The History of Dewi Sri

The History of Dewi Sri

One day, Batara Guru – the highest command of all gods and goddesses in the heavenly kingdom known as Kahyangan in Javanese – ordered all of his subordinates to participate in building a new palace. He imposed a harsh consequence, “I will hack the hands and legs of those who disobey my order!”

Upon hearing this mandate, Antaboga was getting very anxious since – as the god of snake – he had neither hands nor legs. “With my condition, how can I obey Batara Guru’s order?” thought he in retrospect. But, to him, the worst torment of all was the thought of the consequence. If he was to be punished, the only thing he had left for Batara Guru to cut was his neck. And that meant death, even for a god like him.

He then went to Batara Narada – the brother of Batara Guru – for advice. To his disappointment, Batara Narada could give him none. Antaboga cried in despair thinking about his imminent death. Miraculously, three of his teardrops transformed into eggs with very beautiful shiny shells. Batara Narada suggested Antaboga to present those eggs to Batara Guru as an offering to appease Batara Guru’s heart.

Antaboga went to Batara Guru’s palace right away, brought the three eggs in his mouth. On his way to the palace, he was attacked by a crow who was very upset because Antaboga did not answer his greeting. Two of the eggs fell out of his mouth during the assault but he went on. Unwavering, he struggled to keep the only one remaining egg and managed to get to the palace somewhat unscathed.

Fortunately, Batara Guru accepted his offering contentedly. However, when he discovered that it was a magic egg, he instructed Antaboga to incubate the egg. A menial task for a god but definitely better than losing his neck, Antaboga thought.

The egg was finally hatched. But, to his astonishment, in the hatching egg he found a very adorable baby girl. When he presented her to Batara Guru, he and his queen fell in love with the beautiful baby and decided to adopt her. They named the baby girl Nyi Pohaci Sanghyang Sri. Or Dewi Sri.

Years gone by and Dewi Sri grew into the most beautiful goddess in the entire heavenly kingdom. But, she was not just another pretty face. She was also smart, kind-hearted, generous and very humble. Everybody loved her and many men fell in love with her, Batara Guru included. Deep in his heart, the king of gods himself was enchanted by the beauty of his own stepdaughter. He wanted to marry Dewi Sri.

Other gods and goddesses were very concerned when they realized what happened between their king and his stepdaughter. Some of them secretly met to find a way to avoid yet another big scandal in the heavenly kingdom. They concluded: Dewi Sri must die.

The plot to assassinate Dewi Sri was very simple. They put a very potent poison into her drink and the most beautiful goddess dead almost instantly. Her death created panic and guilt, nevertheless, for the gods and goddesses now realized that they had just killed an innocent young woman.

In tears, the gods descended from the heavenly kingdom to earth to bury the body of Dewi Sri in a hidden place. After being buried another miracle happened. From her body parts grew many plants that later would turn out to be very useful and vital for human life.

From her head coconut trees were emerged. From her lips arose spices and vegetables. Her hair became many kinds of grass and beautiful flower shrubs. From her breasts grew many kinds of delicious fruit trees. Teak, oak, sandalwood and many other big trees appeared from her arms and hands. Various kinds of bamboo trees grew form her thighs. Her legs materialized into many kinds of tubers and cassava. Finally, paddy rice – the main staple food of Indonesian – grew from her belly (another version mentioned that the paddy rice grew from Dewi Sri’s eyes).

Source: Wawacan Sulanjana (Sundanese folklores), author unknown. Translated and adapted by Arie S. Hartanto

Balinese Traditional House Compound

Balinese house compound

Talking about Balinese traditional house or Balinese house compounds are surrounded by high walls and have only a single small entrance, we called it the “angkul-angkul”, at the side bordering the street. Entrance-ways define the threshold between inside and outside and are viewed ambivalently by Balinese: on one hand they admit welcome visitors, while on the other hand they can allow malign or bad spirits to enter since we know the Balinese belief there are bad spirit around us. Thus it important that the entranceway be small, and that immediately inside one faces another smaller wall called the “aling-aling” placed specifically to baffle uninvited spirits who are normally only capable of traveling in straight lines.  As a further safeguard a small shrine is often built just in front of the house facing the road. Offering of flowers and coconut leaves are placed in it in other to protect bad spirit enter our house.

Within the compound, on the northern east boundary wall, we can find “sanggah or merajan” family temple, normally consist of at least 6 small shrines, each shrine related to the ancestor worship, Hindu gods, and invisible being. Actually a collection of at least five small shrines are usually placed on high pedestals. One aspect within Balinese house need to be described shortly here is the family temple. The basic idea or the ancient form of this family temple must have been the ancestor's spirit worship or the worship of the guardian of the land. So in the past it might consisted only one or 2 shrines. With the coming of Hindu influence the number of shrines were added for the gods and goddess. Other thought that gods or holy ancestral spirits can be worshiped temporary from home have also added more number of shrines. For example a family can build temporary abode of god that reside on Batukaru temple or Besakih or any other temple in Bali. So it is not rare a family has a family temple with many shrines or just only 6 shrines as basic small new family. This basic small new family must be the bigger number of current Balinese family temple type. Normally the shrines in the family temple consist of the main function:

1. Kemulan shrine, a 3-niche shrine which has now associated with "Trinity" in Hindu god,
2. Gedong Kompyang, an ancestor's shrine.
3. Pesimpangan shrine, can be more than one shrines as temporary abode of god when a family having ceremony, they can praying to any temple in Bali without specially presence at the temple.
4. Piyasan shrine, is the biggest in the temple compound, to put offering during the ceremony. Also used to keep the cloths, umbrella, and other rituals tools,
5. Tugu shrine, is dedicated to guardian spirit of the land
6. Padmasana shrine, an open shrine, usually built in stone as the symbol of oneness of god.

Within different cast also have different number of shrines in their family temple according to their tradition in building shrines for their ancestors. While in families of urban areas within the cities which are normally new family most have only 2 shrines for their family temple, those are Padmasana and Tugu. Since their customary organization is still bound by their original village.

Parts of house compound it self we have  “Bale Daja” or northern house is the pavilion built near family temple. In the past this pavilion was used to keep all the ceremonial materials. While in some areas this pavilion is used to lock in a newly married couple as long as 3 days and sleeping room for children. But currently it is used as normal house. A small pavilion near the eastern side of the temple complex, called the “Bale Dangin” or eastern house is traditionally used for ceremonial purposes. It is built in open air with bed. This is also the place of grand parents to sleep; in addition, if one of the family members died is also laid down here before going to the cemetery. Next house called “Bale Dauh” or western house is normally an open pavilion with one bedroom which is not totally enclosed by wall. The pavilion is used for welcoming the guests, and this is occupied by the current head of the family and his immediate family, while the smaller dwellings house visiting relatives and children. Towards the south, there is “pawon” or kitchen sits, consisting of 2 rooms, one open sided for cooking, the other closed to store cooking materials. Behind the kitchen in the past was built rice granary. A family in the past it was not rare to have more than one granaries as the symbol of their economic level. Around the area of granary usually constructed the house for pigs, poultry, or some time for the cows. Here are usually dug out the well "semer"  where we can get water from it to fulfill our needs for cooking washing clothes and taking baths. In the back of the court yard is called " teba " in less or more can be translated into " wastes yard ". In the past the management of waste was not yet fully concerned because all types of wastes were endurable materials. A family just throw away the wastes to "teba", and normally they do not have private toilet or water closed, so every time they just go to "teba"

Rama and Sita Painting

The Story of Rama and Sita.

A King had four sons named Rama, Laxman, Bharat and Satrugan by his three different wives. The oldest son was called Rama, by rights he should have been the next king after his father. When Rama married a lovely princess called Sita the old King decided to give up the throne and let his son take over.
His newest wife was very jealous. She wanted the throne for her Son, but he was the youngest. A long time before, the Queen had saved the King's life. He had promised her two wishes. She decided that it was time to claim her wishes so she went to the King and said that she wanted Rama to be sent away for fourteen years and her own son Bharat to have the throne. The old King was very upset. He knew that he had been tricked, but there was nothing that he could do about it.

Rama and Sita went off to the forest where a wicked demon King, Ravana, was always trying to capture Sita to make her his bride. Every time that Rama went off hunting he used to leave Sita in a magic circle that protected her. One day an old man came by and asked for her help. She stepped out of the circle and Ravana caught her, he had dressed up like an old man to trick her. He took her away to his land. It took Rama a long time to find her, he was aided by the monkey King: Hanuman, and all of his subjects.

When they found Sita the fourteen years were over so they returned home. There was a huge celebration. Bharat did not want the crown, but he had looked after it until Rama came back. Everybody rejoiced, they lit candles and lamps to celebrate.

taken from: http://wiki.answers.com/Q/What_is_the_story_of_rama_and_sita#ixzz202D2CAoq

Bali Art Festival 2012

The 34th annual Bali Arts Festival

The 34th annual Bali Arts Festival or Pesta Kesenian Bali is currently taking place in Denpasar, Bali. We have had the esteemed pleasure to participate and we wanted to thank Bali Governor I Made Mangku Pastika and his staff for their generosity and hospitality both at The Bali Arts Festival and at his private residence. We would also like to thank the staff of The Bali Arts Festival for their hospitality.

The Bali Arts Festival lasts for a full month and showcases the classical and contemporary art and culture of Bali. Fine art, dance, craft, music, culinary and more are selected from villages around Bali and given a national stage in which to exhibit thier expertice.

Indonesia's most celebrated contemparary artist Made Wianta was on hand and always creates excitement. Made Wianta was born in Tabanan, Bali and has created thousands of artworks. He is known worldwide for his bold and kenetic paintings but he is also an accomplished poet and beleives deeply in envirenmental awareness and social responsibility. His mastery of color and form are showcased in his powerful multimedia paintings and instilations. We would like to thank him and his family for thier continued support, friendship and generosity.Bali Governor I Made Mangku Pastika made an impassioned speech at the presentation about the importance of the traditional arts of Bali and preserving the culture of this small island with a big presence. Joining The Governer on the deus are Burat Wangi, Intan Kirana Wianta and Putu Maryam Doliveck.

Bali Governor I Made Mangku Pastika, Indonesia's most famous artist Made Wianta, and Professor Michael Doliveck share a jovial moment after the presentation.

Thanks again to all who helped to make this a special day. 

Taken from: http://www.balifornian.com/blog/2012/6/22/bali-arts-festival-2012.html

Saraswati Painting

 Saraswati Painting

Knowledge is very important for Balinese. Every Saniscara, Umanis, Wuku Watugunung, they celebrate Saraswati Day, the knowledge day. It is based on the Pawukon (Balinese calendar) system and the Saniscara (seven day cycle).

The name Saraswati came from "Saras" meaning flow and "wati" meaning a women. So, Saraswati is symbol of knowledge, its flow (or growth) is like a river and knowledge is very interesting, like a beautiful women.

Saraswati is the Goddess of Knowledge, symbolized by a beautiful woman with four hands, riding on a white swan among water lilies to tell humanity that science is like a beautiful woman. Her hands hold a palm leaf; a lontar, (a Balinese traditional book which is the source of science or knowledge); a chain (genitri with 108 pieces) symbolising that knowledge is never ending and has an everlasting life cycle; and a musical instrument (guitar or wina) symbolising that science develops through the growth of culture. The swans symbolise prudence, so that one's knowledge may distinguish between good and evil and the water lilies (Lotus) are symbols of holiness. The Lotus flower is the holiest for Balinese.

In the afternoon of Saraswati day we are not permitted to read or write the book because all the books are offered. In the evening, called Malam Sastra, people read books (especially religious books) in their houses or in the temple.

The painting above was taken from one of traditional artists painting in Keliki villlage namely I Wayan Gama, (Gama Painter Group - Keliki, Tegallalang, Gianyar. Phone: +6281558030516, e-mail: iwayan_gama@yahoo.com)

taken from: http://www.indo.com/culture/saraswati.html

Ganesha Painting

Ganesha Painting

Ganesha is the elephant-deity riding a mouse, he has become one of the commonest mnemonics for anything associated with Hinduism. This not only suggests the importance of Ganesha, but also shows how popular and pervasive this deity is in the minds of the masses.

The Lord of Success
The son of Shiva and Parvati, Ganesha has an elephantine countenance with a curved trunk and big ears, and a huge pot-bellied body of a human being. He is the Lord of success and destroyer of evils and obstacles. He is also worshipped as the god of education, knowledge, wisdom and wealth. In fact, Ganesha is one of the five prime Hindu deities (Brahma, Vishnu, Shiva and Durga being the other four) whose idolatry is glorified as the panchayatana puja. 

Ganesha is one of the most popular deities in the Hindu pantheon. He is closely associated with the daily lives of millions of Hindus even today. As he is reputed to be a remover of obstacles he is propitiated before the beginning of any new venture whether it is the building of a new house, the writing of a book, the beginning of a journey or the starting of a new business. His images adorn the walls of innumerable business establishments across India. It is customary for businessmen to seek his blessings each morning before they get down to business. Ganesha is also the god of wisdom and prudence. These qualities are signified through his two wives: Buddhi (wisdom) and Siddhi (prudence). Ganesha has a thorough knowledge of the scriptures and is a superb scribe. This latter quality is manifest through the fact that he is the scribe to whom Vyas Dev (the narrator of the Hindu epic Mahabharata) narrated his enormous epic. Ganesha did this work so thoroughly that the Mahabharata is one of the most harmonious works in the Hindu scriptures. Scholars, both mythical and historical, explain that this is so because, before undertaking to do the work, Ganesha stipulated that the dictation should never falter and that he should, at all times, be able to understand what was being said. Thus, it is not strange that such a conscientious god is propitiated by all and sundry.  

The painting above was taken from one of traditional artists painting in Keliki villlage namely I Wayan Gama, (Gama Painter Group - Keliki, Tegallalang, Gianyar. Phone: +6281558030516, e-mail: iwayan_gama@yahoo.com)

taken from: http://hinduism.about.com/od/lordganesha/a/ganesha.htm and http://www.pantheon.org/articles/g/ganesha.html

Kliki Style Painting

  Ganesha painting

 

Sri godess painting 

Keliki Style Painting

Keliki Style Painting is one of the most popular bali paintings. The concept of taksu is important to the Balinese, in fact to any artist. I do not think one can simply plan to paint a beautiful painting, a perfect painting. The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.

The process of Keliki style painting is very unique and very detail because they have to do 4 steps namely, 1. sketch by pencil, 2. folowing the sketch by balinese pen, 3. making the shadow by 2 brushes and the last step they have to coloring their painting by accrilic color.

A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.

taken from: http://www.baliartsgallery.com