LINKS – Neka Art Museum

Neka Art Museum Channel

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I Gusti Ketut Kobot (1917-1999 , Pengosekan, Desa Mas, Ubud, Gianyar, Bali) made traditional wayang kulit (leather puppets) before he started to paint on paper and cloth. His works reflect his classical background, as most of his themes are taken from epic literature. Kobot was a member of the Pitamaha artists association, but his style remains highly individualistic with softer colors and less stylized figure which still are based on puppet iconography and epic mythology. This was due to the influence of Rudolf Bonnet ( Dutch, 1895-1978). Kobot have received Wija Kusuma award (Gianyar, Bali, 1977) and Dharma Kusuma award (Bali, 1981).

I Gusti Ketut Kobot at Neka Art Museum

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RIWAYAT KERIS PUSAKA KI
GAGAK PETAK YANG DIMULIAKAN DI RUANG KERIS MUSEUM SENI NEKA

Pada 8 Agustus 2009, setelah mengantar teman orang Belanda ke Hotel di Pantai Lovina, Singaraja lalu JMK. Pande Wayan Suteja Neka singgah di Puri Kanginan Singaraja. Tujuannya mengunjungi keponakannya Ni Putu Karnadi, dengan pungkusan Jero Diatmika, yang menikah dengan Anak Agung Ngurah Parwata Panji, cucu dari Raja Buleleng yang bertahta sekitar tahun : 1939-1944, pada Dinasti Anglurah Panji Sakti .

Pada kesempatan itu JMK. Suteja Neka, berbicang-bincang tentang kondisi museum dan koleksinya . Museum Seni Neka dari koleksi lukisan, patung terakhir dengan mengembangkan koleksi Keris. Paviliun Keris telah dibuka dengan resmi oleh Menteri Kebudayaan dan Pariwisata : Ir.Jero Wacik, SE. (22 Juli 2007).
Pada saat perbincangan itu secara spontan tercetus keinginan AA. Ngurah Parwata Panji, untuk turut melestarikan keris pusaka leluhurnya di Museum Seni Neka. Supaya bisa mengenang sejarah dan memuliakan warisan leluhurnya di Museum Seni Neka.
Awalnya keris pusaka itu akan diantarkan sendiri ke Museum Seni Neka oleh AA Parwata Panji dan keluarga. Akhirnya setelah permufakatan yang serius dan pertimbangan yang matang bersama Jero Diatmika : langsung waktu itu diserahkan keris pusaka Ki Gagak Petak berupa bilah keris dengan warangka kayu pelet tanpa danganan. Keris pusaka itu langsung dibawa oleh JMK. Pande Wayan Suteja Neka meluncur ke ruang keris Museum Seni Neka. Kemudian untuk melengkapi bilah keris pusaka dipilihkan danganan grantim emas di Museum Seni Neka. Beberapa hari kemudian warangka keris ini dibawa ke rumah Sangging di desa Taro, Tegalalang, untuk dihias dengan bahan emas dengan ukiran kombinasi batu mulia.

Pada peluncuran buku: KERIS BALI BERSEJARAH, Neka Art Museum, 2010. Secara resmi diumumkan Keris Ki Gagak Petak diserahkan oleh Anak Agung Ngurah Parwata Panji kepada Pendiri Museum Seni Neka, Pande Wayan Suteja Neka, disaksikan oleh Gubernur Bali Made Mangku Pastika, serta disaksikan oleh para undangan dan para seniman yang sempat hadir pada waktu itu.

Sejak saat itu Keris Ki Gagak Petak dipajang dan dimuliakan bersama Keris Bali Bersejarah yang lain di Museum Seni Neka.

Ki Gagak Petak From Singaraja to Neka Art Museum

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An inscription at Pura Dadia Pande Pedukuhan blacksmith clan temple in Menanga, Karangasem notes that this keris was repeatedly pinched (pecel pinecel) by Mpu Geni Sandang Jiwa.
Mpu Geni Sandang Jiwa was believed to be powerful enough to have made the indentation along the length of this rare keris by pinching the red hot metal with bare fingers.
The blade crosspiece is part of the keris, which is unusual. Dhapur jalak tilam sari could have several meanings. In Kawi (Old Javanese) jalak is 'starling bird' (Sturnidae family) but the close sounding jarag is ' intentionally on purpose' . In Balinese, jarag is 'to chase and seize'. In both languages, tilam is 'mattress; competition' while sari is 'essence'. With such words and ideas, this could mean ' essence of intentionally competing and capturing blade shape'. It makes the owner charismatic, influential and tranquil at home.
Pamor beras wutah pulo tirta (much rice islands in holy water blade pattern) brings family calm, prosperity and social ease.
Danganan loncengan or cenangan (handle shaped like a tubular bell or cylindrical container for betel chewing ingredients) used to be for youths. It is of wood and wrapped in cord of human hair. Warangka kekandikan (axe-like sheath crosspeace) of ivory was reserved for royalty. The gold sheath casing has tooled flowering vine patterns.

Keris Ki Pijetan at Neka Art Museum

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I Gusti Nyoman Lempad (1862-1978) was a Balinese sculptor and architec( undagi) who built palaces and temple in Ubud and its neighboring villages.
Lempad grew up under the creative guidance of his artist father. From early in his life, he was acknowledge as an outstanding stone carver and architect. His Saraswati water temple, standing not far from the Puri Ubud, demonstrates his architectural and design skills. In his later years, he produced hundreds of linear drawings of Balinese mytology and folklore.
Although he maintained a close friendship with foreign artists, including Rudolf Bonnet and Walter Spies, Lempad never compromised his distinctive identity as a Balinese artist.
He died on April 25, 1978 at his home in Ubud.

I Gusti Nyoman Lempad at Neka Art Museum

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Nasarin is the process which kick-starts the assembly of the red bricked penyengker wall and candi bentar gate. The red bricks are characteristic of Dewa Brahma which symbolizes the structure as the preservation of art and culture. As a museum should. The Nasarin ceremony is meant to provide a solid foundation such that the building that lies over it stands tall and strong endlessly. At the end of its construction, the building proceeds with Mercaru, which is a ceremony intended to cleanse and purify the new building and its surrounding land from physical and spiritual filth. Only with this purity will it be able to progress into Ngulapin, a ceremony meant to bestow spiritual power through giving life ( urip ) and inviting the power of God ( ulap-ulap )

Candi Bentar Main Gate Neka Art Museum Purification

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H. Erick Thohir was greeted by founder Suteja Neka and his family when he visited the Neka Art Museum. This was Erick Thohir's first visit to the Neka Art Musem Kris pavilion. On this occasion, the Ki Gagak Petak Kris became the center of attention. The Ki Gagak Petak Kris is a relic from the Kingdom of Buleleng. It was made by Ida Pedanda Ngurah Sakti Lalandep of Banjar, Buleleng. Anak Agung Parwata Panji -son of Puri Kanginan Buleleng king - inherited and presented it to the Neka Art Museum on 8 August 2009.
The dapur of Keris is kalarau luk pitu ( Kalarau with 7 curves blade shape) bring authority, succes and peace. It is named for the tooled and gold inlaid demon head at the base of the keris. The blade and crosspiece are inlaid with gold fire, insect, floral and bintulu . The crosspiece underside has a Singa ambara symbol of Singaraja capital of Buleleng and a winged animal with head of Twalen . Pamor ngulit semangka (watermelon skin blade pattern) brings prosperity . The gold Danganan grantim (contoured cylindrical hilt) was reserved for royalty. The gold base and ring are inlaid with gemstones . The original ivory handle was badly damaged and replaced with this antique one. Warangka kojongan (conical sheath) is of kayu bentawas ( Wrightia calycina) - wood with a layer of variegated kayu timaha (Klenhovia hospita) wood. It was brittle with age and reinforced with gold and silver casing of tooled floral motifis inlaid with gemstones. Aside from an heirloom Kris, the Kris Seselet that Suteja Neka often wore to cultural events and ceremonies was shown. Seselet is a noteworthy Kris due to a blend of various cultural icons of the Nusantara archipelago.

KI GAGAK PETAK The Heirloom Keris at Neka Art Museum

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SUDRA SUTRA Painting Exhibition

At the Neka Art Museum, a Solo Exhibition was held by Dr. I Wayan Kun Adnyana which took place from 11 November to 19 November 2019. The opening of the exhibition was conducted by H. Erick Thohir, a dilettante who was also known as the Chairperson of ASIAN GAMES and the Chairperson of the 2019 Presidential Election Campaign (TKN). As one of the candidates for the 'Indonesia Maju' Minister Cabinet led by President Joko Widodo, Erick Thohir took the time to open the art event at the Neka Art Museum. This exhibition was the last art trilogy that displays the relics of ancient Balinese culture from the reliefs of Yeh Pulu. From Candra Sangkala , Titi Wangsa and the last Sudra Sutra

SUDRA SUTRA The last trilogy of Yeh Pulu ancient reliefs

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