The Research Of Traditional Balinese Art As The True Of Identity

State of Indonesia is a country rich in diversity of customs and cultures. Starting from Sabang; the most western region in the State of Indonesia, to Merauke; the most eastern region in the country of Indonesia, all customs and culture of each region has its own uniqueness and beauty. So also in the world of Fine Arts. Every region in Indonesia has the movements of his art respectively. Bali, is one of the areas in the eastern part of Indonesia, whose name is well known in the international arena. Often people think of Bali itself as a representative of the republic of Indonesia. However, as an area which has its own merits, not many people know the extent to which the existence of Balinese art from the past until today.Within this thesis, the author presents how the existence of contemporary Balinese art, which is one of the cultural identity, from product archipelago, and has a long history of introducing himself as the identity of the archipelago. Bali art itself has initiated the era-the era of Born in the days of empire, receded with the upheaval of war against invaders, until then experienced a political emasculation of the independence era. Travel history of Balinese painting has had its own roots in relation to the presence of the heyday of the empire in BaliIndeed, Balinese painting is the most important part in the development of Indonesian art history. However, history is read differently in the development of Indonesian art. It can be observed from various writings and published books of art, which is always a review of Balinese painting in different columns. The question that arises then should the Balinese painting has a different place? Secondly why it is distinguished, whether it is intentional? Or is there something else that the background to be distinguished? Surely the simple question will unload on the historical roots of Balinese painting, to be a lot barrage of questions that arise later to put the whole painting Bali itself in the ranks of the art "Indonesia".Already a reading public, a striking difference from Balinese painting is characteristic of the birth of local circumstances. Local state is defined as a situation that grows as the other values of the results of a growing culture of a local region of the country, before it was named Indonesia and independence as a sovereign state. Although realizing solid line cultural features in each region still have properties in common.If viewed from the side of its art movement, the forerunner of the birth of the art of Bali can be observed from the time of Ubud art, Kamasan style, and to experience growth in the following centuries, and until the birth of the Pita Maha is a form of expression a symbol of the existence of Balinese artists.Mahendra Yasa and Ketut Moniarta are some of the artists who continue to explore bali Balinese painting as the contemporary identity of Indonesia, and is also trying to explore images Balinese painting by continuing to perform various experiments with new media art. Then also popping another artist that comes from the painting "traditional" Bali, is gradually trying to explore Balinese painting itself, in order to understand each intricacies in contemporary art. This is known as Neo Pitamaha group. The presence of Neo Pitamaha groups continue to try to explore the depths of aesthetics, discourse, and media in painting Bali. Of course, the spirit or the spirit of Balinese painting in itself, deserves to be regarded as one of the core part of contemporary art in Indonesia, whose existence was recognized both nationally and internationally.