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All Journal Jurnal Kajian Bali
Peter Worsley
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Religion Arts Humanities Languange, Linguistic, Communication & Media Social Sciences

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Kisah Brayut dalam Lukisan Kamasan dari Abad ke-19 dan ke-20 Peter Worsley
Jurnal Kajian Bali (Journal of Bali Studies) Vol 6 No 2 (2016): RUANG IMAJINER DAN RUANG PUBLIK DI BALI
Publisher : Pusat Kajian Bali Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (864.761 KB)

Abstract

In this article I discuss a Kamasan painting in the Charlie Sayer’s collection in the Tropenmuseum in Amsterdam. I begin by explaining the way in which the painter has organised the design of his painting to tell the story of the Brayuts, a commoner Balinese family, and to draw attention to important aspects of family life in the nineteenth and early twentieth centuries. In the lower part of the painting we see the Brayut family celebrating the festivals of Galungan and Kuningan and in the topmost sequence of scenes the circumstances in which the head of the family, Pan Brayut, abdicates his religious and customary duties on behalf of the family in favour of his youngest son Ketut Subaya. I argue further that the painter draws attention to a radical distiction between the roles of men and women in family life in this period and to his manifest interest in illustrating the virtue of Pan Brayut, the male head of the family.
The Rhetoric of Paintings: Balinese Painters, Dutch Colonists and the Question of Gender Relationships in 19th and Early 20th Century Bali Peter Worsley
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 11 No. 1 (2021): Volume 11 No. 1. April 2021
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2021.v11.i01.p14

Abstract

The present essay is about the interpretation of paintings and how an interest which Balinese painters display in gender relationships in the context of illustrations of ritual in their narrative works on the one hand, contrasts with strong expressions of Dutch disapproval of the despotic nature of the rule of Balinese kings and consequentially the unjust treatment of women in Balinese society on the other. With this in mind, the present paper first considers the representation of gender relationships in a number of Balinese paintings from the nineteenth and early twentieth centuries and then turns to a discussion of the understanding of Balinese gender relationships of two members of Dutch colonial society in the Dutch East Indies, one a senior bureaucrat, Graaf C.W.S van Hogendorp and the other the protestant missionary R. van Eck. I discuss a play by Graaf C.W.S van Hogendorp, ‘Pièce de Circonstance sur la conquête de Bali 1846’, written to celebrate the victory of the Dutch army over the Kingdom of Buleleng in 1846 and an article about ‘Het Lot der Vrouw op Bali’ (‘The lot of the Balinese woman’), published in the journal Tijdschrift voor Indische Taal-, Land-, en Volkenkunde in 1872 by the protestant missionary R. van Eck.
The Rhetoric of Paintings: Towards a History of Balinese Ideas, Imaginings and Emotions in the Late Nineteenth and Early Twentieth Centuries Peter Worsley
Jurnal Kajian Bali (Journal of Bali Studies) Vol. 9 No. 1 (2019): WACANA KRITIS BUDAYA BALI
Publisher : Universitas Udayana

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24843/JKB.2019.v09.i01.p02

Abstract

Western historical scholarship has taught us much about Southeast Asia in the period between 1800 and 1940. This was a time when the insistent, intensifying and transforming influence of Dutch colonial society and its culture became widespread in Bali and more broadly in the archipelago. Much too has been written about the analytical framework of European histories of these times. In this essay I discuss Balinese paintings from this same period which shed light on how painters and their works spoke to their viewers both about how the Balinese knew, imagined, thought and felt about the world in which they lived and about the visual representation and communication of these ideas, imaginings and feelings through the medium of narrative paintings. In this paper I hope to draw attention to a number of historiographical issues concerning the reception of the ideas, imaginings and feelings conveyed in paintings. In particular I shall have some remarks to make about the role of philology in this regard.
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