Abstract
Research Topic: Pita Maha Social-Institutional Capital (A Social Practice on Balinese Painters in 1930s) aims at describing creative waves of Balinese village youth in designing new paintings. The artwork is considered to be the latest development of classical paintings of Kamasan puppet. The pattern of development is not just on artistic technique, but also on aesthetic paradigm. Yet, the invention and development of painting concept, which were previously adopted from stylistic pattern of puppet Kamasan has successfully disseminated paintings as a medium of personal expression. The artist and patron consolidated art practice in the art function, which was well ordered and professional. Agents including palaces, Balinese and foreign painters as well as collectors and dealers were united in arts social movement, named Pita Maha. Despite the fact that Pita Maha also encompassed the sculpture, this research focuses more on the path of paintings. Socio-historical method is applied to explore the characteristics and models of social capital-institutional ideology that brought forth and commercialized paintings on Pita Maha generation. This topic is also an important part of the writer’s dissertation entitled Pita Maha: Social Movement on Balinese Paintings in 1930s. The discussion on socialinstitutional capital enables expansion and exploration of a more complete socio-historical construction on Pita Maha existence. The study on social capital aspects, which embodies the initiation of Pita Maha, has constructed a tremendous growth of Balinese paintings, both in terms of aesthetic “ideology”, and institutional competence of the painters.
Highlights
The artistic image of Balinese paintings of 1930s is substantially different from what the writer used to see in his childhood, the Kamasan puppet painting style
How was the social-institutional capital of 1930s Balinese painters contributing to the formulation of Pita Maha painting aesthetic “ideology” and have built a new habitus?
It was this first generation of Pita Maha who created the Balinese painting technique of a systematic process, which no longer followed the coloring pattern of sigarmangsi where colors are placed in gradual sequences of light to dark using natural pigments as in the Kamasan puppet painting, but instead applied a more complex and layered one, and more time consuming
Summary
The artistic image of Balinese paintings of 1930s is substantially different from what the writer used to see in his childhood, the Kamasan puppet painting style. 3. How was the social-institutional capital of 1930s Balinese painters contributing to the formulation of Pita Maha painting aesthetic “ideology” and have built a new habitus?. 3. To explain the role of Pita Maha social-institutional capital in the formulation of Balinese painting aesthetic “ideology” and new habitus of 1930s. The artists were Walter Spies and Rudolf Bonnet, who together with the patron from Ubud Palace, Tjokorda Gde Raka Sukawati, peddled the development toward a new Balinese painting movement Ubud painters such as Ida Bagus Made Poleng, Anak Agung Sobrat, Dewa Putu Bedil and others can be construed of being introduced to Western artistic views by Spies and Bonnet, whether it was on composition pattern, plasticity of forms or themes. Their works projected both a collective identity of unique Balinese character and a stunning personal achievement
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