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Perkumpulan Pelukis Baturulangun Batuan adalah komunitas seniman yang berfokus pada pelestarian dan pengembangan Seni Lukis Gaya Batuan. Perkumpulan ini merupakan organisasi resmi di bawah Pemerintah Desa Batuan dan menjadi ruang bagi pelukis lintas generasi untuk menjaga kesinambungan tradisi, memperkuat regenerasi, serta membuka ruang kolaborasi dalam ekosistem seni Batuan. Bersama Desa Dinas Batuan, perkumpulan ini berperan aktif dalam upaya pelestarian budaya, termasuk keberhasilan mendaftarkan Seni Lukis Gaya Batuan sebagai Warisan Budaya Takbenda Indonesia oleh Kementerian Pendidikan dan Kebudayaan Republik Indonesia, serta pencatatannya sebagai Kekayaan Intelektual Komunal Pengetahuan Tradisional oleh Kementerian Hukum dan Hak Asasi Manusia Republik Indonesia.
The Baturulangun Batuan Artists Association is a community of artists dedicated to the preservation and development of the Batuan Painting Style. The association is an officially recognized organization under the authority of the Batuan Village Government and serves as a platform for painters across generations to sustain artistic continuity, strengthen regeneration, and foster collaboration within Batuan’s art ecosystem. Working together with the Batuan Village administration, the association has played an active role in safeguarding this tradition, including the successful registration of Batuan Painting Style as an Intangible Cultural Heritage of Indonesia by the Ministry of Education and Culture of the Republic of Indonesia, as well as its recognition as Communal Intellectual Property (Traditional Knowledge) by the Ministry of Law and Human Rights of the Republic of Indonesia.
Quintessential Batuan Style
Desa Batuan terletak di Kecamatan Sukawati, Kabupaten Gianyar, dan sejak lama dikenal sebagai salah satu pusat seni terpenting di Bali. Sejarah seni di desa ini diperkuat oleh Prasasti Batuan pada masa Raja Marakata (Raja Sri Dharmawangsawardhana Marakata Pangkajasthana Uttunggadewa), berangka Icaka 944 (1022 M), yang mencatat keberadaan profesi citrakara, yaitu ahli gambar atau pelukis pada masa Bali Kuno. Catatan ini menunjukkan bahwa kegiatan melukis telah menjadi bagian dari kehidupan masyarakat Batuan selama lebih dari seribu tahun.
Memasuki awal abad ke-20, perkembangan Seni Lukis Gaya Batuan memasuki fase penting melalui sosok I Nyoman Ngendon. Berangkat dari tradisi lukis wayang yang dipelajarinya dari para maestro lokal, Ngendon mengembangkan pendekatan estetika baru melalui interaksi intensif dengan dinamika seni dan intelektual pada masanya. Pada periode ini, pelukis-pelukis Batuan tidak hanya berproses di lingkungan lokal, tetapi juga berinteraksi dengan peneliti antropologi Margaret Mead dan Gregory Bateson, serta seniman Eropa seperti Walter Spies dan Rudolf Bonnet. Pertemuan lintas budaya ini mendorong terjadinya pertukaran pengetahuan dan cara pandang dalam seni lukis, yang kemudian memengaruhi pembaruan visual dan naratif dalam karya-karya Batuan.
Selain I Nyoman Ngendon, sejumlah pelukis Batuan sezaman—antara lain I Ketut Kobot, I Made Djata, Ida Bagus Togog, dan I Dewa Putu Kebes—turut berperan dalam pembentukan karakter Seni Lukis Gaya Batuan modern. Karya-karya mereka mencerminkan respons kreatif terhadap pertemuan antara tradisi lokal, penelitian antropologis, dan pertukaran pengetahuan lintas budaya pada masa itu
Satu abad kemudian, Perkumpulan Pelukis Baturulangun Batuan dibentuk pada tahun 2012 sebagai respons terhadap krisis keberlanjutan Seni Lukis Gaya Batuan. Krisis ini dipicu oleh perubahan signifikan dalam ekosistem pariwisata Bali sejak awal tahun 2000-an, khususnya pasca peristiwa Bom Bali 2002. Penurunan drastis jumlah wisatawan dan kolektor internasional—yang selama puluhan tahun menjadi penopang utama ekonomi pelukis Batuan—berdampak langsung pada kehidupan para seniman. Banyak pelukis terpaksa beralih profesi, melukis secara paruh waktu, bahkan berhenti melukis sama sekali. Dalam beberapa periode krisis sebelumnya, terutama pada awal 1980-an, jumlah pelukis Gaya Batuan sempat menyusut hingga tersisa belasan orang.
Di sisi lain, orientasi pariwisata Bali yang semakin condong pada hiburan massal dan seni populer turut meminggirkan seni lukis tradisi di pasar. Generasi muda Batuan menghadapi dilema antara melanjutkan tradisi melukis yang menuntut disiplin tinggi dan proses panjang, atau memilih bentuk ekspresi seni yang lebih cepat diterima pasar pariwisata. Dalam konteks ini, Seni Lukis Gaya Batuan kerap dipersepsikan sebagai praktik yang berat dan kurang menjanjikan secara ekonomi.
Situasi tersebut mendorong para pelukis pada masa itu, terutama I Made Sujendra, untuk memprakarsai pembentukan Perkumpulan Pelukis Baturulangun Batuan sebagai ruang ideologis, edukatif, dan kolektif. Perkumpulan ini dirancang tidak hanya sebagai wadah organisasi, tetapi sebagai strategi kebudayaan untuk menjaga keberlanjutan Seni Lukis Gaya Batuan.
Perkumpulan ini tidak hanya berfungsi sebagai wadah organisasi, tetapi juga sebagai strategi kebudayaan untuk:
Mengajegkan estetika dan teknik seni lukis Gaya Batuan di tengah tekanan pasar pariwisata.
Menghidupkan kembali regenerasi pelukis melalui sistem pewarisan yang lebih terbuka dan terorganisir, termasuk kelas melukis gratis bagi anak-anak usia sekolah dan kerja sama dengan sekolah dasar.
Menggeser pola pewarisan yang sebelumnya tertutup dalam garis keluarga (aguron-guron) menjadi tanggung jawab kolektif komunitas seni.
Membangun kembali posisi seni lukis Batuan dalam lanskap pariwisata budaya, bukan semata sebagai komoditas, tetapi sebagai warisan hidup (living heritage) yang bernilai edukatif, sosial, dan kultural.
Setelah I Made Sujendra, kepemimpinan organisasi dilanjutkan oleh I Ketut Sadia, dan saat ini dipimpin oleh I Wayan Diana. Program rutin Perkumpulan Pelukis Baturulangun Batuan meliputi kelas melukis gratis setiap hari Minggu bagi anak-anak sekolah, kolaborasi dengan sekolah dasar di Batuan dan Sukawati untuk pengembangan kegiatan ekstrakurikuler, pameran kolektif, serta pendampingan, edukasi, dan kolaborasi dengan seniman, peneliti, dan lembaga kebudayaan.
Batuan Village is located in Sukawati District, Gianyar Regency, and has long been recognized as one of Bali’s most important centers of art. The village’s artistic history is reinforced by the Batuan Inscription issued during the reign of King Marakata (Sri Dharmawangsawardhana Marakata Pangkajasthana Uttunggadewa), dated Icaka 944 (1022 CE). The inscription records the existence of the citrakara profession—painters or image-makers—during the Ancient Balinese period, indicating that painting has been an integral part of Batuan’s cultural life for more than a thousand years.
In the early twentieth century, the development of the Batuan Painting Style entered a crucial phase through the figure of I Nyoman Ngendon. Rooted in the wayang painting tradition learned from local masters, Ngendon later developed a renewed aesthetic approach through intensive engagement with the artistic and intellectual dynamics of his time. During this period, Batuan painters were not only active within their local context but also interacted with anthropologists Margaret Mead and Gregory Bateson, as well as European artists such as Walter Spies and Rudolf Bonnet. These cross-cultural encounters facilitated exchanges of knowledge and perspectives that contributed to visual and narrative innovations in Batuan paintings.
Alongside I Nyoman Ngendon, several contemporary Batuan painters—including I Ketut Kobot, I Made Djata, Ida Bagus Togog, and I Dewa Putu Kebes—played significant roles in shaping the character of modern Batuan painting. Their works reflect creative responses to the intersection of local traditions, anthropological inquiry, and cross-cultural artistic exchange during that period.
A century later, the Baturulangun Batuan Painters Association was established in 2012 as a response to a crisis in the sustainability of the Batuan Painting tradition. This crisis was triggered by major shifts in Bali’s tourism ecosystem from the early 2000s onward, particularly following the 2002 Bali Bombings. The sharp decline in international tourists and collectors—who had long been the primary economic supporters of Batuan painters—had a direct impact on artists’ livelihoods. Many painters were forced to change professions, work part-time as painters, or abandon painting altogether. In earlier periods of crisis, especially in the early 1980s, the number of active Batuan painters had reportedly dwindled to only a few dozen.
At the same time, Bali’s tourism orientation increasingly shifted toward mass entertainment and popular arts, further marginalizing traditional painting practices in the market. Younger generations in Batuan faced a dilemma between continuing a demanding artistic tradition—requiring strict discipline and lengthy processes—or pursuing forms of artistic expression perceived as more economically viable within contemporary tourism. Within this context, Batuan painting was often regarded as labor-intensive and less financially promising.
These conditions motivated painters of the period—particularly I Made Sujendra—to initiate the formation of the Baturulangun Batuan Painters Association as an ideological, educational, and collective platform. The association was conceived not merely as an organizational body, but as a cultural strategy aimed at safeguarding the continuity of the Batuan Painting tradition by:
Sustaining the aesthetics and techniques of the Batuan Painting Style amid market pressures.
Revitalizing painter regeneration through more open and structured transmission systems, including free painting classes for school-aged children and collaborations with primary schools.
Shifting the previously family-centered aguron-guron (master–apprentice) transmission model toward collective community responsibility.
Repositioning Batuan painting within the landscape of cultural tourism, not merely as a commodity, but as a living heritage with educational, social, and cultural value.
Following its initiation by I Made Sujendra, the association’s leadership was continued by I Ketut Sadia and is currently led by I Wayan Diana. Its regular programs include free weekly painting classes for children, collaborations with primary schools in Batuan and Sukawati, collective exhibitions, and ongoing engagement with artists, researchers, and cultural institutions.
I Wayan Diana
Dewa Made Virayuga
I Gede Widyantara
I Nyoman Sudirga
I Ketut Sadia
I Made Sujendra
I Made Tubuh
I Made Tubuh
I Made Sujendra
I Ketut Sadia
I Wayan Diana
Dewa Made Virayuga
I Gede Widyantara
I Nyoman Sudirga
I Wayan Danawirawan
I Made Karyana
Dewa Martana
Ida Bagus Putu Padma
I Wayan Malik
I Nyoman Toyo
Adi Sumarjaya Putra, I Made.
Arsania, Dewa Putu.
Agung, I Gusti Ngurah.
Aris Sarmanta, I Wayan
Budi, (Jero Mangku) I Made.
Bendi, I Wayan
Budiarta, I Wayan
Balik Parwata, I Ketut.
Dana Wirawan, I Wayan.
Dana, I Ketut.
Eka Mahardika Suamba, I Wayan
Eka Budi, I Wayan
Gendra, I Wayan
Griyawan, I Made
Karyana, I Made
Karwan, I Ketut
Karsa, I Wayan.
Kastawa, I Nyoman
Kenur, I Ketut
Ida Bagus Ketut Karunia
Malik, I Wayan
Manggi, I Ketut
Martin, Pande Made
Martana, I Dewa Nyoman
Margawan, I Dewa Ketut
Marcono, I Nyoman
Mardiana, I Wayan
Merti, Ni Wayan
Murtika, I Ketut
Muryasa, I Gusti Ngurah
Natih Arimini, Gusti Ayu
Nurbawa, I Nyoman
Padma, Ida Bagus Putu
Renanta, I Made
Reta, I Ketut
Sadia, I Ketut
Sandi, I Nyoman
Selamet, I Nyoman
Suarnawa, I Ketut
Sudirga, I Nyoman
Sudiana, Dewa Nyoman
Sujendra, I Made
Suteja ‘Cat’, I Made
Toya, I Nyoman
Tubuh, I Made
Virayuga, Dewa Made
Vinanta, Pande Putu
Warsika, I Wayan
Widyantara, I Gede
Win, I Wayan
Wirtawan, I Ketut
Yasning, Gusti Ayu
Putu Pratista Aishwarya
I Wayan Kenzie Paritranaya Sadhu
I Wayan Agus Prama Widiarta
I Putu Krisha Nanda Permana
Ni Made Krisha Pradnya Sachi Mahayoni
Ni Putu Ayu Dhinar Sanggita Arista
Ida Ayu Kirna Ciiclia Putri
Ida Bagus Surya Pramana Putra
I Kadek Kristian Winanta
I Gede Winaya Prabhaswara
I Putu Arya Mahaputra Suamba
Ni Putu Gia Kanaya Gantari
Rifan
Kadek Agus Adi Pratama
Made Dwi Fandika
I Kadek Heriawan
Okta
I Made Mega Dwijanata
I Kadek Ipan Yohadi
Ni Luh Putu Kasiani
Dayu Kirna
Ni Made Amba Sukma
Ni Luh Pratiwi
Ni Luh Ade Genis Risky Sita Dewi
Gus Surya
Ni Kadek Dwi Antari
Ni Komang Yunita Sari
Ni Putu Citrayani
Dion
Kadek Alpin Dwipayana
Dani
Eka Yudiana
Widya Praista
Angga Dwi Putra
Panji
Prananda Sastra
Ida Bagus Made Surya
Kadek Cahaya Arya Wiguna
Ida Bagus Wiguna
Kadek Bintang
Aditya
Gilang
Damira
Edi
Putu Pratama
Ni Putu Listya Dewi
Ira
Oming
Salsa
Ida Ayu Kiran Parnika
Yuna
Angga
Evan
Ni Made Sri Mandayani
Vebi Vegayatri
Cintya Putri
Dewa Ayu Kania
Ekry Ariska Putri
Adisti Cahaya Kirana
Wahyu Widyaratha
Yudistira
Ananda Dwi Aditya
Ni Putu GIta Gayatri
Tri Nia Ayuningsih
Ida Ayu Putu Tirtawati
Dwi Bakti Artana
Putu Mariani Pradnyana
Wisma Novayana
I Made Adi Wiguna Putra
Angga Pramana Putra
Kadek Dwipayana
Ni Made Mirah Lalita Gauri
Ni Wayan Sukma Cahya Putri
Kristian Winanta
I Kadek Dika Artha Wiguna
Yoga Ariyuda
Ida Bagus Dwi Putra Yasmana
Kadek Maha Wiradinata
Saputra Adyatmika
Braden
Sastrayani
Km. Ayu Setiawati
Wisnu Natan
Dika Sanjaya
Januarta Suputra
Krisna Windriawan
Arya Ardika
Avriana
Elang Palguna
Mahendra Putra
Prananda Bramasta
Maitreyana
Nitya Prasanti
Aditya Wiguna
Bayu Agus Saputra
Lalu Bayu Sukma
Azham Rava
Wayan Amila
Made Arka
I Kadek Agus Adi Pratama
Next generation of Batuan Artists
Seni Lukis Gaya Batuan secara resmi telah ditetapkan sebagai Warisan Budaya Takbenda Indonesia oleh Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia, sebagai pengakuan atas keberlanjutan tradisi visual yang masih hidup dan secara konsisten diwariskan lintas generasi di Desa Batuan, sebagai bagian dari warisan budaya Indonesia. Penetapan ini menegaskan bahwa setiap karya lahir dari sistem estetika yang terpelihara dengan baik, memenuhi kualifikasi, disiplin teknik yang khas, serta garis pewarisan pengetahuan artistik yang tidak terputus. Penetapan resmi ini menjamin tidak hanya keberlanjutan budaya, tetapi juga kerangka yang diatur secara hukum yang membantu memastikan asal-usul (provenance) dan autentisitas karya
Batuan Painting has been officially designated as an Intangible Cultural Heritage of Indonesia by the Kementerian Pendidikan, Kebudayaan, Riset, dan Teknologi Republik Indonesia (Ministry of Education, Culture, Research, and Technology of the Republic of Indonesia), recognizing the continuity of a living visual tradition that has been consistently transmitted in Batuan Village across generations to become a cultural legacy of Indonesia. This designation affirms that each work emerges from a well-preserved and qualifying aesthetic system, a distinctive technical discipline, and an unbroken lineage of artistic knowledge. This official designation ensures not only cultural continuity but also a legally regulated framework which helps to guarantee providence and authenticity. While the Batuan-Style is not exclusive to residents of Desa Batuan, all artists and artworks are accepted and endorsed by the official Batuan Style Artist Association within Desa Batuan Bali. This is done to ensure that Batuan painting embodies historical continuity, narrative depth, and the rarity of a tradition that remains organically sustained amid contemporary transformations. As such, each artwork officially accepted as a Batuan-Style painting represents not only an individual artistic expression, but also a verified cultural ecosystem rooted in heritage and contributing to the sustainability of Bali’s living tradition within the global art landscape.
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2012 - Batuan Artists Group Exhibition - ARMA Museum & Resort, Ubud
2012 - Batuan Artists Group Exhibition - Museum Puri Lukisan, Ubud
2018 - Bali Arts Festival (PKB) 40th Edition - Bali Arts Center (Taman Budaya Bali), Denpasar
2018 - The Dynamic Heritage - Santrian Gallery (Sanur), Monkey Forest Gallery (Ubud), LV8 (Canggu)
2019 - Ibu Rupa Batuan - Bentara Budaya Bali, Denpasar
2022 - Baturulangun Children’s Art Exhibit - Tropical Nomad Coworking Space, Canggu
2024 - Kawitan Masa Depan (Rare Batuan) - Bali Arts Center (Taman Budaya Bali), Denpasar
2024 - A Tribute to I Nyoman Ngendon - ARMA Museum & Resort, Ubud