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Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali

Jurnal Kajian Bali · Vol. 9 No. 1 (2019) · hlm. 55–70

DOI
10.24843/JKB.2019.v09.i01.p03
ISSN
2580-0698, 2088-4443
Terbit
2019-04-27
Penerbit
Universitas Udayana
Bahasa
en

Abstrak

This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.

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Sumber metadata: OAI-PMH (metadata jurnal) https://ejournal1.unud.ac.id/index.php/kajianbali/oai, pertama di-harvest 9 Nov 2026, terakhir terlihat 9 Nov 2026.
Metadata asli (oai_dc) 
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	<dc:title xml:lang="en">Tiga Tipe Praktik Sosial dan Gaya Visual Pelukis Barat di Bali</dc:title>
	<dc:creator xml:lang="en">I Wayan Adnyana</dc:creator>
	<dc:subject xml:lang="en">Western painters in Bali</dc:subject>
	<dc:subject xml:lang="en">appropriation</dc:subject>
	<dc:subject xml:lang="en">restructuritation</dc:subject>
	<dc:subject xml:lang="en">domination</dc:subject>
	<dc:description xml:lang="en">This article studies the social practices of Western painters in Bali based on Orientalism perspective, a Western style for dominating, restructuring, and having authority over the Orient. The painters who were sampled were those who represented in each wave of arrival: (a) 1930-1940s (Spies, Bonnet, Hofker and Le Mayeur), (b) 1950-1980s (Blanco, Smit and G. Couteau), and (c) 1990-present (Hirst, Sciascia and Bickerton). Three types of social practices were found: (1) consciously decide to dissolve with the interaction of Balinese painters, which further produce visual artistic appropriations between the two parties; (2) make Bali only as their work studios based on various specific considerations, the visual style of the work becomes the dominant discourse—Bali is only a mere object or locus; (3) decide to marry Balinese women, some even become Indonesian citizens, established authority over mini Bali in the families they build, visual styles tended to be Bali portraits.</dc:description>
	<dc:publisher xml:lang="en">Universitas Udayana</dc:publisher>
	<dc:date>2019-04-27</dc:date>
	<dc:type>info:eu-repo/semantics/article</dc:type>
	<dc:type>info:eu-repo/semantics/publishedVersion</dc:type>
	<dc:format>application/pdf</dc:format>
	<dc:identifier>https://ejournal1.unud.ac.id/index.php/kajianbali/article/view/4394</dc:identifier>
	<dc:identifier>10.24843/JKB.2019.v09.i01.p03 </dc:identifier>
	<dc:source xml:lang="en">Jurnal Kajian Bali (Journal of Bali Studies); Vol. 9 No. 1 (2019): WACANA KRITIS BUDAYA BALI ; 55-70</dc:source>
	<dc:source>2580-0698</dc:source>
	<dc:source>2088-4443</dc:source>
	<dc:source>10.24843/JKB.2019.v09.i01</dc:source>
	<dc:language>en</dc:language>
	<dc:relation>https://ejournal1.unud.ac.id/index.php/kajianbali/article/view/4394/2411</dc:relation>
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