Ketut Santosa, Keeping the Glass Paintings in Nagasepaha village
By
Ayu Sulistyowati
·4 minutes read
A technique of painting on a piece of glass was first recorded in the village of Nagasepaha, Buleleng regency, Bali, in 1927. The unique painting technique, which was first introduced by Jro Dalang Diah, still exists today and was passed down to his heirs. Now, the works of art are referred to as the glass paintings of Nagasepaha.
Ketut Santosa, 49, one of Jro Dalang Diah\'s grandchildren, keeps the glass painting technique alive at the Nagasepaha Glass Painting Studio, a studio that has lasted through four generations. Santosa\'s mission is only one: he will preserve the glass painting art forever.
It is no coincidence that the glass paintings of Nagasepaha have been quite popular and are able to support the economy of the residents of Nagasepaha.
Santosa learned techniques from his grandfather when he was at elementary school. Likewise, his father and brothers also mastered this glass painting technique during childhood. "My grandfather, father, me, and several brothers had the experience of carrying the glass paintings and selling them around the village and in the market. The average size of the glass painting was 40 by 60 centimeters. We carried around five paintings to the village and the market," Santosa recalled.
The painting he has the best memories of is one that he made when he was in elementary school. The painting is not for sale even though many collectors want to buy it. The painting, at 77 by 30 centimeters, once used as the cover of one of his school desks, is titled "Sutasoma" (1984).
Nagasepaha puppet glass paintings continue to grow in popularity. In the 1970s, the glass paintings were priced at only Rp 3,500 each. The money from the sales of the paintings were used to pay for school fees and daily needs. No one thought that the price of the Nagasepaha glass paintings would reach Rp 6 million each, like at present.
The glass paintings have not only supported the livelihood of its creator Jro Dalang Diah’s family, but also the livelihoods of his grandsons.
Praise for his paintings comes not from artists but also curators. Since the 1990s, many students, artists, curators and collectors from home and abroad visit the area to learn about the uniqueness of Jro Dalang Dia’s techniques.
His grandfather, Jro Dalang Diah, painted with his heart and subsequently was met with praise by the public. Likewise, Santoso also tries hard to keep the studio running using his own funds or donations from donors or proceeds from the sales of the paintings.
"Most importantly, the studio members can still work even with the limitations of the painting materials such as paints and painting tools, which are imported from China,” he said.
Keeping up with changes
Santoso said changes were mostly about the themes and the thickness of the glass being used. In the past, the glass had a thickness of 2 millimeters. Beginning 2007, he started using glass with a thickness of 3 millimeters.
Santoso has also taken part in a number of exhibitions. Among the buyers of the paintings are tourists from Australia, the United States, Europe and Taiwan.
His paintings are not only limited to themes related to classic puppets. He insists on following the thematic trends, reasoning that the paintings with popular themes can attract a better response, compared to those with the puppet theme.
"However, believe me, the paintings of Nagasepaha still rely on the legacy of techniques of Jro Dalang Diah as the elements of puppets still appear in all the paintings […]," Santosa said, showing a glass painting titled AFF Cup by his brother, Ketut Samudrawan.
"Imagination is needed to make the paintings according to the themes. The puppet remains the standard, but the characterization can be adjusted to the theme. So, it becomes difficult and takes time,” he said, pointing to other paintings with other themes.
Life goes on. But the most important thing is keeping tradition alive.
"We are grateful that Nagasepaha\'s glass paintings are still appreciated by others, whether they are collectors, art lovers or those who want to learn. We thank you," Santosa said.
I Ketut Santosa
Born: Nagasepaha, July 21, 1970
Wife:Ni Nyoman Ari Suteni
Children:
- Luh Widari
- Made Wijana
Education:
- Nagasepaha State Elementary School 1
- Dwijendra Junior High School, Singaraja
- Senior High School (Package C)
Exhibition experience, among others:
- Glass painting exhibition at Hotel Baruna, Lovina, Singaraja (1990)
- The Glass Painting of Nagasepaha, Puri Painting, Ubud (2000)
- Glass painting exhibition at ITB, Bandung (2001)
- Exhibition at Bentara Budaya Jakarta (2003-2004)
- Jakarta National Gallery (2005)
- Jogja Gallery (2008)
- Glass Tamer at Rumah Budaya Sewon, Jogja (2014)
- Sonobudoyo Museum, Yogyakarta (2014)
- Bentara Bali Culture (2017)
Awards:
- Awards from IKJ Jakarta, Malaysia, ITB, Denpasar Cultural Park