Art on Tanah Lot Society Point of View PDF Print E-mail



 Art is identical with religion, art creativity is a performance of the religious teaching this quotation indicates the unity of art and religion in tanah lot. It is hard to differentiate between art and religion without deep understanding on art and religion of tanah lot. Since every ceremony contains art performance in it and every art performance is loaded with the values and teachings of religion. The unity of art and religion ensures that the art be constantly practiced and become part of tanah lot society life.

Tanah lot society life is surrounded by art from earliest childhood, ever-present everywhere and every time. Everyone down to the simplest peasant can be both an artist and an aesthetically conscious art critic. A field-laborer might chide a clumsy instrument maker for a job poorly done, and even a young food stall seller from a humble family is skilled practitioner of Bali classical dance.



Art in tanah lot is not made to last, earthquakes, volcanic eruptions and weather ravage the stone carvings and the shrines; humidity wilts paper and rots cloth paintings; ants perforate wooden sculptures, all of which must be refurbish constantly. All this rebuilding, renovating, and replacing assumes that the island’s unparalleled concentration on ephemeral folk art continually evolves and perpetuates itself.

The tanah lot society natives adopted those Hindu practices, arts, and deities that suited their taste and rejected the rest, giving today’s distinctive art forms. Each noble house constituted a political and religious hub where the best orchestras practiced and where the finest weavers, sculptors, architects, blacksmiths, dancers, and actors lived and worked as privileged wards of the ruling princes.

These specialized artisans were paid in ritual gifts, relieved of a certain social duties, or awarded tax exemptions and rice fields. Today, many of these privileged relationships remain in effect, the descendants living from the produce of the same fields, still carrying on their ancestors’ handicraft of fine art.

The conquest of Bali by Dutch put this flourishing artists’ utopia to an end. The art began to walk out of the noble house and touch the villages. As a colony of Netherlands East Indies Empire, Bali underwent a great political reorganization and most of the prices could no longer afford to patronize the arts and tanah lot art became a true art of the people.

Art also became less decorative, representational, and formalized. Influenced by incoming european artists in the 1920s, Balinese artists for the first time dated and signed their paintings. They began to experiment with new styles, techniques, theme, and media. They set up sales organizations and the most outstanding of them received recognition overseas.