Imagine you are a master Balinese painters and Your king has recently completed a piece of work to do commissioned. How do you in front of a large cloth on a wooden frame with a pencil in his hand stretched out to sit down for a moment, consider the composition before the start to sketch. The year is 1723. What would go through your mind?
Maybe you hear the crash and bang of metallic instruments of a Balinese ensemble. They visualize the cloth like a giant screen, sitting with an audience on the other side. And just imagine, as dalang (master puppeteer) to manipulate puppets while bringing to life a powerful Hindu epic while Wayang Kulit shadow play.
Origins
'Dharmaswami' Ida Bagus Gelgel, 1935, natural pigments on paper | Photo by David Irons
The roots of the Wayang Puppet Theatre, one of the original narrative methods in the Balinese culture, be recycled back over 2,000 years to Indian traders who settled in Nusa Antara (Indonesia before the Dutch East Indies known), bringing with them their culture and Hindu religion. The Wayang derived or classical style of Balinese painting from the images which appear in this medium.
The paintings on processed bark were, cotton cloth and wood and were used stamp to decorate the pavilion, and the houses, the aristocracy, especially during the temple ceremonies and festivals. Originally, the work of artisans from the East Javanese Majapahit Empire was (13-16 th century), this type of painting in Bali expanded late in the 13 th century and from the 16 [ th to 20 th century the village Kamasan, Klungkung, the center of classical Balinese style was - and thus also the Kamasan Painting
, the original work was a collaborative creation ; formed of master artists to the composition sketch in the details and contours and trainees added to the color. This work was never signed by a person and as a collective expression of values and gratitude from the village to the divine. Colors were created from natural materials mixed with water; ie iron oxide stone for brown, calcium from the bones of white, ocher oxide tone of yellow, indigo leaves for blue, black or ink for black. Enamel imagine was used by the Chinese a few hundred years on wooden panels of pavilions and shrines, or on glass.
divine and demonic
The highly detailed, sacred narrative Kamasan paintings play a significant role in the Balinese culture as a bridge between two worlds communication works. the material world people live and the immaterial world of divine and demonic forces
The artist works as a medium to translate the esoteric and invisible comprehensible in a visual language and greater understanding of the mysteries of life bring to writings and philosophies.
According to Dr. Adrian Vickers, professor of Southeast Asian Studies in Sydney University, "the key to Kamasan painting the feeling of beauty is the beautiful River line and the pure flat figuration."
For foreign audience, the images, however, present difficulties in their understanding. Without a concept of landscape Balinese paintings, it comes to an arrangement of elements on a flat surface like the shadow puppets against the screen in the shadow theater. Unlike Western Modern Art where paintings generally have a focal point, there is no focal point to read the Kamasan stories. Most of the paintings have several stories that can be read by the composition in all areas.
at the painting, seeing, it is full of visual information, unless otherwise noticed. Tight, generalized, often repetitive patterns, often of decorative motifs and combinations of graphic patterns are spread all over the surface little or to leave no empty spaces. Decorative elements, stones, flower motifs and painted borders showing Indian and Chinese influence from Chinese porcelain and Indian fabrics
"based Compliance with the established rules of the relative size of parts of figures to measurements in the human body - . in the Balinese perspective, each measurement can be seen as a human manifestation of elements that exist in the larger cosmos. the correct play is to be part of the action of divine forces in the world in harmony. colors are also codified. "says Vickers in his book Balinese art Paintings & drawings of Bali 1800-2010 . "Shape is reminiscent of spirituality."
The three areas
The two-dimensional Kamasan compositions generally show three levels: the upper level, the realm of the gods and benevolent deities the middle level, of kings and the Adel occupied, and the bottom third belongs to the people and demonic manifestations. Detail in facial features, costumes, body size and color to show specific rank, character or character type. Darker skin and large body are typical of Oger, fair skin and fine portioned bodies are gods and kings. Rules control the appearance of forms; there are three or four types of eyes, five or six different poses and headgear. The position of the hands displays questions and answers, order and obedience
The stories are from the Hindu and Buddhist sacred texts of Javanese-Balinese folktales and romances. Ramayana, Mahabharata, Sutasoma, Tantri, also of Panji. Astrological and earthquakes diagrams are also shown. The most important mythological themes are made in large symmetry, while these images contain high moral standards and function worthy human virtues with the intention of the Company to express peace and harmony to promote. A beautiful painting communicates balance, aesthetically and metaphorically, and can be reached with the artists' association equated with the Divine.
Traditional Kamasan painting is not static and so holds subtle changes evolves over time have taken place, as every artist has his own style, composition and use of color. It is common to replace that new works regularly old and damaged and thus Kamasan painting is an authentic living Balinese tradition
Where to see Kamasan painting in Bali.
Museum Puri Lukisan
Jalan Raya Ubud, Bali
Tel: +62 361 971159
Open daily 9:00 to 17:00
ARMA Museum
Jalan Raya Pengosekan, Ubud, Bali
Tel: +62 361 975742
open daily 9:00 to 17:00
Neka Museum
Jalan Raya Sanggingan, Campuhan, Ubud, Bali
Tel: +62 361 975074
open daily 9:00 to 5:00
Nyoman Gunarsa Museum of Classical & Modern Art
Jl. Pertigaan Banda No. 1, Takmung, Banjarangkan, Klungkung, Bali
Tel.:. +62 366 22256
Open daily 10:00 to 17:00
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