Lot 63: Nyoman Meja (Indonesian, b. 1950) At the Market, 1975

Nyoman Meja (Indonesian, b. 1950)
At the Market, 1975 signed 'I. Nyom. Meja. Taman Ubud. Bali. 75', lower left.acrylic on linen mounted on board87 x 65 cm. (34 1/4 x 25 5/8 in.)

梅賈 市集 壓克力麻布裱於木板 一九七五年作Provenance:Private Collection, United KingdomBali: Living RitualsSince the 1930s, Bali has borne a certain mysticism in popular imagination. The influence of Hinduism in the island has stood strong since the 9th century and has been reinforced since the 13th century with the rise of a collection of independent Hindu kingdoms and the decline of the Majapahit kingdom (1293 – ca.1500). The new rise of power in Bali implied a solidification of its own identity which led to major developments in its art, culture and economy. Being the only Hindu-majority population in the modern-day Islamic nation of Indonesia, Bali has since formed its own unique ritual and cultural life. This sui-generis characteristic of Bali has created a particular allure for the artist community, especially for Indonesian artists during the post-colonial era who were conscientious in discovering an artistic language reflective of their new-found identities. Rangda (Lot 65) and Barong and Rangda (Lot 64) are two notable works of a pair of important Indonesian painters, Affandi and Nyoman Gunarsa who captured the fervour of Balinese ritual life in its fidelity. In Affandi's Rangda, assured and expressive lines embody the transcendent energy of the dancer in the traditional Balinese Barong dance he encountered during his numerous sojourns to the island to paint. Seen in Nyoman Gunarsa's Barong and Rangda, the dance is typically performed in temples and used as a narrative piece, conveying the Balinese belief of the never-ending battle between good and bad – the universal equilibrium. Just like Affandi and Nyoman Gunarsa, I Nyoman Meja drew inspiration from his daily life in Bali. At the Market (Lot 63) depicts an integral part of Balinese society – the market. Not only is the market the source of sustenance for the people, it is also a place of convergence where social interaction occurs. Collectively, these artists eschewed the perceived western depiction of Bali as merely an exotic tropical island.