Articles

THE NARRATION OF LANDSCAPE FROM IDEA’S WORLD

ALAM adalah mahakarya lansekap. Inilah yang kemudian memunculkan kecurigaan Plato, bahwa yang dilakukan para perupa tak lebih dari tindakan mimetik; meniru-niru kemahakaryaan alam! Meski Aristoteles membantahnya dengan halus, namun tak urung paham itu sempat berkepanjangan hinga kini. Tak kurang dari Susanne K. Langer, ahli filsafat keindahan abad ini pun membantah kecurigaan Plato. Menurut Susanne, seniman mempunyai wilayah penciptaan yang tak mungkin sama dengan alam.

Di tengah-tengah maraknya kegiatan seni rupa Indonesia dan Bali pada khususnya, yang ditandai dengan banyaknya kegiatan seni yang diselenggarakan, kembali PILAR BATU Gallery mempersembahkan sebuah pameran lukisan dengan judul “Landscape Lima Rupa” ( I Wayan Suarmadi, I Wayan Andita ( Yanik ), Komang Muliarta, Ketut Susena dan Sunarko. Dari tanggal 24 Desember 2006 samapai 24 Januari 2007.

Although art has been created for its own sake throughout history, Commerce has always played an important part in sustaining growth. In traditional Balinese painting, where the use was ceremonial or religious, the art-form was in steep decline before the introduction of the Pita Maha Artists Cooperative and its development of alternative markets. The Pita Maha's influence on the content of Balinese painting also made the output more marketable due, in part, to it's simpler topics. Traditional Ramadan paintings told a story that most westerners would not be able to decipher, but scenes of everyday life in Bali were more easily identified, and appreciated for their simplicity.

Several legendaries and memories artist arround Bali

Meanwhile in Gianyar regency developed art tradition with different styles. They painted wayang style, demons and magical figures taken from old Bali folklore and Hindu legends. Later they used modern technique and material for coloring. This in part, because of suggestions from some expatriate artists who visited and lived around Ubud village at the beginning of the twentieth century.

The emergence of Ubud as an international Centre for the Arts happened during the 1920's and 1930's. This was in large part due to the insight and energy of the King of Ubud at that time, Cokorde Agung Sukawati, who acted as a great patron of the local Balinese arts.

Traditional Kamasan Style

Before the 1920's and 1930's Balinese painting was limited to religious applications, calendars and Wayung Kulit: leather shadow puppet theatre. The subject matter of the paintings were charactarized by serialized stories about religion or classical Hindu-Bhuddist culture. The main use of painting was as adornment for temples and collections by local rulers. The paintings illustrated many scenes of a story on a single, large canvas, giving the pieces a crowded and busy texture, but telling a story from beginning to end.