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Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)

Drs. I Nyoman Aris + (Pupuh Kadiri is taken from the sekar madya or kidung piscarana which tells the story of the angel Menaka seducing Sang Ari Dharma who was left behind by his empress.)

Drs. I Wayan Selat Wirata + (A literary work of Poetry that tells about how to farm in the fields)
Drs. I Wayan Selat Wirata + (A modern Balinese literary work that tells the story of a grandmother who supports herself who is thought to have occult knowledge)
NDM Santi Diwyarthi + (Bali, including museums, is involved in th … Bali, including museums, is involved in the millennial era tourism industry. Museum management can no longer be inclusive without borderless and out of the box analysis and application. The museum is one of the means of communication in the middle of millennial society today that must be examined its benefits in the tourism industry. The research method is qualitative, using research instruments in the form of questionnaires, interviews, documentation studies, with a population of museum visitors in Bali. The results showed that most of the visitors who visited the museum were people who had studied museum relatedinformation first, namely 52 percent, 52 percent would write the story of their trip to visit the museum, 80 percent would promote the existence of the museum through the internet, 92 percent knew the museum's history that would visited and itsfounder, 60 percent will promote back to others. 40 percent will return to visit the same museum.cent will return to visit the same museum.)
Ida Ketut Djelantik + (Geguritan Sucita-Subudi is one of his work … Geguritan Sucita-Subudi is one of his works that is known to many people, why is that? Because this geguritan contains Balinese cultural concepts such as Dharma, Tri Hita Karana, Kala Patra Village, Rwa Bhineda, and Karmaphala. Dharma is one of the important concepts in Hinduism. Dharma is often equated with truth, virtue or duty and law. Dharma is likened to a smooth and very cool path that can protect and help people who follow that path from disaster. One who practices the Dharma is called "Dharmika". People who practice dharma only want one thing that is eternal and eternal happiness not the false happiness caused by worldly things. Tri Hita Karana is the concept of harmonious relationship that can bring happiness. The harmony of the relationship includes three things, namely the harmony of human relations with God, the harmony of human relations with fellow humans and the harmony of human relations with the surrounding natural environment. In the Geguritan Sucita-Subudi, the concept of harmony between humans and God is called an unreal or spiritual relationship, while the concept of harmony between humans and humans and the relationship between humans and the natural environment. Rwa Bhineda is a dualistic concept that reflects two opposite categories in life, such as good and bad or positive and negative. In the Geguritan Sucita-Subudhi, this concept is explained implicitly or indirectly in the expression in something called "Byakta" or something that exists always contains two things that unite. This concept implies that in this world nothing is perfect except God. Everything has advantages and disadvantages at the same time.Karmaphala is one of the five belief systems in Hinduism called Panca Sradha. Karmaphala comes from the words karma 'action' and phala 'fruit' which is defined as the result of one's actions. The essence of the notion of karmaphala is that a cause will produce an effect. Geguritan Sucita-Subudi consists of 1841 stanzas. Of the many stanzas that are formed by 11 kinds of pupuh. The eleven kinds of pupuh are Sinom, Pangkur, Durma, Ginanda, Ginanti, Kumambang, Warga-sari, Pucung, Semarandhana, and Sadpada Ngisep Sekar. Among these pupuh the most frequently used is the Sinom pupuh, which is 15 times. The use of these pupuhs in the Geguritan Sucita-Subudi is selected and adjusted between the duties or character of each pupuh.een the duties or character of each pupuh.)
Ni Luh Wida Apriliani, S.Pd + (Geguritan Tamba Sastra was created at the … Geguritan Tamba Sastra was created at the Literary Creation event, Sastra Saraswati Sewana Pamarisuddha Gering Agung at Puri Kauhan, Ubud. Geguritan Tamba Sastra by Ni Luh Wida Apriliani S.Pd. this is included in the 5 best works in the geguritan category at the Literary Creation event. Geguritan Tamba Sastra is bound by 8 Pupuhs, which include pupuh sinom, pupuh sembaradana, pupuh maskumambang, pupuh pucung, pupuh pangkur, pupuh ginanti, pupuh ginada and also pupuh durma.This geguritan is very interesting because it tells about the beginning of the Corona virus that hit the world, especially in Indonesia where Mother Earth experienced a very deep sorrow that was hit by Covid-19. Various ways have been done to prevent this virus but because for so long this virus has caused the condition of society to be increasingly destroyed due to not working, according to the economy, many people have committed crimes because of the many criminal acts that have occurred in Indonesia. And in the end, the President of Indonesia, Mr. Jokowi, remembered one very important thing in life, where these guidelines are the main key to literature, namely Pancasila, which is the 5 foundations of the Republic of Indonesia. The Corona virus is actually a medicine, not a disease because it makes us aware of the 5 important things contained in the 5 basic principles of our country, namely Pancasila.The values contained in Geguritan Tamba Sastra are religious values, social values and also human values.lues, social values and also human values.)
I Nengah Jati + (He has one of the kidung literary works en … He has one of the kidung literary works entitled tungtung urip, tungtung urip himself tells how the situation and conditions from the covid-19 pandemic are, how the condition of the community in dealing with the virus must always think positively and always comply with health protocols.y and always comply with health protocols.)
Ida Ayu Komang Sartika Dewi + (I must admit it. Being human in the mater … I must admit it. Being human in the material world, like it or not, we must make ourselves as attractive as possible. Either by improving yourself or….even self-exploitation?Like sweets, even without tasting it, we know for sure it tastes sweet. Right? But with an attractive appearance, it will be faster to take the viewer’s heart, which ultimately determines their future (the sweets). But unfortunately, they only have two fates.They are sold out or wasted, becoming rotten.This is my first work inspired by life; instead of talking about my illness, using the object of my body and face as a representation. The reason? I am also human and have experienced this for myself. Young women need to make themselves attractive; otherwise, you will be left out.tractive; otherwise, you will be left out.)
I Made Santika + (Kidung Roga Mariana is one of the 5 best s … Kidung Roga Mariana is one of the 5 best songs at the Saraswati Sewana Literary Event which took place at Puri Kauhan Ubud. This song was created by a young writer who is still pursuing his final education at the Faculty of Cultural Sciences, Udayana University by taking the Balinese Literature Study Program. He who was born on January 4, 2000 is the son of a great writer, namely Mr. I Made Degung and Mrs. Ni Ketut Sutarmi. So many achievements that he has achieved, one of which has created his first song and became one of the best kidung. In Kidung Roga Mariana, it tells about eliminating an existing disaster or disease. Where the word "Roga" has the meaning of disease or disaster, the word "Mari" has the meaning of eliminating, and the word "Ana" has the meaning of being.d the word "Ana" has the meaning of being.)
Ida Bagus Gede Wirawibawa + (Land Consolidation (LC), is the gover … Land Consolidation (LC), is the government's solution in land acquisition for development. In addition, LC aims to improve the quality of the environment by rearranging plots of land to be more organized and equipped with environmental infrastructure, as well as land tenure in accordance with land use plans. The location of the land consolidation area in Seminyak Village which is close to the center of government, economy and tourism has implications for land use in the area. The phenomenon of land use that occurs in this region tends to ignore the spatial planning that has been determined by the government. If this condition is left unchecked, there will be more violations of land use that are not in accordance with the spatial allocation, leading to spatial conflicts and clutter in regional spatial planning. This study aims to identify changes in land use in the area of land consolidation in the Seminyak Village and the dominant factors underlying the changes in land use. Qualitative methods are used to identify changes in land use, and these dominant factors. Primary data obtained from observations, direct documentation, and the results of interviews with informants determined by purposive sampling. The results showed that there was a mismatch of land use with the plan for spatial planning in the area designated for settlement and green open space. The dominant factors underlying the changes in land use are law enforcement, then environmental factors, economicfactors, and socio-cultural factors. The results of this study can be input for the government in formulating policies relating to planning and controlling the use of space in order to create safe, comfortable and sustainable use of space. comfortable and sustainable use of space.)
Putu Dyatmikawati + (Pada Gelahang marriage is relatively a new … Pada Gelahang marriage is relatively a new form of marriage in traditional community (desa pakraman) in Bali. Commonly the recognized form of marriage is biasa (common) marriage (the wife left her house and joined her husband’s family) and nyentana marriage (the husband left his house and joined his wife’s family). This is the consequence of kapurusa kinship system (patrilineal) in traditional community in Bali. The form of Pada Gelahang marriage was chosen for those who could not hold biasa marriage and nyentana marriage, as each bride and groom was born as the only child in their family. Based on the results of the research, there were found that the numbers of couples who had held pada gelahang marriage were increasing year to year. Based on Balinese customary law, the couples of pada gelahang marriage conduct their responsibilities in two places (double), namely the responsibilities to the family and to her husband’s traditional village, as well the responsibilities to the family and to his wife’s traditional village.ily and to his wife’s traditional village.)
Drs. I Nyoman Aris +
I Wayan Phala Suwara S.Pd.H.,M.Pd + (The song widya usadha contains a pupuh dem … The song widya usadha contains a pupuh demung, containing a long crew member and a long crew member, a long crew member and a long pengawit. This song is inspired by the state of our environment during the corona virus pandemic. Kidung widya usadha tells of human anxiety in the midst of a pandemic who begs the creator for constant guidance so that the temptations of this pandemic do not make people lose their minds, can still be optimistic and always work. Where knowledge must be strengthened because knowledge will develop over time, one of which is during a pandemic.r time, one of which is during a pandemic.)
Dr. Anak Agung Gde Alit Geria, M.Si. + (The story of Uwug Kengetan begins with the … The story of Uwug Kengetan begins with the story of the journey of Ida Dalem Kresna Kepakisan, who reigns in the Samplangan kingdom of Gianyar. His presence in Samplangan was a blessing from the king of Majapahit who ordered the main patihs and the aryas of Majapahit, including Arya Kapakisan from the descendants of Kadiri, to be willing to accompany and maintain maximally and faithfully the presence of Ida Dalem Kresna Kapakisan in Bali. The story of Uwug Kengetan, which is full of religious historical values, was composed into the Bali Purwa poem in the form of geguritan. Presented in the form of two scripts (Balinese and Latin), equipped with a number of illustrations based on the main content of the story.ns based on the main content of the story.)
Anthony Paul Gentile + (The “Bridge” between these two panels is a … The “Bridge” between these two panels is a piece of canvas I placed on a rooftop much too close to Mt. Agung when it was threatening an all out eruption. I left it there for a couple of weeks and it collected the volcanic ash and whatever else the volcano spewed. The result is a work not as much made in Bali, but actually Made BY Bali. “The Bridge” part of the “Forces of Nature” project; an ongoing study and documentation of the effects of Nature.nd documentation of the effects of Nature.)
I Gusti Agung Wijaya Utama + (‘Bunga Palsu’ (Fake Flower) is a compellin … ‘Bunga Palsu’ (Fake Flower) is a compelling example of how Gung Ama is pushing his technical prowess towards the new creative territory. The picture describes a young man in a traditional headdress holding a plastic flower arrangement, partially obscuring his face. Artificial light sparkles upon the flower and highlights his left shoulder, while a dark shadow defines the right. Juxtaposing dark and light with the old and new, Gung Ama creates a fascinating aesthetic collision with strong visual tension. The subject’s eyes are hidden, concealing his identity while his mouth is expressionless, adding to the intrigue. Highly suggestive, the image has a remarkable power to trigger multiple interpretations within our imagination.Review by Richard Horstmanr imagination. Review by Richard Horstman)
Dewi Dian Reich + ('Doa' is part of a series of images in 'Ka … 'Doa' is part of a series of images in 'Kala and the Guardians'. A Conceptual Art Collaboration.Reflecting on the nature of Time and our relationship to Earth and Spirit through a conceptual mixed media narrative. A collaborative exhibition with the works of Dewi Dian, ManButur Suantara, Nyoman Handi.Kala & the Guardians Limited Editions presents a selection of works from the second project presented by Sawidji in what has become our conceptual narrative way. Our story grew together from its initial theme to its installation-focused process in Sawidji Studio. From costume design to studio staging, the documentation of its process carries as much of its meaning for us as the final images that we present.ng for us as the final images that we present.)
Dewi Dian Reich + ('Red Chair and the White Room is a mixed m … 'Red Chair and the White Room is a mixed media presentation by exploring social and cultural changes through a symbolic portrait narrative. A Sawidji Collaboration that looks upon current social and cultural changes through a symbolic portrait narrative. With art and photography by D.D Reich and ManButur Suantara. With additional costume and installation support by Juniari and Meliani.Excerpt:This is not a story about a boy and a girl.. Our portrait story is one of all of us. Each portrait takes us through a transformation. Transformations that are connected and represents a collective reality that we face as a traditional community. Enjoy the Online Narration of this exhibition. https://sawidji.com/2022/08/17/red-chair-and-the-white-room-a-collaboration/-chair-and-the-white-room-a-collaboration/)
Putu Eka Guna Yasa + (Dasaksara Hanoman Baligraphy consists of t … Dasaksara Hanoman Baligraphy consists of two forms, namely Kayonan and Hanoman. Dasaksara is described in Kayonan. The Dasaksara are the ten wijaksara that connect the human self (microcosm) and the universe (macrocosm). Dasaksara consists of ten wijaksara, namely Sang, Bang, Tang, Ang, Ing, Nang, Mang, Śing, Wang, Yang. The ten wijaksara come from the eight wianjana characters (sa, ba, ta, na, ma, si, wa, and ya) and two sound characters (a and i). If these ten wijaksara are strung together they form a sentence: sabatai nama siwaya which is a prayer to glorify Dewa Siwa. However, only a few Dasaksara are visible in the kayonan because they are covered by Hanoman's body. Wijaksara seen is Ong, Ang, Ung, Mang, Sang, Bang, miwah Tang.Hanoman is a character in the epic Ramayana. Hanuman is the son of Dewi Anjani. Dewi Anjani is an angel who was cursed and born into the world as a female vanara. The curse ends when she gives birth to an incarnation of Siwa's son. Dewi Anjani is married to Kesari. Kesari and Dewi Anjani performed intense meditation to beget Dewa Siwa as their son. Because Kesari and Dewi Anjani were firm in their asceticism, Dewa Siwa granted their request and descended to earth as Hanoman.If interpreted, Dasaksara Hanoman Baligraphy is a form of glorification of Dewa Siwa which is manifested in the figure of Hanoman.ch is manifested in the figure of Hanoman.)
Dewi Dian Reich + (It is believed that the Barong Landung is … It is believed that the Barong Landung is the manifestation of a royal couple, the King Jayapangus and his Chinese Consort Kang Cing Wie.The story goes, that the royal couple were deeply in love but after many years had not been blessed with children. In need of a successor, the King went to Mount Batur to meditate and seek guidance. As he meditated there he met and took as his second wife the Dewi Danu. The daughter of the Goddess of Lake Batur. It is after this second marriage that conflict continued to haunt the family of the King Jayapangus. In summary, The Goddess of the Lake, angry to see her daughter hurt and betrayed. Because of this She destroyed King Jayapangus and his first wife Kang Cing Wie. Read related articles at www.sawidji.com Read related articles at www.sawidji.com)
Putu Eka Guna Yasa + (Mahakala is one of the manifestations of D … Mahakala is one of the manifestations of Dewa Siwa as the great destroyer. In Hindu mythology, Mahakala appears as a ferocious and frightening figure. In this baligraphy, Mahakala is shown in the form of Ong-kara as the center in which the dewata nawa sanga and sacred script are mentioned. The Dewata Nawa Sanga include Dewa Iswara, Dewa Brahma, Dewa Mahadewa, Dewa Wisnu, Dewa Siwa, Dewa Mahadewa, Dewa Rudra, Dewa Sangkara, and Dewa Sambu. The sacred script covering Ong-kara is the sacred symbol of Sang Hyang Widhi who embodies Dewa Siwa. Wijaksara Ang-kara as the sacred script of Dewa Wisnu. Apart from Ong-kara and Ang-kara there are also Vijaksara Bang as the sacred script of Dewa Brahma which is located in the south, Vijaksara Mang as the sacred script of Dewa Rudra which is located in the southwest, Vijaksara Tang as the sacred script of Dewa Mahadewa which is located in the west, and Wijaksara Śing the sacred script of Dewa Sangkara which is located in the northwest. What is very interesting in this baligraphy is the addition of a wall clock with Latin numerals in it.So the relationship between Mahakala calligraphy and wall clocks: Mahakala is the embodiment of Dewa Siwa as the supreme god, as the ruler of time and all the elements in the universe (sakala and niskala).ents in the universe (sakala and niskala).)
A.A. Made Putra Arsana + (One of the modern Balinese literary works … One of the modern Balinese literary works that has developed in the community is the short story Luh Ayu Manik Mas Ngalahang Legu Poléng. The short story contains the value of good education to shape the character of the community. Likewise, the contents of the short story are very closely related to people's lives today. So that it is more interesting to know the values of the short stories, especially the character values of the characters. Based on the thoughts above, this study will discuss the problem, namely the value of character education contained in the short story of Luh Ayu Manik Mas Ngalahang Legu Poléng.f Luh Ayu Manik Mas Ngalahang Legu Poléng.)
Dewi Dian Reich + (Sangeh Monkey Forest. A Forest Memory, the … Sangeh Monkey Forest.A Forest Memory, the Power of Memory and the Secrets of a Sacred ForestMemory is mysterious. Memory can hold such power over us over a lifetime. It can be strong and clear or hazy and weak. Whether we see Memory or not, it is there, taking residence in the back of our minds. Shaping our perceptions, our actions and choices. Memory shapes us from very early on. This recording of our experiences. The stories that get replayed in our minds that tells us who we are. Where we come from and perhaps where we belong. we come from and perhaps where we belong.)
Putu Eka Guna Yasa + (Translating is one of the pinnacles … Translating is one of the pinnacles of IGB Sugriwa's skills which are now increasingly rare. Therefore, this article aimsto discuss two things,: (1) tracing the translated works produced by IGB Sugriwa; (2) the translation model developed by IGB Sugriwa in the Kakawin Rāmatantra. To achieve this goal, this article uses the methods of providing data, analyzing data, and presenting the results of the analysis. At the stage of providing data, observation and interview methods were used to find the translated works of IGB Sugriwa. Furthermore, IGB Sugriwa's translations were classified according to genre and Kakawin Rāmatantra was analyzed to find the translation model developed by IGB Sugriwa. Based on this analysis, this article finds that IGB Sugriwa has translated 13 literary works. Translated works are included in literature such as Kakawin Dharma Shunya (1954), Kakawin Sutasoma (1956), Bharata Yuddha (1958), Kakawin Ramayana (1960), Kakawin Arjuna Wiwaha (1961) and Kakawin Rāmatantra(t.t). Meanwhile, the translation works included in the speech are Sang Hyang Kamahayanikan (1957) and Sarasamuccaya (1967). Meanwhile, IGB Sugriwa was also quite productive in translating texts related to traditional Balinese historiography across clans such as the Babad Pasek (1957), Babad Blahbatuh (1958), Dwijendra Tattwa (1967), Babad Pasek Kayu Selem (tt), and the Pande Inscription. (tt). The translation model developed by IGB Sugriwa in the Kakawin Rāmatantrais formulated into four stages, namely (1) kosabasa (vocabulary); (2) kretabasa(grammar), (3) bhasita paribhasa (language style); and bhasita mandala (cultural context).); and bhasita mandala (cultural context).)
Made Gede Wiguna Valasara + (Valasara’s work, ‘Part of the Universe’ fi … Valasara’s work, ‘Part of the Universe’ finalised late in 2020, is much larger at 120 by 260 cm. His technical process is demanding. Initially, he sketches onto the canvas the structure. By pinching, filling, and making a volume in the canvas, the individual forms take shape, hand-stitched in cotton. Random threads then complete and inform the chaotic abstract elements, adding a unique potency to his works. The complex works require up to two months of painstaking focus to complete.‘Part of the Universe’ is a flowing picture that draws the viewers eye naturally from left to right across the canvas. The top half of the composition is punctuated by three jagged forms, prominent structural features of a cremation ceremony, that pierce into vast empty space. This work is vastly different than ‘Universe’ 2021. It is defined by its large, negative space of empty canvas emphasising dynamic flowing form and movement within the composition, a technical attribute he has adopted from western art.attribute he has adopted from western art.)
Putu Eka Guna Yasa + (Wreastra script is a Balinese script which … Wreastra script is a Balinese script which has 18 characters, namely Ha, Na, Ca, Ra, Ka, Da, Ta, Sa, Wa, La, Ma, Ga, Ba, Nga, Pa, Ja, Yes, and Nya. The Balinese script is different from the Javanese script when it comes to the number and shape. The development of the Balinese script cannot be separated from the story of Sang Aji Saka which developed in Java. This Baligraphic work on the Wreastra script is divided into seven works, namely Ha-Na, Ca-Ra-Ka, Ga-Ta, Ma-Nga-Ba, Sa-Wa-La, Pa-Da, and Ja-Ya-Nya which means there is a bodyguard who fights with his power. This large-sized calligraphy is made on canvas with a wooden frame placed at the Lontar Unit of Udayana University. at the Lontar Unit of Udayana University.)