Palinese Painting

In the past, Balinese artists were patronized by kings, princes and temple councils. The majority of their works served ritual and magical functions, emphasizing the symbolism of a temple ceremony or domestic sanctuary, or supporting claims of divine authority by the ruler. Traditional calendars, with their attendant astrological symbols, also Formed an important category of works.

A major center of traditional painting was and still is located at Kamasan, near GeIgel in Klungkung regency. Village craftsmen here once served rulers who reigned over the whole of Bali. Other centers were located in Gianyar, Bangli, Karangasem, Tabanan, Sanur and Singaraja, where local rulers resided or were influential. After the Dutch took over Bali in the 19th and early 20th centuries, the authority of the rulers waned and new patrons had to be found. As a result, modern influences soon manifested themselves.

Traditional drawings for magical purposes (rerajahan) were inscribed with a stylus on palm leaves, potsherds and metal, then blackened with soot. Others on cloth or paper are executed in black ink. The ink was formerly made of soot, and paints were handmade from natural dyes. At present, Chinese ink imported paints are used. Cloth paintings were only displayed during religious ceremonies; the subject matter being chosen to harmonize with the intent of the ritual.

Artistic conventions were passed down from father to son. There are fixed elements of style, ornamentation and overall composition. Human figures were represented in the so-called wayang style, a reference to the leather figures in the wayang kulit puppet play. The figures have characteristic cloth jewelry, coiffures and headdresses, and their facial features and figures indicate their class, age and character. Sky, rocks and ground are indicated by specific shorthand ornaments. There is no perspective.