'Kompas' daily to exhibit Balinese arts

JAKARTA (JP): To celebrate its 30th anniversary, Kompas, the country's largest newspaper, is organizing a painting exhibition presenting works of 80 Ubud and Batuan artists.

The exhibition, which will be opened tonight (July 7) and will last through July 17, is part of the daily's efforts to preserve Indonesian culture.

G.M. Sudarta, executive director of the Bentara Budaya where the exhibition is being held, said the local media should do their utmost to help promote Indonesian artists.

"Coverage and review of art events are the least the media can do to support artists' activities. However, there are so many attempts to maximize support for the artists," added Sudarta.

Since l970, Kompas daily has been active in helping Balinese artists in Ubud. The daily has been providing material assistance such as canvas and other painting mediums to Ubud painters.

"Displaying their works in an exhibition also helps promote their works," he maintained.

Traditional Ubud artists exhibiting their works include I Wayan Djudjul, a pioneer Ubud artist, Ida Bagus Belawa, 85, to younger artists such as I Ketut Ginarsa and I Wayan Suparta. The Batuan artists are represented by I Made Jata, 85, I Dewa Nyoman Tjita, 80, I Dewa Wayan Kandel, 80, and several young artists including I Dewa Putu Arsania and female painter Ni Wayan Warti.

To understand the works, it is useful to know about the development of Balinese painting which is roughly divided into three categories -- classical, Ubud and Batuan styles.

Classical Style

Developed in the 17th century in Klungkung, the Kamasan style is said to represent the classical Balinese style. It originally functioned as decoration for religious ceremonies. The paintings were hung in pavilions, on altars and shrines, and at temples. In later years, the paintings were framed and served as household adornments. The figures are typically painted in frontal position with a somewhat extended shoulder line, the arms are elongated, and the legs and feet are shown in three-quarter view.

Often there are several scenes of one story in a single painting or a series of scenes on long strips of cloth. Themes are mostly from the puppet theater repertoire showing episodes of the Hindu Ramayana and Mahabharata epics as well as the 12th century East Javanese Melat and Panji romances.

Functional paintings include palalintangan horoscopes and palalindon which predict the influence of earthquakes on life. These astrological charts are unique in that while the ruling deities of the weeks are done in wayang style, the constellations are usually depicted by scenes of daily life: people climbing trees, fishing, quarreling, plowing, and a cremation, to name a few.

Ubud Style

The development of Balinese paintings were not immune from outside influences, particularly from the West. Since the early 20th century, a number of prominent western painters have lived in Bali. German painter Walter Spies and Dutch artist Rudolf Bonnet are among artists who have influenced local artists.

Both Spies and Bonnet introduced new painting styles and materials to local artists. They also encouraged Balinese painters to broaden the themes of their artistic works. To what extent Spies and Bonnet influenced the development of Balinese painting is still open to debate and will probably never be fully answered.

The most apparent changes were in geometric and perspective and anatomy, but indeed the Balinese artists interpreted the new western concepts in their own unique ways. These Balinese painters combined traditional and western concepts. These developments have led to what is recognized today as the Ubud painting style.

Unlike Ubud, the village of Batuan has long been recognized as a center for Balinese traditional arts, from dancing to weaving and carving. Paintings by Batuan artists have a different style from that of Ubud artists. Prominent Batuan artists include I Ngendon (l903-l942), I Patera (l900-l935), I Reneh (l910-l958), Ida Bagus Togog (l913-l989).

Batuan works display an expressive and vibrant vitality and are a close development of the classical style. Detailed features and fine lines are painstakingly painted, with emphasis on a shading technique called sigar mangsi, literally translating to "ink fragments." Painting in the Batuan style requires perseverance because of the complexities painted in small dimensions. In general, dark green and maroon are used with a dark background which gives a mysterious and somber appearance to the work.

The themes used in these paintings are usually from the Tantri, animal fables, legends, folk tales and daily life, all with a touch of the supernatural throughout. In the latest development, new themes based on tourism and important events are also illustrated.

The exhibition will certainly enrich the Indonesian art world as local and international art lovers will have the opportunity to learn the development of Balinese art forms through the works of these participating artists. It is expected that Kompas' efforts to promote local artists will be followed by others in the country. (raw)