Batuan Village: A Living History
For over a thousand years, Batuan has been a village of artists and craftsmen, old legends and mysterious tales.
Batuan’s recorded history begins in A.D. 1022, with an inscription that is housed in the main village temple, Pura Desa Batuan. The name “Batuan” or “Baturan” mentioned here prompts villagers to joke about being “tough as stone” or “eating rocks” — as batu means “stone” in Balinese. But it likely refers to an ancient megalithic tradition in which standing stones served as meeting places and ceremonial sites for the worship of ancestral spirits. Because Batuan became a center from which Buddhist priests and brahmans spread to the main court centers of south Bali, the village has an unusual preponderance of brahmans. DeZoete and Spies, in their famous book Dance and Drama in Bali, describe it almost entirely a brahman village. Besides the dances, performed in the central part of the village, Batuan is also famous for its wayang wong, masked performances of stories from the Ramayana. This is exclusively performed in the banjar (hamlet) known as Den Tiis. From Den Tiis also came the inspiration for the modern Batuan style of painting call The ‘Batuan style’. Batuan Temple, near Ubud, is an important temple that dates from 1022 AD and has produced generations of priests.Batuan Temple is considered one the finest and oldest temples in Bali.
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). During their stay in Bali in mid 1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan.
Ubud, Sanur and Batuan
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.
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.
For over a thousand years, Batuan has been a village of artists and craftsmen, old legends and mysterious tales.
Batuan’s recorded history begins in A.D. 1022, with an inscription that is housed in the main village temple, Pura Desa Batuan. The name “Batuan” or “Baturan” mentioned here prompts villagers to joke about being “tough as stone” or “eating rocks” — as batu means “stone” in Balinese. But it likely refers to an ancient megalithic tradition in which standing stones served as meeting places and ceremonial sites for the worship of ancestral spirits. Because Batuan became a center from which Buddhist priests and brahmans spread to the main court centers of south Bali, the village has an unusual preponderance of brahmans. DeZoete and Spies, in their famous book Dance and Drama in Bali, describe it almost entirely a brahman village. Besides the dances, performed in the central part of the village, Batuan is also famous for its wayang wong, masked performances of stories from the Ramayana. This is exclusively performed in the banjar (hamlet) known as Den Tiis. From Den Tiis also came the inspiration for the modern Batuan style of painting call The ‘Batuan style’. Batuan Temple, near Ubud, is an important temple that dates from 1022 AD and has produced generations of priests.Batuan Temple is considered one the finest and oldest temples in Bali.
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). During their stay in Bali in mid 1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan.
Ubud, Sanur and Batuan
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.
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.