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Merged: All about BALI (gabanzack/shahgti/ranggii)
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Reply #2046 m_ardiana's post
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wah nanti ardiana nak stay kat hotel mana? best nye.. naik air asia ke naik mas? sewa hotel nanti ambik bilik berapa banyak hah? lepas tu kalo ramai, pak supir cas berapa? |
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Reply #1984 duyong95's post
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betul lah duyong.... lagi murahhhhh..... |
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Reply #2047 minahleter's post
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kita org duk kat hotel karthi. booking online ngan hotel. datap hg rm90 utk sebilik. booking 4 bilik coz kita org b'lapan. naik air asia lahhhhh.... yg paling murah sekali RM235 per person (return tiket). sekrg nie tgh nak cari2 pak supir kat sana. |
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Reply #2051 m_ardiana's post
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kalo pak supir pak nyoman yg glamer kat cari ni memang bagi 250 ribu rupiah sehari.... |
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Reply #1571 duyong95's post
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duyong.... bagi lah contact number pak supir tu. aku nak gi 2nd ogos nieeee |
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tadi baru booking hotel. lega rasanyer coz bulan ogos time peak season kat sana. aku stay kat hotel legian paradiso n dapat hega rm140 sebilik. nak servey hotel yg murah sume nyerrrr dah full book. |
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Originally posted by <i>m_ardiana</i> at 5-7-2007 12:20 PM <a href="http://forum.cari.com.my/redirect.php?goto=findpost&pid=16596574&ptid=201561" target="_blank"><img src="http://forum.cari.com.my/images/common/back.gif" border="0" onload="if(this.width>screen.width*0.7) {this.resized=true; this.width=screen.width*0.7; this.alt='Click here to open new window\nCTRL+Mouse wheel to zoom in/out';}" onmouseover="if(this.width>screen.width*0.7) {this.resized=true; this.width=screen.width*0.7; this.style.cursor='hand'; this.alt='Click here to open new window\nCTRL+Mouse wheel to zoom in/out';}" onclick="if(!this.resized) {return true;} else {window.open('http://forum.cari.com.my/images/common/back.gif');}" onmousewheel="return imgzoom(this);" alt="" /></a><br />
tadi baru booking hotel. lega rasanyer coz bulan ogos time peak season kat sana. aku stay kat hotel legian paradiso n dapat hega rm140 sebilik. nak servey hotel yg murah sume nyerrrr牋dah full book.
hotel yang murah meriah biasa mmg tak layan booking via phone nih. padahal byk gila losmen/hotel murah kat bali tu yang rege below rp100k. kalo dh ada pak supir yg amik kat airport lagi senang.. minta je dia bawakkan ke hotel yang murah meriah ni. walk in jer.. mesti byk bilik lagi. |
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Reply #2055 stellar's post
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first time lah aku gi sana. takut nak redah. lagipun kita org sume nyer pompuan.... |
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Reply #2053 m_ardiana's post
pak sanura - (0361) 724553 or 08174762721. selamat berseronok... |
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Reply #2057 duyong95's post
thank you duyong. aku akan call dia jap lagi. i love u lahhhhh |
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selamat shoping ! hahhahaahah |
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The photos are taken with Nikon D80. |
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apo cito ni wey....ke ko salah masuk thread??? |
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nak kutip kredit balik la tuh konon2 nye...sbb kan dah jadi beggar...padan muke...wat iklan merate2 |
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The eternal spirit of traditional Balinese art
Garrett Kam, Contributor, Ubud, Bali
During my first visit to Bali in 1980, I was walking one afternoon in Ubud along a narrow road south from the village's public market.
Behind it was a vista of rice fields, an image at odds with today's Monkey Forest Road with shops lining both sides of this congested street.
My peaceful stroll was interrupted by a young man running up a dirt path, holding a small roll of cloths that he opened for me. They were paintings he had to sell to cover expenses for the ongoing Galungan-Kuningan holy days, he explained.
Even though I wasn't keen on spending the money, I felt for this anonymous artist and so chose four pieces, paying around $15 for all of them, which I gave away as gifts.
That was my introduction to Balinese painting. A few days later, I went to see a royal pavilion in Klungkung with ceiling paintings in the wayang (puppet) style.
I had little idea of what the stories above me were about, although many had lurid scenes of demons punishing people in ways that reflected their misdeeds: a woman who uttered black magic spells had her tongue yanked out, a promiscuous man underwent a "weenie roast". They made me shiver in the tropical heat.
A few years later, I learned that wayang paintings on cloth were displayed during ceremonies or done directly on shrines and pavilions with highly stylized figures from Indian mythology, local romances, semi-historical legends and folktales. Calendars and almanacs showed agricultural and domestic scenes.
With the Dutch defeat of the last Balinese royal house in 1908, an important art patron disappeared although paintings continued to be made for temples.
The Dutch promoted Bali as an exotic paradise with images of bare-breasted beauties, colorful ceremonies and dazzling dances to lure visitors from all over the world.
Balinese artists soon found new support in tourists; arts and crafts became an industry of souvenir production, especially paintings. Balinese artists made works conforming to a Western view of their society, but it was not necessarily how the Balinese saw themselves.
To survive economically they made changes to suit the tastes of the new market. For the Balinese, the traditional and modern worlds were one and the same, coexisting and capable of merging in the arts.
In 1930, American Claire Holt was one of the first art historians to recognize the theme of daily life in traditional Balinese painting before any Western influences.
In 1967 she wrote in her book Art in Indonesia: Continuities and Change, "There were also depictions of folk scenes in a simple, naively realistic manner. The best examples of such paintings appear in the squares of Balinese pictorial calendars ...
"A fisherman in his boat, a man harvesting rice, placing offerings at a shrine, plowing his field, or going to market with his produce: such simple themes of daily village life were thus also known in Balinese pictorial art before its more intensive secularization in the 20th Century."
It never ceases to amaze me that most subsequent writers on Balinese art have ignored this.
Growing competition and commercial success gave rise to imitators eager to make money from tourists.
Many Balinese realized that foreigners would pay high prices for quickly made and low-quality copies. This was not considered to be dishonest, but within a few years the quality of art had seriously deteriorated with cheap, mass-produced souvenirs flooding the market and threatening the survival of genuine art and artists.
Mexican artist Miguel Covarrubias remarked in his book Island of Bali in 1937, "Only the old paintings showed skill and taste; the modern ones ... were coarse, hastily made, and with a sad poverty of subject matter."
Concern over the degradation of art in Ubud led to the founding of the artists' guild Pitamaha in 1936, named after the god of creation Brahma, a suitable patron deity.
It also meant "Great Vitality, Ancestor and Strong Determination" to evoke the organization's goals.
By setting higher standards and providing guidance, it hoped that artists would create better works by not catering to tourists. Branches were established in other places, which led to the development of distinct styles of painting named after the villages.
But the greater the geographic distance from Ubud the less was Pitamaha's influence, which ended in early 1942 with the Japanese invasion during World War II.
Today, one wonders if much has changed since then; repetitious paintings of rice-fields, ceremonies, markets and village life cram the walls of galleries and souvenir shops.
I often wonder who in their right mind would buy some of the really badly made ones in any style from classical to contemporary.
For every 100 mediocre works there might be one masterpiece; it takes time to search for them, but when found bring great satisfaction. One senses the artist's pride in the composition, palette and special characteristics.
Soaring Spirit: Exhibition of Traditional Balinese Paintings will be held from July 22 to August 22 at the Neka Art Museum in Ubud for its Silver Anniversary celebrations.
Organized by Larasati Auctioneers and associates in Jakarta, over 40 paintings selected from private collections will hopefully encourage Balinese artists to maintain high standards and let visitors see quality traditional art.
This is part of the Bali Bangkit ("Bali Recovery" in Indonesian; "Attractive Bali" in Balinese) effort to help promote tourism on the island still suffering from the tragic terrorist bombings of 2002 and 2005.
[ Last edited by jf_pratama at 8-7-2007 07:57 PM ] |
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The eternal spirit of traditional Balinese art
Garrett Kam, Contributor, Ubud, Bali
During my first visit to Bali in 1980, I was walking one afternoon in Ubud along a narrow road south from the village's public market.
Behind it was a vista of rice fields, an image at odds with today's Monkey Forest Road with shops lining both sides of this congested street.
My peaceful stroll was interrupted by a young man running up a dirt path, holding a small roll of cloths that he opened for me. They were paintings he had to sell to cover expenses for the ongoing Galungan-Kuningan holy days, he explained.
Even though I wasn't keen on spending the money, I felt for this anonymous artist and so chose four pieces, paying around $15 for all of them, which I gave away as gifts.
That was my introduction to Balinese painting. A few days later, I went to see a royal pavilion in Klungkung with ceiling paintings in the wayang (puppet) style.
I had little idea of what the stories above me were about, although many had lurid scenes of demons punishing people in ways that reflected their misdeeds: a woman who uttered black magic spells had her tongue yanked out, a promiscuous man underwent a "weenie roast". They made me shiver in the tropical heat.
A few years later, I learned that wayang paintings on cloth were displayed during ceremonies or done directly on shrines and pavilions with highly stylized figures from Indian mythology, local romances, semi-historical legends and folktales. Calendars and almanacs showed agricultural and domestic scenes.
With the Dutch defeat of the last Balinese royal house in 1908, an important art patron disappeared although paintings continued to be made for temples.
The Dutch promoted Bali as an exotic paradise with images of bare-breasted beauties, colorful ceremonies and dazzling dances to lure visitors from all over the world.
Balinese artists soon found new support in tourists; arts and crafts became an industry of souvenir production, especially paintings. Balinese artists made works conforming to a Western view of their society, but it was not necessarily how the Balinese saw themselves.
To survive economically they made changes to suit the tastes of the new market. For the Balinese, the traditional and modern worlds were one and the same, coexisting and capable of merging in the arts.
In 1930, American Claire Holt was one of the first art historians to recognize the theme of daily life in traditional Balinese painting before any Western influences.
In 1967 she wrote in her book Art in Indonesia: Continuities and Change, "There were also depictions of folk scenes in a simple, naively realistic manner. The best examples of such paintings appear in the squares of Balinese pictorial calendars ...
"A fisherman in his boat, a man harvesting rice, placing offerings at a shrine, plowing his field, or going to market with his produce: such simple themes of daily village life were thus also known in Balinese pictorial art before its more intensive secularization in the 20th Century."
It never ceases to amaze me that most subsequent writers on Balinese art have ignored this.
Growing competition and commercial success gave rise to imitators eager to make money from tourists.
Many Balinese realized that foreigners would pay high prices for quickly made and low-quality copies. This was not considered to be dishonest, but within a few years the quality of art had seriously deteriorated with cheap, mass-produced souvenirs flooding the market and threatening the survival of genuine art and artists.
Mexican artist Miguel Covarrubias remarked in his book Island of Bali in 1937, "Only the old paintings showed skill and taste; the modern ones ... were coarse, hastily made, and with a sad poverty of subject matter."
Concern over the degradation of art in Ubud led to the founding of the artists' guild Pitamaha in 1936, named after the god of creation Brahma, a suitable patron deity.
It also meant "Great Vitality, Ancestor and Strong Determination" to evoke the organization's goals.
By setting higher standards and providing guidance, it hoped that artists would create better works by not catering to tourists. Branches were established in other places, which led to the development of distinct styles of painting named after the villages.
But the greater the geographic distance from Ubud the less was Pitamaha's influence, which ended in early 1942 with the Japanese invasion during World War II.
Today, one wonders if much has changed since then; repetitious paintings of rice-fields, ceremonies, markets and village life cram the walls of galleries and souvenir shops.
I often wonder who in their right mind would buy some of the really badly made ones in any style from classical to contemporary.
For every 100 mediocre works there might be one masterpiece; it takes time to search for them, but when found bring great satisfaction. One senses the artist's pride in the composition, palette and special characteristics.
Soaring Spirit: Exhibition of Traditional Balinese Paintings will be held from July 22 to August 22 at the Neka Art Museum in Ubud for its Silver Anniversary celebrations.
Organized by Larasati Auctioneers and associates in Jakarta, over 40 paintings selected from private collections will hopefully encourage Balinese artists to maintain high standards and let visitors see quality traditional art.
This is part of the Bali Bangkit ("Bali Recovery" in Indonesian; "Attractive Bali" in Balinese) effort to help promote tourism on the island still suffering from the tragic terrorist bombings of 2002 and 2005.
[ Last edited by jf_pratama at 8-7-2007 08:01 PM ] |
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Post time 4-7-2007 04:00 PM
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aku dah nak pegi jumaat ni dah weii... please... hantar la satu.. kat aku.. sekali ngan cost incurred hehehe.. buleh tak? please.. thanks 
