Tugas Akhir
Pita Maha: Gerakan Sosial Seni Lukis Bali 1930-an
Research Topic: Pita Maha: The Social Art Movement on Balinese Paintings in 1930s, aims at describing creative waves of Balinese village youth in designing new paintings. The artwork is considered to be the latest development of classical paintings of Kamasan puppet whose pattern is not just on artistic technique, but also on aesthetic paradigm. Yet, the invention and development of painting concept, which were previously adopted from stylistic pattern of puppet Kamasan has successfully disseminated paintings as a medium of personal expression. Artists and patrons consolidated art practice in the art field, which were well ordered and professional. Agents including palaces, Balinese and foreigners, as well as collectors and dealers were united in arts social movement, named Pita Maha. Despite the fact that Pita Maha also encompassed the practice of sculpture, this research focuses more on the path of paintings. The method of social art history is applied to explore the characteristics and models of capital, habitus, field, and practice of Pita Maha
ideology that brought forth and commercialized paintings on Pita Maha generation. The discussion on fourth items of social art movement enables expansion and exploration of a more complete social art history construction on Pita Maha existence. The study on Pierre Bourdieu’s Theory (capital+habitus (field)=practice) combined with Louis Althusser’s theory “on ideology” aspects, which embodies the initiation of Pita Maha, have altogether constructed a tremendous growth of Balinese paintings, both in terms of aesthetic "ideology", as well as institutional competence of the painters, which in this essay is defined as ‘the social art movement on Balinese Paintings’
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