I like a good Dart: Lines Lempad

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If you are a fan of Bali, you will be a character of I Gusti Nyoman Darta. His early life was typical of the feudal system of the day. Barely 5, he was entrusted by his father to one of the princes of Ubud Tjokorde Ngurah Puri Saren.

And a shawl likematchLet us call it a slave boy, but much more, because if he gave his hand to the palace, he was also appointed by the master, like many other boys and girls from the country. But, because he was gifted, and in time he taught all the knowledge of the palace to his secrets, how to make a powerful person barong, how to build a temple without disturbing the forces around it, and so on. .

Then he passed the tests and became a teacher. He taught for twenty years, until one day he had a “visitor” from the invisible world. He does not know whether he is pretending to be in a fever or a dream. But he was certainly visited by a voice, so he remembers, which asked him to follow and minister. He was the owner of Neck the world from there I have no other option than to follow this one. From that time, Darta became a physician and counselor in the village of Ubud and the family of the local prince in festive affairs and palace ceremonies. He is often invited outside of Bali to provide temples under the protection of Ubud princes such as the great temple of Mandala Giri, at the foot of Mount Semeru in Java.

However, I Gusti Nyoman Darta is also known – indeed known beyond Bali – for the illustrations of his book “Seasons, Rituals and Festivals” (2013), in which he revealed that he can draw in his own way. in the style of maestro Bali I Gusti Nyoman Lempad (1862-1978).

Lempad is arguably Bali’s best visual artist. In 1930, probably living under the visual influence of the German-artist Walter Spies, he innovated the Balinese style, giving the line full autonomy. Not only is the narrative and face “broken”, as in the ancient Balinese tradition, the line now exists for its own sake. Lempad is thus thought to draw the Balinese ‘black and white’.

Lempad was I Gusti Nyoman Darta “grandfather-father” – an ancestor from the same race. They shared the same rituals and, more importantly, were both “palace men”, or parekan, of the house of the prince of Ubud. While Gusti Nyoman Darta was growing up at the palace under the wing of Tjokorde Ngurah, he often met Lempad, who was visiting from his house close to orders from the prince or just reading Balinese poetry or watching puppet shows. So they became very close. Darta often witnessed how Lempad worked: ‚ÄúThere was no end to his goals, he said.

Why Darts share a line drawing that is reminiscent of that famous “grandfather”. Not quite so. As he explains, he did not study the old man. He knew him and lived in the Ubud palace, often accompanying the elder to visit the local chief. Thus he could participate in a certain way in the very instinct of the old man. But Lempad, born in 1862, was too old to teach his younger parent properly. Rather, he said to her: “As you concentrate on what you are doing, learn the stories, surely you will be able to be me.”

So Dart in his own way. By magic. He had a photo next to Lempad. Meditation is accompanied by this photograph, he asks, giving him the ability to create a lamp to capture the elderly. taksu.

Strange, isn’t it? But Dart had an example. He says he was inspired by Bambang Ekalaya, the hero of the street puppet theater show, who learned his archery skills from the statue of an ancient Drona doctor.

This story of the plantation is well known in the Mahabharata
Balinese puppet masters. It originated in Java, but was imported to Bali at an unknown time, probably in the century. Let us state the matter in a few paragraphs.

As all wayang lovers know, Arjuna, the most beautiful of the 5 Pandawa heroes of the Mahabharata, was also the best student of the archers of the great Guru Begawan Drona – who later joined his 5 brothers, the Korawa, among the great and the last. Bharatayudha, battle.

Bambang Ekalaya was a warrior of low social status. He was a good archer, but he wanted to be the best in the world. And in order to be the best, and Arjuna himself to be superior, he had to learn from the best teacher in the world, Drona Begawan. But when he came to question his teacher Drona, he refused because of his cowardice and also because he had sworn that Arjuna would be the best archer.

Ekalaya was not so easy to dispel. What mattered to him was that the power of the spine had been transmitted to him. And he went to the forest, where he made a statue of Dorna, and he turned towards the statue with all the reverence due to a teacher. For this reason Drona is wonderful and unknown, and has always been the best teacher gifted in the arts. Alas, Arjuna discovers that Bambang Ekalaya can hit the target better than himself and complains to his teacher Drona. He who had sworn to Arjuna that he would be the best archer, devised a trick. Bamban asked Ekalaya to show that he respected the teacher and was ready to obey all his requests. Bambang Ekalaya agreed to fulfill the requests of any of his teachers. Then Drona cut off his finger. Without reason, Bambang Ekalaya immediately cuts it off, rendering his arrow useless. So not always the best shooter, but the best student ever.

By raising this story of Bambang Ekalaya, what Gusti Nyoman Darta implies, suggests to us that talent is not so much innate through descent and part of someone’s DNA, as something intangible, a magical power transmitted by the master through loyalty, training and. the same with him. Lempad knew, the boy served him when the elder went to the palace. So he was able to identify with the taksu enough to capture some of his power – even if he didn’t cut the picture with his hand.

Regarding his drawings, you will see some of his works here. Drawings made to celebrate the day of the puppet show wayang theater; movie theater, and other ‘tumpek’ celebrations.

John Knife

John Knife

Joanne Couteau, an observer of Bali for more than 40 years, is a graduate of the Ecole des Hautes Etudes en Sciences Sociales and a former lecturer at the Instituto Seni Indonesia Denpasar. He is considered an expert on Balinese culture, having authored: Puri Lukisan (2000), Un Autre Temps: Les Calendriers Tika de Bali (2004) Time, Rituals and Festivals of Bali (2013, with Georges Breguet), and Myth, Magic and Mystery of Bali (2018 ) – to name a few. He is a multilingual writer for Indonesia’s national paper, Kompas, with the column “Udar Rasa” published on Sunday’s cultural page (in Bahasa Indonesia). He also contributes to the monthly culture section of NOW! Bali.

Source: Elaboarated and Quoted From Many Source

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