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For the an inferior size, Zeus is the main jesus invoked at the symposiums—Greek sipping functions. There are as well as of numerous regional celebrations so you can Zeus, even when these were typically quicker very important; because the Zeus is an excellent Panhellenic goodness, mutual by all Greeks, private cities scarcely stated your since the an alternative patron deity. Inside the Athens, Zeus got important personal altars to your acropolis and also the agora, reflecting their jobs while the god of one’s polis or area-county (Zeus Polieus) and of the brand new phratry otherwise clan (Zeus Phratraios). Roman flooring mosaic away from Palermo showing Orpheus surrounded by pet (ca. 200–250 Ce) Their cosmogony are founded rather for the a vague deity called Protogenus (“First-Born”)—though there may have been a myth where Zeus sooner or later took electricity because of the swallowing Protogenus. Particular spiritual communities and you will bodies inside the Greek world used a completely different sort of the new god Zeus, complete with a highly various other myths.

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Zeus will have forgiven so it crime, but Prometheus made something worse because of the defying Zeus’ wants and you will taking fire from the gods to provide on the humans. Even if he failed to initiate the new Gold Years, the guy concluded they by the ruining the newest dumb mortals just who populated they once they refused to award the new gods. He instantly popped up, grabbed their thunderbolts, and you can cowed the other gods to the entry. Ultimately, even if, Otus and you can Ephialtes had been murdered, possibly by the Olympian gods or from the one another (accidentally). Inside later literary and you can visual depictions, that they had serpentine have, including scaly foot, snakes to possess ft, or snake hair.

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The newest prolific Aristotle (384–322 BCE) are smaller looking theology compared to more empirical sciences, however, their works do include specific valuable here is how Zeus plus the most other gods had been worshipped inside antiquity. Certain historians, and Herodotus (ca. 484–420s BCE), demonstrated Zeus and also the gods while the a leading force in the real historical occurrences. Such as, Zeus and Ares would be the merely significant gods just who appear to never ever searched because the characters in the Greek crisis (although it is achievable one Zeus are a character within the Aeschylus’ missing Psychostasia). Currently within the Homer’s Iliad and you will Odyssey (eighth century BCE), Zeus is established since the learn of the cosmos, governing gods and you can mortals exactly the same from the advantage of their unmatched energy. As the most important of one’s Greek gods, Zeus is actually common inside Greek books.

Lay inside the ninth seasons of the Virus Battle, the newest Iliad informs away from exactly how Achilles, the most effective of your Greek heroes in the Troy, end the new fighting once a sour quarrel having Agamemnon, the leader of the Greek military. The fresh events of one’s Iliad set Zeus’ efficiency as the a coordinator to the full display. Fourth-build fresco away from Pompeii proving Callisto (left) having Artemis (right) and a great winged Eros (center)

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Posted: February 3, 2026 11:47 pm


According to Agung Rai

“The concept of taksu is important to the Balinese, in fact to any artist. I do not think one can simply plan to paint a beautiful painting, a perfect painting.”

The issue of taksu is also one of honesty, for the artist and the viewer. An artist will follow his heart or instinct, and will not care what other people think. A painting that has a magic does not need to be elaborated upon, the painting alone speaks.

A work of art that is difficult to describe in words has to be seen with the eyes and a heart that is open and not influenced by the name of the painter. In this honesty, there is a purity in the connection between the viewer and the viewed.

As a through discussion of Balinese and Indonesian arts is beyond the scope of this catalogue, the reader is referred to the books listed in the bibliography. The following descriptions of painters styles are intended as a brief introduction to the paintings in the catalogue, which were selected using several criteria. Each is what Agung Rai considers to be an exceptional work by a particular artist, is a singular example of a given period, school or style, and contributes to a broader understanding of the development of Balinese and Indonesian paintng. The Pita Maha artist society was established in 1936 by Cokorda Gde Agung Sukawati, a royal patron of the arts in Ubud, and two European artists, the Dutch painter Rudolf Bonnet, and Walter Spies, a German. The society’s stated purpose was to support artists and craftsmen work in various media and style, who were encouraged to experiment with Western materials and theories of anatomy, and perspective.
The society sought to ensure high quality works from its members, and exhibitions of the finest works were held in Indonesia and abroad. The society ceased to be active after the onset of World War II. Paintings by several Pita Maha members are included in the catalogue, among them; Ida Bagus Made noted especially for his paintings of Balinese religious and mystical themes; and Anak Agung Gde Raka Turas, whose underwater seascapes have been an inspiration for many younger painters.

Painters from the village of Batuan, south of Ubud, have been known since the 1930s for their dense, immensely detailed paintings of Balinese ceremonies, daily life, and increasingly, “modern” Bali. In the past the artists used tempera paints; since the introduction of Western artists materials, watercolors and acrylics have become popular. The paintings are produced by applying many thin layers of paint to a shaded ink drawing. The palette tends to be dark, and the composition crowded, with innumerable details and a somewhat flattened perspective. Batuan painters represented in the catalogue are Ida Bagus Widja, whose paintings of Balinese scenes encompass the sacred as well as the mundane; and I Wayan Bendi whose paintings of the collision of Balinese and Western cultures abound in entertaining, sharply observed vignettes.

In the early 1960s,Arie Smit, a Dutch-born painter, began inviting he children of Penestanan, Ubud, to come and experiment with bright oil paints in his Ubud studio. The eventually developed the Young Artists style, distinguished by the used of brilliant colors, a graphic quality in which shadow and perspective play little part, and focus on scenes and activities from every day life in Bali. I Ketut Tagen is the only Young Artist in the catalogue; he explores new ways of rendering scenes of Balinese life while remaining grounded in the Young Artists strong sense of color and design.

The painters called “academic artists” from Bali and other parts of Indonesia are, in fact, a diverse group almost all of whom share the experience of having received training at Indonesian or foreign institutes of fine arts. A number of artists who come of age before Indonesian independence was declared in 1945 never had formal instruction at art academies, but studied painting on their own. Many of them eventually become instructors at Indonesian institutions. A number of younger academic artists in the catalogue studied with the older painters whose work appears here as well. In Bali the role of the art academy is relatively minor, while in Java academic paintings is more highly developed than any indigenous or traditional styles. The academic painters have mastered Western techniques, and have studied the different modern art movements in the West; their works is often influenced by surrealism, pointillism, cubism, or abstract expressionism. Painters in Indonesia are trying to establish a clear nation of what “modern Indonesian art” is, and turn to Indonesian cultural themes for subject matter. The range of styles is extensive Among the artists are Affandi, a West Javanese whose expressionistic renderings of Balinese scenes are internationally known; Dullah, a Central Javanese recognized for his realist paintings; Nyoman Gunarsa, a Balinese who creates distinctively Balinese expressionist paintings with traditional shadow puppet motifs; Made Wianta, whose abstract pointillism sets him apart from other Indonesian painters.

Since the late 1920s, Bali has attracted Western artists as short and long term residents. Most were formally trained at European academies, and their paintings reflect many Western artistic traditions. Some of these artists have played instrumental roles in the development of Balinese painting over the years, through their support and encouragement of local artist. The contributions of Rudolf Bonnet and Arie Smit have already been mentioned. Among other European artists whose particular visions of Bali continue to be admired are Willem Gerrad Hofker, whose paintings of Balinese in traditional dress are skillfully rendered studies of drapery, light and shadow; Carel Lodewijk Dake, Jr., whose moody paintings of temples capture the atmosphere of Balinese sacred spaces; and Adrien Jean Le Mayeur, known for his languid portraits of Balinese women.

Agung Rai feels that

Art is very private matter. It depends on what is displayed, and the spiritual connection between the work and the person looking at it. People have their own opinions, they may or may not agree with my perceptions.

He would like to encourage visitors to learn about Balinese and Indonesian art, ant to allow themselves to establish the “purity in the connection” that he describes. He hopes that his collection will de considered a resource to be actively studied, rather than simply passively appreciated, and that it will be enjoyed by artists, scholars, visitors, students, and schoolchildren from Indonesia as well as from abroad.

Abby C. Ruddick, Phd
“SELECTED PAINTINGS FROM THE COLLECTION OF THE AGUNG RAI FINE ART GALLERY”


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