I Wayan Seriyoga Parta


Sculpture in Pali was a part o f the departed spirit worship transformation practiced from the
pre- history time until the coming o f the Hinduism & Buddhism and Chinese culture. At its early stage,
sculpture was the materialization o f Gods in the Hindu belief placed in Pur a (house o f worship in Hindu
religion) It became the fetus o f the Pali traditional sculpture that held its own fashions and rules. The next
phase ziyis the emergence o f the autodidact artists who mastered these fashions and rules. In their career
courses, they developed a new form o f sculpture that disobeyed them: This new form then appreciated
as a novel creativity which by many art observers defined as 'modern' sculpture. It ivas an assimilation
o f the local values and the Western influence carried by Western artists and cultural observers to Bali.
Even though it was stagnant once, Bali sculpture moved forward along tlte time dynamics. The young
artists coming from the academic world pioneered further development which led this art branch to the
contemporary art progression. The statues created were experimental, not only seen from the media and
material, but also from the ideas and thoughts underlying them which were represented in installation and
multimedia arts. That is why Pali sculpture has been developing dynamically up to now.
Keyzvords: sculpture, Hindu, traditional, religious, modern, contemporary, and experimental


seni rupa, desain

DOI: https://doi.org/10.24821/ars.v1i3.270

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