Balinese Art's

Balinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, with their expansion to Bali in the late 13th century. Since then, Ubud and its neighboring villages have been the center of Balinese art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings, Celuk for gold and silver smiths, and Batubulan for their stone carvings.
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 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 modernization of traditional Balinese paintings. They provided painting media and introduced western painting concepts, such as western perspectives and techniques concerning picture and color 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 modernization 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 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.