gianyar 

The development of handicrafts today is inseparable from historical events, namely the relocation of the center of painting from klungkung to Ubud with the presence of Walter Spies and Rudolf Bonnet in Ubud 1928, and the opening of Bali as a world tourism destination in the 1920s. With the rise in tourism and the international recognition for Gianyar’s handcrafts, the production and export of crafts increase sharply especially in the beginning of the 2000 but now with competition from China and Vietnam the export numbers decline slightly in 2015 and 2016.. From the local government data, now adays the consumption of Gianyar’s handcraft 60% goes to Export, 25% for tourism (souvenir shop) and 15% for local (traditional market)

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Each village in Gianyar Regency become the center of for particular arts & crafts, such as Batubulan and Singapadu villages which are well-known for the art center of sandstone carving, Celuk village which is famous for the craft of making gold and silver jewelry, Batuan and Ubud are famous for the style of art painting, Mas village renowned as the center of the craft of wood carving, masks, and furniture. Bona village famous for the handicrafts woven from palm leaves (ental), Gianyar village is known for textile center and Belega village which is known as the center of bamboo furniture..

The description is related to the skill inheritance system that occurs in the crafting community in Gianyar regency. This inheritance system occurs through: genealogy factors, which produce sacred handicraft products, and environmental factors that produce handicrafts that have profane value. However, in general, techniques in making crafts are taught by emphasizing hand made skills. These methods are also supported by technology. and design renewal according to the soul of the era. The existence of crafts in each village / sub-district has a hereditary visual identity and excellence in competing in the market world, both locally, nationally, and at the level of the global market.

Preservation efforts and strengthening of knowledge transmission on an ongoing basis are carried out through education activities in formal and informal schools. Among them through Vocational schools (SMK 1 and 2 Sukawati and SMK 1 Mas, Ubud). This formal pathway education continues to the Art College level and Postgraduate level both at the provincial level and outside the region and abroad such as Solo, Yogyakarta, Bandung, Japan, America and European countries.

Activities in the informal path are carried out through training and mentoring (apprenticeship) at handicraft centers spread in Gianyar regency.

For the preservation of various craft artifacts, Gianyar regency has several museums, including Puri Lukisan Ubud Museum, Neka Museum, Arma Museum, Rudana Museum, Pendet Museum, Mask Museum, and Archaeological Hall.

 

The status of artisans in Gianyar is considered highly respected compared to other part of Indonesia because handcraft is the way of life in Gianyar and talent is not easy to find these days. Unfortunately, the social condition of these artisan are not like in developed countries, now they do have government helath insurance but retirement plan is not available for most of the artisans. There are many collaborations between local artisans with western and Japanese artisans and the result of their collaborations are so unique and creative design applications.  Also, many of these international artisans teach the eco consciousness to the local artisans.

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