Bedugul

is one of the places / attractions of Bali that offers the natural beauty of mountains and lakes. A high place to make this area are always shrouded in mist and cold air. Bedugul area is part of the district of Tabanan and is approximately 70 km or 2.5 hours from the International Airport (Airport), Ngurah Rai. There are some places / attractions which is a shame to miss, what is it?

1. Beratan Lake attractions

Beratan Lake is one of the attractions in Bedugul that unfortunately if you miss. The cool weather during the day make you feel comfortable to enjoy the scenery around the lake Beratan. To enjoy the scenery around the lake, you can rent boats and canoes boot. It is suitable for you and your family or with your partner to enjoy the natural beauty around the lake Beratan.

Lake Beratan Bedugul is located in the region, Candikuning Village, District Baturiti, Tabanan, Bali. Being in lane road connecting the province of Bali - Singaraja and the location is close to Eka Karya Botanical Garden to make this place into one of the mainstay tourist island of Bali. Besides easy reach of Lake Beratan also provides a variety of charm and adequate accommodation.

In the middle of the lake there is a Ulun Danu Temple which is a shrine to the Goddess Danu Sang Hyang as the giver of fertility.

2. Botanical Garden Eka Karya Bedugul Bali

Heaven ... that's the first impression when you set foot in Eka Raya Botanical Garden. Fatigue, tired, stressed, or feeling the burden will gradually disappear when it enters the area of ​​Eka Karya this botanical garden. Its location not far from Lake Beratan, about 2 km. The distance of about 2 hours or 70 km from Denpasar or 40 km from Singaraja by land route. To get into the Eka Karya Botanical garden, you will be charged. Based on Government Regulation No. RI. 75/2007, the entry rate is:

1. Ticket visitor / person: Rp. 7000, -

2. 2 wheel parking tickets: Rp. 3.000, -

3. 4-wheel parking tickets: Rp. 6.000, -

4. Parking ticket wheel 6: Rp. 12.000, -

5. Car entrance ticket: Rp. 12.000, -

Rates include insurance PT. Jasaraharja Son and contribution to the regional government of Tabanan.

This garden was established on July 15, 1959, at first Eka Karya Botanic Garden Bali is only for plant species coniferae. Along with the development and status changes as well as the broader region, the garden is located at an altitude of 1250-1450 meters above sea level is now the ex-situ conservation of plants of tropical mountains of eastern Indonesia. Extent of area the Botanical Gardens was originally only 50 ha, but now widespread botanical garden to be 157.5 ha.

Read More...

Kuta Beach

Kuta, located in southern Bali, was a sleepy fishing village half a century ago, but it has slowly expanded since the 1960s after its long sandy beach was discovered by travellers from Asia and wandering surfers from nearby Australia.


Nowadays Kuta is quite busy and packed with varied accommodation from four-star hotels to budget hostels. Cheap bars and clubs make it a party centre, while local and international restaurants offer great dining. Kuta also offers shopping aplenty, from the chic beachfront ‘Discovery Shopping Mall’ and Kuta Square to the souvenir shops lining Jalan Kartika Plaza, Jalan Pantai Kuta and up to Legian and Seminyak – all within easy walking distance.

Kuta has its own beauty and attractions and remains one of Indonesia’s major tourist destinations; particularly during the peak season from July to August and the holiday season for Christmas and New Year: at these times Kuta will be fully booked by a local younger crowd, Asian travellers and Australian teenagers who are intent on enjoying an affordable vacation in Bali.

Read More...

Museum Puri Lukisan (Castle Museum Painting), Address :

Yayasan Ratna Wartha, Ubud - Bali
E-Mail: info@mpl-ubud.com Read More...

Museum Puri Lukisan (Castle Museum Painting), Gallery :

Modern art 2

Wayang Style

Wayang Style 2

Wood Carving 1

wood Carving 2

Balinese Modern Art

Read More...

Museum Puri Lukisan (Castle Museum Painting)

Description :...
Gallery :...
Address :... Read More...

Museum Puri Lukisan (Castle Museum Painting), Description :

When the high quality of Balinese art became worldly recognized, more and more Balinese artworks disappeared to other parts of Indonesia and foreign countries. Thus, the fear among the Balinese people, and also Rudolf Bonnet (a Dutch painter, 1895-1978), raised that the most precious art

would be lost forever and would never come back to its origin.

Another need among the artists was to improve their skills without losing their own identity as Balinese artists.

1936
The above mentioned developments were enough for Rudolf Bonnet together with Tjokorda Gde Agung Sukawati (the former Prince of Ubud, 1910-1978) and his brother, Tjokorda Gde Raka Sukawati and the famous painter to alter and shape a foundation in 1936, called "Pita Maha".


This foundation was to represent around 125 members in overseas market through exhibitions. Another activity was to organize weekly meetings with painters and woodcarvers in Ubud to discuss their works.

Following the disruptions of Second World War, a new organization, called "Ubud Painters Group", was created by artists such as I Gusti Nyoman Lempad under auspices of Tjokorda Gde Agung Sukawati and Rudolf Bonnet. Although it had many followers, the end came soon. Since then, a need for a museum of traditional Balinese art was felt among the artists.

1953
First another foundation called Yayasan Ratna Wartha was established in 1953. This Yayasan Ratna Wartha was to carry out the role and uphold the ideals of "Pita Maha". In the same period plans and preparations were made to build a museum of modern Balinese art, designed by Rudolf Bonnet. With several financial support from different sources the building could start.

1954
A foundation stone-laying ceremony was performed by the then Prime Minister Ali Sastroamidjoyo. The name of museum was "Puri Lukisan" (palace of painting), from this time Tjokorda Gde Agung Sukawati became director of the museum and Bonnet the curator of museum. Without any support from the then Governor Sarimin Reksodiharjo the museum could not developed as far as now.



1956
Museum Puri Lukisan was officially opened for public by the then Minister of Education and Cultural Affairs, Mr. Mohammad Yamin at 31st of January, 1956.

The collection started with a donation of paintings from Rudolf Bonnet. Eventually more had to follow, which were donated by different artists themselves and friends who want to help the museum. The foundation achieved in purchasing some art pieces for the collection. Thanks to the cultural agreement the Dutch government supported the return of Bonnet in 1975, who was summoned to leave Bali in 1956, to complete the building of the museum.

Museum Puri Lukisan shows with its collection (painting and woodcarvings) the important developments of Balinese arts which is unique and priceless. Nowadays within the rapid changes in the art world the museum is active in organizing exhibitions of local artists.

1978
In this year, when both Rudolf Bonnet and Tjokorda Gde Agung Sukawati died, a great ceremony was held to honor them. Their memory lives on in the creation of Yayasan Ratna Wartha and Museum Puri Lukisan, an unforgettable contribution to the arts, for the benefit of both local and global community. Read More...

Uluwatu Temple

Uluwatu Temple (Pura Uluwatu) is one of Bali's nine key directional temples. Though a small temple was claimed to have existed beforehand, the structure was significantly expanded by a Javanese sage, Empu Kuturan in the 11th Century. Another sage from East Java, Dang Hyang Nirartha is credited for constructing the padmasana shrines and is claimed to have attained Moksha here. Even more remarkable than the temple itself is its location, perched on a steep cliff 70 metres above the roaring Indian ocean waves. There are more steep headlands on either side and sunsets over Uluwatu are a sight to behold. The entrance fee is Rp 6,000 and you need to be properly dressed to enter. Sarongs and sashes are available free at the entrance. Guides, once famously mercenary, hassle visitors less than they used to, although they will offer to "protect" you from the monkeys, for a tip of course. Note that while you are free to walk around the temple grounds, the central courtyards can only be entered during special rituals.

The temple is inhabited by large number of monkeys, who are extremely adept at snatching visitors' belonging, including bags, cameras and eyeglasses. Keep a very close grip on all your belongings and stow away your eyeglasses if at all possible. If you do have something taken, the monkeys can usually be induced to exchange it for some fruit. Needless to say, rewarding the monkeys like this only encourages them to steal more. Locals and even the temple priests will be happy to do the job for you, naturally in exchange for a tip (Rp 10,000-50,000).

There is also a very scenic cave underneath with rock formations leading onto a beach close to the temple. This is a popular spot for surfers. Read More...

Wood Carving

Like the Balinese painting, Balinese wood carving underwent a similar transformation during the 1930s and 1940s. The creative outburst emerged during this transition period is often attributed to western influences. In 2006, an exhibition at the Nusantara Museum, Delft, the Netherlands Leidelmeijer[9] traced the Art Deco influence on Balinese wood carving. Leidelmeijer further conjectured that the Art Deco influence continued well into 1970s.

During the transition years, the Pitamaha Artist Guild was the prime mover not only for Balinese paintings, but also for the development of modern Balinese wood carvings. I Tagelan (1902-1935) produced an elongated carving of a Balinese woman from a long piece of wood that was given by Walter Spies, who originally requested him to produce two statues.[4] This carving is in the collection of the Puri Lukisan Museum in Ubud.

Other masters of Balinese modernist woodcarving were: Ida Bagus Nyana, Tjokot (1886-1971)[2] and Ida Bagus Tilem. Ida Bagus Nyana was known for experimenting with mass in sculpture. When carving human characters, he shortened some parts of the body and lengthened others, thus bringing an eerie, surreal quality to his work. At the same time he didn't overwork the wood and adopted simple, naive themes of daily life. He thus avoided the “baroque” trap, unlike many carvers of his day.

Tjokot gained a reputation for exploiting the expressive quality inherent in the wood. He would go into the forest to look for strangely shaped trunks and branches and, changing them as little as possible, transforming them into gnarled spooks and demonic figures.[2]

Ida Bagus Tilem, the son of Nyana, furthered Nyana and Tjokot's innovations both in his working of the wood and in his choice of themes. Unlike the sculptors from the previous generation, he was daring enough to alter the proportions of the characters depicted in his carving. He allowed the natural deformations in the wood to guide the form of his carving, using gnarled logs well suited for representing twisted human bodies. He saw each deformed log or branch as a medium for expressing human feelings. Instead of depicting myths or scenes of daily life, Tilem took up “abstract” themes with philosophical or psychological content: using distorted pieces of wood that are endowed with strong expressive powers.[2] Ida Bagus Tilem, however, was not only an artist, but also a teacher. He trained dozens of young sculptors from the area around the village of Mas. He taught them how to select wood for its expressive power, and how to establish dialogue between wood and Man that has become the mainstream of today's Balinese woodcarving. Read More...

Keliki Miniature Painting

In the 1970s, miniature paintings emerged from Keliki, a small village north of Ubud, led by a local farmer I Ketut Sana.[6] The sizes range from as small as 2 x 3 inch to as large as 10 x 15 in. I Ketut Sana learnt to paint from I Gusti Nyoman Sudara Lempad from Ubud and from I Wayan Rajin from Batuan. He combined the line drawing of Lempad and the details of the Batuan school. Every inch of the space is covered with minute details of Balinese village life and legends drawn in ink and colored with watercolor. The outcome is a marriage between the youthfulness of the Ubud school and the details of the Batuan School. The Keliki artists proud with their patience to paint minute details of every objects meticulously that occupy the drawing space. Illustrated on the left is a drawing by I Lunga (c. 1995) depicting the story of Rajapala. Rajapala is often referred to as the first Balinese voyeur or “peeping Tom.” According to the story, Rajapala catches sight of a group of celestial nymphs bathing in a pool. He approaches stealthily, and without their knowledge, steals the skirt (kamben) of the prettiest, Sulaish. As her clothing contains magical powers enabling her to fly, the nymph cannot return home. Rajapala offers to marry her. She accepts on the condition that she will return to heaven after the birth of a child. With time, she and Rajapala have a healthy young son. Years pass, and one day, Sulaish accidentally discovers her clothing hidden in the kitchen. Understanding that she has been tricked, she takes leave of her husband and son and goes back to her heavenly abode.

Major artists from the Keliki Artist School are Sang Ketut Mandera (Dolit)[6], I Ketut Sana, I Wayan Surana, I Lunga, I Wayan Nengah, I Made Ocen, I Made Widi, I Wayan Lanus, I Wayan Lodra[6], Ida Bagus Putra, Sang Nyoman Kardiana (Sabuh) and many others. Read More...

Young Artist painting

The development of the Young Artist School of painting is attributed to the Dutch artist Arie Smit, a Dutch soldier who served during the 2nd world war and decided to stay in Bali. In the early 1960s, he came across children in the village of Penestanan near Tjampuhan drawing on the sand. He encouraged these children to paint by providing them with paper and paints.[4] Their paintings are characterized by "child-like" drawings that lacks details and bright colors drawn with oil paint on canvas. By 1970s, it attracted around three hundred peasant painters to produce paintings for tourists. In 1983, the National Gallery of Malaysia held a major exhibition on the Young Artist paintings from the collection of Datuk Lim Chong Kit.

The painting by I Wayan Pugur (b. 1945) shown here, was executed when he was 13 years old and was exhibited at the San Francisco Museum of Modern Art in 1964, as part of a traveling exhibition in the United States in 1964-1965. This early drawing, executed on paper, exhibits the use of bright colors and a balanced composition. The drawing space is divided into three solid-color areas: dark blue, bright yellow and magenta in between showing the influence of the Wayang painting tradition. The leaves of the large tree with the snakes show the juxtaposition of complementary colors. The faces of the figures were drawn with no details, yet the snakes have eyes and long tongues.

Major artists from the Young Artist School are I Wayan Pugur, I Ketut Soki,[8] I Ngurah KK, I Nyoman Londo, I Ketut Tagen, I Nyoman Cakra, Ni Ketut Gampil, I Nyoman Mundik, I Wayan Regog and many others.


Read More...

Sanur Painting

Unlike Ubud and Batuan which are located in the inland of Bali, Sanur is a beach resort. Sanur was the home of the well known Belgian artist Le Mayeur de Mepres, who lived with a Balinese wife (Ni Polok) and had a beach house in Sanur beach. Tourists in 1930s came to Bali on cruise ships docked in Sanur and made side trips to Ubud and neighboring tourist sites. Its prime location provided the Sanur artist with ready-access to Western tourists who frequented the shop of the Neuhaus Brothers who sold balinese souvenirs and tropical fishes. Neuhaus brothers became the major art dealer of Sanur paintings. The beach around Sanur, full of outriggers and open horizon, provided local artists with a visual environment different from the Ubud and Batuan, which are located in the hinterland.The playful atmosphere pervades the Sanur paintings, and are not dictated by the religious iconography[5]. It is lighter and airy than those of Batuan and Ubud with sea creatures, erotic scenery and wild animals drawn in rhythmic patterns; often in an Escher-like manner.[4] Most early works were black and white ink wash on paper, but at the request of Neuhaus, latter works were adorned with light pastel colors often added by other artists specializing in coloring a black and white drawings. Their name code is often found at the margin.

The Sanur school of painting is the most stylized and decorative among all modern Balinese Art. Major artists from Sanur are I Rundu, Ida Bagus Nyoman Rai, I Soekaria, I Poegoeg, I Rudin, and many others. I Rudin, who started to paint in mid 1930s, draws simple balinese dancers in the manner of the drawings of Miguel Covarrubias.
Read More...

Batuan Painting

The Batuan school of painting is practiced by artists in the village of Batuan, which is situated 10 kilometres (6.2 mi) to the south of Ubud. The Batuan artisans are gifted dancers, sculptors and painters. Leading artists of the 1930s included I Nyoman Ngendon, and a number of members of leading brahman families, including Ida Bagus Made Togog. Other major Batuan artists from the pre-modernist era include I Dewa Nyoman Mura (1877-1950) and I Dewa Putu Kebes (1874-1962), who were known as sanging; traditional Wayang-style painters for temples' ceremonial textiles.

The western influence in Batuan did not reach the intensity it had in Ubud.[3] According to Claire Holt, the Batuan paintings were often dark, crowded representations of either legendary scenes or themes from daily life, but they portrayed above all fearsome nocturnal moments when grotesque spooks, freakish animal monsters, and witches accosted people. This is particularly true for paintings collected by Margaret Mead and Gregory Bateson during their field studies in Bali in 1936 to 1939.[3] Gradations of black to white ink washes laid over most of the surface, so as to create an atmosphere of darkness and gloom. In the later years, the designs covered the entire space, which often contributed to the crowded nature of these paintings. Read More...

Ubud Painting

Ubud has been the center of art for centuries, with the surrounding royal houses and temples as the main patrons. Prior to the 1920s, traditional wayang style paintings dominated the subject matters, although Jean Couteau[4] believes that both secular and religious theme paintings have long been co-existing in the form of the expression of the unity of opposites (Rwabhinneda in Balinese belief system). Under the patronage of the Ubud royal family, esepcially Tjokorda Gde Agung Sukawati, and with Rudolf Bonnet as a chief consultant, the Pitamaha Art Guild was founded in 1936 as a way to professionalise Balinese painting. Its mission was to preserve the quality of Balinese Art in the rush of tourism to Bali. The board members of Pitamaha met regularly to select paintings submitted by its members, and to conduct exhibitions throughout Indonesia and abroad. Pitamaha was active until the beginning of the second world war in 1942.The subject matters shifted from religious narration to Balinese daily life. Ubud artists who were members to Pitamaha came from Ubud and its surrounding villages; Pengosekan, Peliatan and Tebasaya. Among them were: Ida Bagus Made Kembeng of the village of Tebesaya and his three sons Ida Bagus Wiri, Ida Bagus Made and Ida Bagus Belawa; Tjokorda Oka of the royal house of Peliatan; Anak Agung Gde Sobrat, Anak Agung Gde Meregeg, I Dewa Putu Bedil, I Dewa Nyoman Leper, Anak Agung Dana of Padangtegal; I Gusti Ketut Kobot, I Gusti Made Baret, I Wayan Gedot, Dewa Putu Mokoh of Pengosekan; and I Gusti Nyoman Lempad. Artists from other areas also participated, including Pan Seken from Kamasan, I Gusti Made Deblog from Denpasar, and some of the Sanur artists.

Pitamaha has been by the descendents of the Ubud artists, and has now come to be identified with the period of the 1930s. Noted Ubudian artists include I Ketut Budiana, I Nyoman Meja, I Nyoman Kayun, A.A. Gde Anom Sukawati, I Gusti Agung Wiranata, and Ida Bagus Sena

Read More...

Modern traditional painting

The pre-War modernisation of Balinese art emanated from three villages: Ubud, where Spies settled, Sanur on the southern coast, and Batuan, a traditional hub of musicians, dancers, carvers and painters. The artists painted mostly on paper, though canvas and board were also used. Often, the works featured repetitive clusters of stylized foliage or waves that conveyed a sense of texture, even perspective. Each village evolved a style of its own. Ubud artists made more use of open spaces and emphasized human figures. Sanur paintings often featured erotic scenes and animals, and work from Batuan was less colorful but tended to be busier.[6]
Read More...

History of Bali

Bali was inhabited by about 2000 BC by Austronesian peoples who migrated originally from Taiwan through Maritime Southeast Asia.[3] Culturally and linguistically, the Balinese are thus closely related to the peoples of the Indonesian archipelago, Malaysia, the Philippines, and Oceania.[4] Stone tools dating from this time have been found near the village of Cekik in the island's west.[5]

In ancient Bali, nine Hindu sects existed, namely Pasupata, Bhairawa, Siwa Shidanta, Waisnawa, Bodha, Brahma, Resi, Sora and Ganapatya. Each sect revered a specific deity as its personal Godhead.[6]

Balinese culture was strongly influenced by Indian and Chinese, and particularly Hindu culture, beginning around the 1st century AD. The name Bali dwipa ("Bali island") has been discovered from various inscriptions, including the Blanjong pillar inscription written by Sri Kesari Warmadewa in 914 AD and mentioning "Walidwipa". It was during this time that the complex irrigation system subak was developed to grow rice. Some religious and cultural traditions still in existence today can be traced back to this period. The Hindu Majapahit Empire (1293–1520 AD) on eastern Java founded a Balinese colony in 1343. When the empire declined, there was an exodus of intellectuals, artists, priests, and musicians from Java to Bali in the 15th century.
Tanah Lot, one of the major temples in Bali

The first European contact with Bali is thought to have been made in 1585 when a Portuguese ship foundered off the Bukit Peninsula and left a few Portuguese in the service of Dewa Agung.[7] In 1597 the Dutch explorer Cornelis de Houtman arrived at Bali and, with the establishment of the Dutch East India Company in 1602, the stage was set for colonial control two and a half centuries later when Dutch control expanded across the Indonesian archipelago throughout the second half of the nineteenth century (see Dutch East Indies). Dutch political and economic control over Bali began in the 1840s on the island's north coast, when the Dutch pitted various distrustful Balinese realms against each other.[8] In the late 1890s, struggles between Balinese kingdoms in the island's south were exploited by the Dutch to increase their control.

The Dutch mounted large naval and ground assaults at the Sanur region in 1906 and were met by the thousands of members of the royal family and their followers who fought against the superior Dutch force in a suicidal puputan defensive assault rather than face the humiliation of surrender.[8] Despite Dutch demands for surrender, an estimated 1,000 Balinese marched to their death against the invaders.[9] In the Dutch intervention in Bali (1908), a similar massacre occurred in the face of a Dutch assault in Klungkung. Afterwards the Dutch governors were able to exercise administrative control over the island, but local control over religion and culture generally remained intact. Dutch rule over Bali came later and was never as well established as in other parts of Indonesia such as Java and Maluku.

In the 1930s, anthropologists Margaret Mead and Gregory Bateson, and artists Miguel Covarrubias and Walter Spies, and musicologist Colin McPhee created a western image of Bali as "an enchanted land of aesthetes at peace with themselves and nature", and western tourism first developed on the island.[10]
Balinese dancers show for tourists, Ubud.

Imperial Japan occupied Bali during World War II. Bali Island was not originally a target in their Netherlands East Indies Campaign, but as the airfields on Borneo were inoperative due to heavy rains and considering that Bali Island didn't have that kind of rainfall, it was soon decided by the Imperial Japanese Army to occupy the island. The island had no regular Royal Netherlands East Indies Army (KNIL) troops. There was only a Native Auxiliary Corps Prajoda (Korps Prajoda) consisting of about 600 native soldiers and several Dutch KNIL officers under command of KNIL Lieutenant Colonel W.P. Roodenburg. On 19 February 1942 the Japanese forces landed near the town of Senoer. The island was quickly captured.[11]

During the Japanese occupation a Balinese military officer, Gusti Ngurah Rai, formed a Balinese 'freedom army'. The lack of institutional changes from the time of Dutch rule however, and the harshness of war requisitions made Japanese rule little better than the Dutch one.[12] Following Japan's Pacific surrender in August 1945, the Dutch promptly returned to Indonesia, including Bali, immediately to reinstate their pre-war colonial administration. This was resisted by the Balinese rebels now using Japanese weapons. On 20 November 1946, the Battle of Marga was fought in Tabanan in central Bali. Colonel I Gusti Ngurah Rai, by then 29 years old, finally rallied his forces in east Bali at Marga Rana, where they made a suicide attack on the heavily armed Dutch. The Balinese battalion was entirely wiped out, breaking the last thread of Balinese military resistance. In 1946 the Dutch constituted Bali as one of the 13 administrative districts of the newly proclaimed State of East Indonesia, a rival state to the Republic of Indonesia which was proclaimed and headed by Sukarno and Hatta. Bali was included in the "Republic of the United States of Indonesia" when the Netherlands recognised Indonesian independence on 29 December 1949.

The 1963 eruption of Mount Agung killed thousands, created economic havoc and forced many displaced Balinese to be transmigrated to other parts of Indonesia. Mirroring the widening of social divisions across Indonesia in the 1950s and early 1960s, Bali saw conflict between supporters of the traditional caste system, and those rejecting these traditional values. Politically, this was represented by opposing supporters of the Indonesian Communist Party (PKI) and the Indonesian Nationalist Party (PNI), with tensions and ill-feeling further increased by the PKI's land reform programs.[8] An attempted coup in Jakarta was put down by forces led by General Suharto. The army became the dominant power as it instigated a violent anti-communist purge, in which the army blamed the PKI for the coup. Most estimates suggest that at least 500,000 people were killed across Indonesia, with an estimated 80,000 killed in Bali, equivalent to 5% of the island's population.[13] With no Islamic forces involved as in Java and Sumatra, upper-caste PNI landlords led the extermination of PKI members.[14]

As a result of the 1965/66 upheavals, Suharto was able to manoeuvre Sukarno out of the presidency, and his "New Order" government reestablished relations with western countries. The pre-War Bali as "paradise" was revived in a modern form, and the resulting large growth in tourism has led to a dramatic increase in Balinese standards of living and significant foreign exchange earned for the country.[8] A bombing in 2002 by militant Islamists in the tourist area of Kuta killed 202 people, mostly foreigners. This attack, and another in 2005, severely affected tourism, bringing much economic hardship to the island. Tourist numbers have now returned to levels before the bombings. Read More...

Regency

The province is divided into 8 regencies (kabupaten) and 1 city (kota). Unless otherwise stated, the regency's capital:
Badung, capital Mangupura
Bangli, capital Bangli
Buleleng, capital Singaraja
Denpasar (city)
Gianyar, capital Gianyar
Jembrana, capital Negara
Karangasem, capital Amlapura
Klungkung, capital Semarapura
Tabanan, capital Tabanan Read More...

Monkey Forest Sanctuary, Ubud

The Monkey Forest Sanctuary is locally known as the Mandala Wisata Wanara Wana Sacred Monkey Forest Sanctuary. This verdant tropical vegetation is the house of three troops of long-tailed Balinese Macaques. The Monkey Forest Sanctuary is an attractive, lush, small, forested area that welcomes visitors all over the World. Situated within easy walking distance from the center of Ubud, you can see the moss-covered stone carvings and 140 to 200 monkeys, which is a completely new experience. The total numbers of monkeys are almost certainly increasing every year. To visit at this sanctuary, first you purchased a ticket and then enter this forest area at one of the three entrances.

You possibly purchase bananas and peanuts at the doorway of Monkey Forest Sanctuary to feed the monkeys but it is safe to avoid feeding them, because they can become quite aggressive if they know you have food with you. 'Monkey-handlers' can bring bunches of bananas to entice the monkeys. Besides the monkeys, the forest is a house of three temples of the 14th century. The largest temple is the Pura Dalem Agung, situated on the highest point of the forest. The second one is the Holy Bathing Temple and the third one is the Pura Prajapati, which is a cremation temple situated at the side of one of the two graveyards in the monkey forest. While visiting at this sanctuary, you must see these temples and the various interesting statues and fountains.

Opening Hours of Monkey Forest Sanctuary:
The Monkey Forest Sanctuary remains open every day from 8:00 a.m to 7:00 p.m.

How to get to Monkey Forest Sanctuary:
This place is accessible by foot from Monkey Forest Road and situated the soutern direction of this road.

Contact Details of Monkey Forest Sanctuary:
Address: Jalan Monkey Forest
Bali 80571
Indonesia
Phone: +62 361 97 3285
Website: www.balimonkey.com
Neighborhood: Central Bali: Ubud

Read More...

Luxury Glass Recycling from Bali

Various ways to do a lot of crafters to process the junk into objects of high value. That's what Komang Agus a glass artisans in the village of Mas, Ubud, Gianyar, Bali. He produces art form of glass craft glass materials. In addition to luxury impressed, its unique appeal to tourists who pass through the area of Ubud.

Komang Agus admitted inspired craft of making glass while in Japan. Agus then try to practice it in Bali. He sees a pretty lucrative business opportunities in the craft is made ​​from broken glass.

Materials needed are broken glass or broken bottle. The raw materials are washed thoroughly and melted in the furnace heating temperature of 1,500 degrees Celsius for 24 hours. Once completely melted, then the glass is formed in accordance with the wishes. Various forms ranging vase until the lampshade is created.

Business they work Komang Agus has now developed. He has 20 employees with production to reach 20 and 30 decorative flower vase large bowl in a day. The price offered is also quite varied ranging from Rp 20.000 to Rp 5 million depending on the size and complexity of the manufacturing process. Product Komang Agus also penetrate the American and European markets. Read More...

NEKA Art Museum, Ubud Bali

Neka Museum was founded by Suteja Neka, an art collector of Bali, in 1976. The museum has many excellent art collection and a variety of nicely displayed to visitors. Neka Museum is the best place to study the development of Balinese painting.

Neka Museum has several rooms, including rooms that showcase paintings by local artists are heavily influenced by the artistic shadow puppets. In another part of the museum there is a collection of paintings from young artists who studied at various art schools in Bali, while at the pavilion Lempad exhibited various paintings by artist I Gusti Nyoman Lempad.

Neka Musuem also has a collection of paintings from outside Bali and some of them had worked in Bali, among others, works of painting of Abdul Aziz, Affandi, Dullan, and Aton Kustia Wijaya. All the paintings are stored in a room that is named Room Contemporary Indonesian Art.

On the top floor of the museum there is a collection of paintings by foreign painters such as Louise Koke, Miguel Covarrubias, Rudolph Bonnet, Donald Fiebd, Han Snel and Antonio Blanco.




Read More...