Origin of Balinese arts
The first Balinese arts date back to the pre-Hindu period. After practicing animism and ancestor worship, the islands adopted Indian beliefs like all of Southeast Asia. Buddhism and Hinduism dominate the local culture for centuries. This is even more true in Sumatra and Java. But when Islam took over Java in the 16th century, the Hindu princes fled with their followers and craftsmen and settled in Bali.
Paintings, sculptures, masks had then not only a religious use, but their designs followed symbolic rules and assigned places reflecting their religious functions. For example, pratima statues, effigies of the visiting gods, had to be made of appropriate materials with specific iconographies and left in the altars of the sanctuaries. On the other hand, the bas-reliefs telling the story of man's descent into hell remained in the lower part of the temple and its most impure part. Even the jewels remained impregnated with religious significance. The kriss, as symbols of descent, were forged by the pandequi, had to go through special rites to exercise their talents. Likewise, sangging in painting and undagi in architecture. And the making of all these objects had to be regulated by a calendar of prohibitions and rites. Some days and hours were auspicious, others not, and there was a complex set of ceremonies for lontars "brought to life" (uripanga), or masks and weapons with magical powers (kepasupati). Because of this context, painting was a reflection of one's responsibility to the community. The artist was the conveyor of traditional symbols, teachings and tales. In this context, the "prasi", or illustrated lontars, still exist today and can be seen in Singaraja, Sukawati and Karangasem. The paintings, made on local cotton, were to contain narrative scenes and were assigned to specific places for this function. The "parba" panels in the temples were to be decorated with figures of gods while the painting of clothes was to contain illustrations that were only seen in certain circumstances, such as weddings. The classical paintings had to be close to the wayang kulit. The Balinese still like to watch the wayang until the early hours of the morning. And the painters were the ones who cut the figures out of the leather telling the same stories and using the same iconography. In their function as bearers of traditional values, Balinese artists were for centuries protected by the courts of the kingdoms. The result is tangible in gria, brahmin houses, temples and palaces. The most famous are those painted on the ceiling of the Kertagosa in Klungkung, which was the court of justice of the kingdom. The craftsmen were from the village of Kamasan. And their inspiration was drawn from the wayang and the epics of the Ramayana and the Mahabharata. They were also known for the famous Balinese calendars.Ubud and Klungklung
In the 16th century, as Islam exerted its domination, Bali became the land of exile for Hindu princes and Indonesian craftsmen. Artistic production in the Hindu era depended mainly on the princes and their entourage. Palaces and pavilions were adorned with wooden panels, paintings and equally finely crafted objects. The decoration, music and dances were part of the religious rituals. It is this link between beauty and ritual that explains why Balinese arts have always remained vigorous. Everyone put their talent at the service of great events: sculptors, dancers, musicians combined their skills.
In the early years of the 20th century, the Dutch exerted their domination over the island, particularly through the educational system. The colony was forced to open up to tourism, a change that was reflected in the Balinese arts. The craftsmen begin to consider their achievements as art. They experimented with techniques, genres and themes. Western influence shook the conventions that had been in place for centuries. Representations of Hindu epics gave way to scenes of daily life and landscape. This progression is traced in the Bali Museum in Denpasar which exhibits the different Balinese arts from prehistory to the 20th century. Also in Denpasar, the Werdi Budaya Arts Center combines exhibitions and sales of local creations.
The cultural center is however established in Ubud. Walter Spies (1895-1942), musician and painter, arrived in Ubud in 1927 at the invitation of the king of Ubud, Cokorda Raka Sukawati, who felt the role that culture and art could play. Thanks to Walter Spies, the painters of Ubud and the surrounding area adopt new techniques and seek inspiration in different themes. The artistic revolution was launched. Another European, the Dutch painter Rudolf Bonnet (1895-1978) settled in Ubud in 1929, reinforcing the European artistic influence. These expatriate artists captured on canvas the Balinese landscapes, daily life, the thousand details of religious life. They also worked from live models and encouraged the Balinese to do the same. To do this, they distribute paper, canvas, brushes and colors to the Balinese who are used to painting on Nusa Penida canvas cutouts, using natural pigments. The concept of space is different in Balinese art. The entire space of the canvas is filled, without recourse to perspective. Spies and Bonnet introduced a new approach to space and its representation and guided their local colleagues in developing an individual consciousness. The latter began to sign their works and to become, in the European sense of the term, "artists". This movement extends beyond the small village of Ubud. Soon, painters came from everywhere to ask for advice. Inspired by this enthusiasm, Bonnet, Spies and the king of Ubud founded the association "Pitamaha" in 1936. The tradition has continued to this day, Ubud remains the heart of Balinese creation, where artists willingly share their knowledge.
Traditional painting has its center in the east of Bali, in Klungkung, also called Emarapura. Seat of the last kingdom to resist colonization, the city has known the golden age of ancient times. Not far away, the Gunarsa Museum of Classical & Modern Art (Museum Seni Lukis Klasik Baliest) was directed by Nyoman Gunarsa, (1944-2017) undisputed master of Balinese modern art. After an academic training, the painter turns to an expressionist style marked by the movements and tones of Indonesian dances. He founded the group Sanggar Dewata Indonesia in 1970, then organized exhibitions around the world, without leaving his native island. Many times awarded, he opened two museums on the island, in Yogyakarta and Klungklung.New pictorial trends
After a period of crisis during the Second World War and the post-independence period, Bali experienced a new surge of creation in the 1960s and 1970s. Arie Smit (1916), who arrived in 1956 and settled in Penestanan, distributed colors to the youth and triggered the appearance of a new style made of thick highlights and extravagant subjects. A work on the color is also felt. During this time, the artists of Batuan devoted themselves to the joys of detail by developing a real school of miniatures, of a breathtaking beauty based on the principle of the Indian ink wash. Little by little, Bali attracted national painters, Javanese and from other parts of Indonesia, such as Affandi, Srihadi and many others. Their production, long trapped in European academicism, now dominates the market. Now a new generation of painters, coming from the academies of Java and Denpasar, have successfully tackled abstract painting. Tusan uses Balinese offerings to create a "Balinese-style" cubism, Gunarsa transforms Balinese dance and theater into action painting. But only one seems to dominate the scene: Made Wianta has established his own style in a subtle search for color, creating abstract volumes enhanced by a systematic and productive use of detail.
Yesterday and tomorrow
In Keliki, 15 minutes from Ubud, traditional painting is still practiced in the heart of a community of painters. From training to sales, the techniques are passed on by the elders. Specifically, the "Keliki style" is a variant of the traditional miniature painted using the tempera technique. The drawing is drawn with a pencil on thick, water-resistant paper. Starting from deep black, the Indian ink is washed out to obtain a range of gradations of gray. The artist can then color his flat areas. The technique requires a sure gesture which makes the specificity of the Balinese miniaturist.
On a contemporary note, a multitude of frescoes and graffiti cover the walls of southern Bali, from Canggu. To find the center of the local urban culture, you have to go along the Raya Canggu road in the direction of Tanah Lot. Equipment, clothing, specialized art gallery, everything is gathered to make people happy. At the origin of Allcaps, Julien Thorax's desire to propose a place of exchange, where it is possible to paint on the beach or near the rice fields. The locality was before its installation a fishermen's village which attracted a trendy fauna. Allcaps offers street art tours to discover Bali through urban culture, in addition to the TROPICA festival. This event is a bonus of Artivism. Environment and gender equality are defended on this occasion, between painted scenery and natural setting.
