There is no word “artist” in the Balinese language, and the painter would rather be a craftsman. In Bali, more than any other place, there is a clear distinction between religious paintings (made for religious purposes only) and “fine arts” (mainly commercial artworks, without any negative connotations).
Traditionally, the themes of sacred paintings are based on ancient Indian epics, which are “Java-Bali adaptations” of Indian classical literature (Mahabharata, Ramayana) and legends, folklore, and myths. The descriptions we get from classical Western paintings, such as landscapes, rural scenery, real people, etc., did not belong to Balinese paintings.
Correspondingly, the content of the epic is taken from lontar (sacred manuscript made from lontar leaves), and the villa painting services dubai itself is created based on stringent rules regarding composition and depiction: certain poses, attributes, shapes, color representations Certain demons are still gods, so they are immediately recognized. This style is usually defined as the traditional Wayang style (or Kamasan style).
These paintings follow a series of rules in the creation process and follow a set of rules in the sacred sense: sacrifices will be made, and the opening ceremony of the ceremony will be held after the painting is completed. However, these paintings have never been worshipped; only gods are depicted on them.
It was not until the beginning of the 20th century that traditional paintings were commissioned, for example, to decorate rural temples, the back wall of eels in family temples, or gift bags in the compound. These paintings can also be made on cotton canvas, glass (reverse technique), or paper. Rajas also ordered sacred images for their traditional pavilion (for example, the headboard is named “para”).
These paintings have never been considered works of art because they have a sacred purpose and are exposed to everyday phenomena that change over time.
Because the work composition is entirely different from what we know, such works of art may be difficult to explain and are appreciated by Westerners. It also requires a specific understanding of the ancient epics from which the epics were extracted.
Balinese people are accustomed to passing on their ancestors’ knowledge orally or through their own experience as craftsmen, so over time, the painting will only develop in a very subtle way. When Bali began to attract tourists from abroad in the early 20th century, more dramatic changes became apparent.
The artist’s water spies and Rudolf Bonnet are often associated with significant developments in the Balinese style of Ubud: they introduced new concepts to the local painters, such as correct anatomy, realistic perspective, light, and shadow. How to play. These concepts are unfamiliar to the Balinese because depicting gods and demons has nothing to do with “people with bones and flesh”. For example, Spies and Bonnet also introduced Western paints that are different from traditional pigments used to create colors.
The most tangible input they share is the most revolutionary: they encourage young painters to use their creativity to make their interpretations of the surroundings. This is the first step to deviate from the traditional rules set by the sacred painting tradition and the “common way” of creation. Today, there are still different views on the long-term impact of introducing these new concepts into Bali art.
In any case, many young painters seized this opportunity, embarked on a journey of discovery, and defined their styles. Over time, these styles continued to evolve and become more refined. The new work depicts more secular themes, such as country scenes, Barong drama, rituals, and dancers. Anak Agung Gede Sobrat is the perfect example of this type of artist.
In the mid-1930s, spy, hat, and local artist, I Nyoman Lempad founded an artists’ guild called “Pita Maha” under the patronage of Raja in Ubud.
Their purpose is to ensure that the tourism industry’s demand for Balinese paintings continues to grow, and quality, excellence, and “depth” should always be the foundation of Balinese art.
Ruses a decisive approach but encourages young people to play with colors and express their imagination entirely spontaneously.
These paintings become very active in color unconventionally and imaginatively, thus creating a sense of sustenance and simplicity. The group he supports in Penestanan will be known as “young artists”.
Painting themes and styles have been evolving over the past few decades. The most prevalent themes at present are mainly rural scenery, landscapes, ceremonies, dancers, tropical animals, but more modern. Abstract works can also be found.
Certain painters display their paintings in small galleries attached to their compound or gather in communities such as the “Pengosekan Artist Community” led by the charming Dewa Nyoman Batuan.
Due to the Internet, globalization, and the field of tourists from all over the world, the younger generation of painters is absorbing a steady stream of impressions and inspirations. Today, some artists still live the sacredness of art, but the question that can be asked is whether the traditional sacred painting and its sacred purpose can be established when the surviving old masters leave.
Since the establishment of the Pita Maha Association in the late 1930s, Ubud has become one of Bali’s most powerful cultural centers, providing exquisite museums for discerning travelers, where you can find Different painting styles.
Purist Villas is located in Kutuh Kaja, a small village outside Ubud. It is an ideal place to stay if you want to explore Ubud and its incredible variety of culture and arts. The villa is located in lush gardens and aims to showcase the most interesting objects from the entire archipelago: art, exquisite taste and a wise attitude to the local style are definitely this elegant, peaceful retreat. It only takes a few minutes from the center of Ubud.
