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 coloring 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 childrens 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. Whats more, these painters developed increasing individuality.
This groundbreaking period of creativity reached a peak in the late 1930s. A stream s 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 descedents/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 colorful but tended to be busier.
Ubud Painting
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
The Batuan school of painting is practiced by brahman artists in the village of Batuan, which is situated ten kilometers 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 mobilized 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 Nyoman Bendi, I Ketut Murtika, and many others.
The Sanur school of painting is the most stylized and decorative among all modern Balinese Art. It features members of the animal kingdom often drawn in an Escher-like manner. Major artists from Sanur are I Rundu, Ida Bagus Nyoman Rai, I Soekarja, I Poegoeg, I Rudin, and many others.
Young Artist Painting
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, I Ngurah KK, I Nyoman Londo, I Ketut Tagen, and many others.
