixed animal/human forms
have.

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3.1 Examples Balinese Painting

Red and Black Naga

Each 345cm X 65cm at base
Kamasan work, 1930s. Best qualit work on thick, possibly
Balinese, cloth painted .
Lontek of plain cloth
in many colours are an
important part of every temple
festival or procession and still
remain very popular. Painted
ones are however very rare
nowadays. They are mounted
each on a slngle bamboo pole
whlch thlns out raptdly so that
the top droops over. Nagas
seem to be the only subject for palnted lontek, and of course they fit the shape of the flag
very well.

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Regawan Sumitra
Each 125cm X 208cm
Kamasan.
Probably around 1860. From the
temple Jero Kapal, in Gelgel. Halus work of
the finest quality, some fading and flaking.
This painting is a fine example of a
'mythological' presentation. It is obviously
Kamasan work, but none of the present -day
artists were able to identify either the painter
or the story.

Ider-ider
1 Rangda-Barong, and Bharatayuddha
1 29cm X 364cm
From Djasi. Karan asem resumably
local work, artist not
known. possibly 1920s.
This unusual double piece must
represent an experiment in the new
'naturalistic' style that was spreading in
the Ubud area under the influence of
Walter Spies in the 1920s and early '30s.
Although completely different in style,
the two halves could be by the same artist,
as the cloud and wind motif is the same in
both.

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Bharatayuddha: Salia and Aswatama
94cm X 120cm
European cloth, painted by Manku
Mura in 1972.
Towards the end of the
Bharatayuddha, after the death of
Karna, Aswatama, the son of Drona
(who has already been killed), accuses
Salia, who is about to be appointed
commander of the Korawa army, of
being responsible for some of
the recent disasters.

Folktale: Calonarang Episode

(Reads right to left)
37cm X 741cm
Kamasan work, artist possibly
Sambug, late 19th century. Obtained
from the Pura Dalem Bugbugan, in
Gelgel. Halus style with excellent
drawing. Thin cloth, worn at the top and
with many splits and small holes
(mostly repaired with similar painted
cloth, probably cut from the end of the
painting). Last scene has a part missing.
Paint generally in good condition.

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3.2 Balinese Carving

Carving is an essential art-form for the Balinese.

Every kind of stone sculpture you can think of is produced on
the island, from deities to demons, giant frogs to rearing
stallions, and they line the roads outside the workshops all
the way up from the airport.

Traditionally, stone carvers produced works for temple

and palace gateways. Gateways represent the division between
the inner and outer worlds, and even today it’s rare to see the
entrance to any Balinese house, office or restaurant without at
least one stone sculpture (normally in the form of a demon) to
maintain security. The demon form is also designed to scare
visitors into behaving well once inside.

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3.3 Balinese Architecture

All traditional buildings

in Bali are designed based on the
principles of the Balinese Hindu
traditions and belief systems.
Balinese houses, palaces and the
temples are created as a
collection of several structures
within walled enclosure, where
each serves a special function.

The cultural and religious influence on the architecture goes back many centuries.
A Balinese architect will aim to create a sacred place which is inline with what they believe
spirits and cosmos require for a harmonious and balanced energy. Therefore priests, the
intermediaries between the spirit and the real world for the balinese, also preserve the
knowledge and guidelines for Balinese architectures.

Many buildings in
Bali are designed based on
the principles of a ‘sacred
place.’ The houses are meant
to be built precisely in the
direction of the sun rising up
or the location of the
volcanoes. During 8th to
16th centuries the influence of classical Hindu and Buddhist architectural styles was found
in many constructions of temples in Indonesia, especially in Java.

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