The Bridge to Lanka
| Title | The Bridge to Lanka |
|---|---|
| Artist | |
| Date | 1920-1930 |
| Size | 127 x 150 cm |
| Material | Bark-cloth |
| Remarks | Obtained from the temple Jero Kapal, in Gelgel. Bark-cloth, usually imported from Sulawesi, gave a good absorbent surface, which did not need the rice paste preparation that was essential for woven cloth, although it is less strong and tends to erode at the edges. This painting has been protected by a cloth strip sewn round the edges, probably in the 20th century. The colours are all local Balinese ochres. The only imported colours used are kincu and black ink, which were imported from China. This suggests that the painting was done before any trade in paints of European origin was established. The work is halus and extremely finely drawn and detailed. It is one of the finest, and very probably the oldest, in the collection. |
| Signature | |
| Published | Balinese Traditional Paintings 1978 / page 33 |
| Collection | Australian Museum - Anthony Forge Collection No. E74168 |
Kamasan painting - The Bridge to Lanka - Ramayana[edit | edit source]
The episode shown is the building of a causeway from the mainland (of India) to Langka (Ceylon). The monkeys' work is supervised by Nala. in the centre with a flaming headdress. Rocks are being passed along from both sides by lines of peluarga and monkeys. The diverse animal origins of Rama's peluarga allies are well represented. In the top row of the right hand group for example, there is from the left, a monkey face with a sun and moon head-dress, a pig face, a deer, an elephant, and a snake. Below them at the extreme right is a man converted into a peluarga.
To the upper left, Rama, Laksamana, Vibisana, and Sugriwa the monkey king, look on. Up above, Hanoman flies across the strait, and on either side of him, heavenly resi observe the activities below. In the top right corner is a separate scene, bordered by black mountains, the raksasa king, Rawana, receives a report of the approaching army, probably from Shukasharana, with Delem and Sangut behind him.
At the bottom left. Twalen and Morda are as usual not working, but have been catching fish, while various monkeys are shown bathing, riding a turtle, and being eaten by a sea monster. Across the bottom of the painting is a frieze of animals and one monster (at the far left). Such a panel is referred to as tantri (cf. No. 3).
The painting is remarkable for the use of washes of grey and black, instead of the blue powder colour found in later paintings. Indeed more black is used throughout this painting than was customary later. Another interesting detail not found in later paintings is the little human sirih-box bearer by Rama's side. These details aside, the painting shows all the stylisations and conventions that were still standard a hundred years and more later, and demonstrates the very slow rate of change in this type of Balinese painting.
More info:
The Bridge to Lanka
Video 1: The Bridge to Lanka
Video 2: Rama Setu - Adam's Bridge
