Hanoman & Surya – Ketut Madra 1972 Photo: David Irons
Results of September 2013 Larasati auction of Balinese modern traditional paintings at the Agung Rai Museum of Art in Ubud revealed growing demand for work by the best known Balinese painters. Notably three masterpieces by renowned deceased artists reached new record prices for their work ranging from IDR 270 – 550 million (USD$ 30 – 61,000). Beginning last year, auctions results indicate a new trend, yet despite the recent record prices art experts believe these Balinese works are still heavily undervalued.
The market for the best Balinese traditional paintings is much smaller than that for the Contemporary Indonesian art and the collectors of Balinese work are generally of a different character. They tend to be art lovers who honor the work’s beauty, cultural significance and the extraordinary workmanship.
The larger Indonesian market for modern and contemporary art has over recent years experienced new lows, mainly due to price manipulation. As buyers’ confidence has sunk, so has the market. During an important 2012 exhibition in Central Java the authenticity of works by modern Indonesian masters came under scrutiny, and as a result, an unprecedented uproar continues in the Indonesian art world. Unsurprisingly, this has had a negative impact on the market, and cast a considerable shadow on the Indonesian fine arts scene.
Darmawangsa – I.B. Gelgel, 1935
Lets now reflect on the international auction house Sotheby’s and their 40th anniversary, 5-day auction in Hong Kong in early October. “The Last Supper” (2001) by Chinese painter Zeng Fanzhi, estimated at USD $10.3 million plus, set a new record for a Chinese contemporary artist at auction, selling for USD $23.3 million. The work is based on Leonardo da Vinci’s iconic painting with contemporary Chinese sociopolitical references. Spirited bidding by Chinese and Asian collectors at this auction enabled Sotheby’s to realize USD $540 million, a record for the Hong Kong branch, in now arguably the most important contemporary Asian art center in the world.
However for these “art enthusiasts” at the Hong Kong auction it’s not about enjoying and collecting, it’s about being number one. It’s also about their nations artists being recognized, like England’s with its art superstar Damien Hirst and Germany’s Gerhad Ricther, as a kind of proxy symbol of national strength on a global stage.
Balinese modern traditional art – especially wayang painting – has been much maligned. Over the years, it has often been dismissed as commercial or folk art made by the common people. Wayang painting began as Balinese temple art, at its best today, it is still devotional art dedicated to the gods and serves the community with moral teachings for those who know the stories it tells. It is very different from the genre art of markets, rice fields, temple festivals and other scenes depicting idealized social reality. The finest practitioners have often been those with the deepest understanding of the stories of Bali’s shadow theater.
Hanoman & Surya – Gusti Ketut Kobot, circa 1960
While Christian religious art often depicts scenes of heaven or hell, and rarely both in the same composition, the best of Balinese wayang art, almost always has a more dualistic and universal philosophy. Bali’s Hindu-Buddhist paintings often emphasize a cosmic balance: there can be no good without an equal and opposing force. In Balinese wayang art the forces of good and evil often confront each other without resolution.
This is an art with high moral standards that deeply reflects the values of the best of Balinese traditional culture. I think it is also an art that reflects modern culture’s struggle for integrity. And I find myself wondering if Balinese wayang art – at its best – is one of the most underappreciated and undervalued art forms in the world?
Words: Richard Horstman