Balinese Art by Adrian Vickers

Author:Adrian Vickers
Language: eng
Format: epub
ISBN: 978-1-4629-0998-8
Publisher: Tuttle Publishing

Fig. 39 Dewa Kompiang Kandel, Batuan, Village Scene of Puaya, 1930s, washed pen and ink and watercolour on paper, 70 x 50 cm, ex-Haks collection, Singapore Batuan Collection (photo Ken Cheong).

Fig. 40 Ida Bagus Nyoman Rai Geria, Sanur, Graveyard Meditation, 1936, ink and watercolour on paper, 27.5 x 37 cm, ex-Bateson-Mead Collection, ex-Haks Collection, Singapore Batuan Collection (photo Ken Cheong).

Sanur

The presence of Batuan artists in Sanur via Theo Meier’s studio added to stimulus given to the coastal village via the presence there of the Neuhaus aquarium. The German brothers seem to have been genuinely interested in cultivating local talent in the course of making a profit. One of the first Sanur artists was Ida Bagus Nyoman Rai Geria (1901–82) from a powerful priestly house in the northern part of the village. He worked closely with the Germans, and began by painting fish before he moved on to more magical/mystical themes involving temples and worship (Fig. 40). Batuan artists brought works down to the Neuhauses to sell, and they in turn helped Bateson and Mead acquire a set of works from Sanur, particularly with the help of Mead’s friend Jane Belo, who carried out her own anthropological studies in Sanur.

The main artists of the Sanur School, which numbered around sixty painters, included I Made Pica, I Sukarya (1912–88) and Sukarya’s brother-in-law I Gusti (Gusi or Si) Putu Rundu (1918–93). Other important figures were the eccentric teacher I Wayan Gunaksa Tunas, labelled ‘mad’ in Bateson and Mead’s fieldnotes. The best known of all these artists, Ida Bagus Nyoman Rai Tengkeng or Klingking, also had the longest career. Sanur is dominated by priestly houses, so many of the leading artists came from these: Ida Bagus Sodang (?–1937), who produced very few works, mostly with unusual pastel shadings, Ida Bagus Made Pugug (later Pedanda Gede Simpar, 1919–2006), Ida Made Randut, and Ida Bagus Ketut Sunia (?1906–?90) from Geria Puseh (Central Mansion) in Sanur, whose main surviving works feature huge phalluses and bizarre eroticism31 (Fig. 41). Most of these Brahman families are closely interrelated, and Rai Tengkeng, Pugug and Sunia, in particular, worked closely together as artists.

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