Rudana Museum Built in the Balinese Architectural Concept

On 26 December 1995, the President of the RI officially inaugurated Rudana Arts Museum belonging to a Balinese man, I Nyoman Rudana. The museum of which building is superbly grandiose is located on the side of main road Denpasar-Gianyar, precisely at Peliatan Village, Ubud and adjacent to Rudana Gallery. Behind the museum occurs a spreading of extensive rice field of which climate changes endlessly all the year round. At times, that rice field is soaked as flooded by water, once in a while green as drugget and on other occasion golden yellow indicating the paddy has turned yellow and harvest time has arrived.
That alluring landscape is obviously discernible from inside the museum. By adjoining position between the museum and gallery, Rudana expects that such premises will become dynamic sphere and continues to flourish. The coming visitors are, aside from being able to discern works of painting belonging to foremost painters in Indonesia that displayed on the museum’s wall, expected to carry out transaction in the gallery.
Rudana Museum is established on the land of 2,500 sq meters and its building designed in Balinese architectural style. Rooms of the museum are built on three floors in which it complies with the conception of Balinese philosophy called “Tri Angga”, namely three parts of human corporeal body comprising head, body and foot.
Three floors also reflect “Tri Loka”, namely three planes of existence consisting of upper, middle and lower plane. In addition, it is associated with three divisions of courtyard, namely innermost, middle and outermost courtyard. These philosophical concepts, if identified with the development of fine arts will reflect the regeneration of artists themselves.
Works of painting art displayed in this museum are that of Balinese traditional and modern style. Its placement is divided into three categories. On upper floor occurs the works of painting belong to Ubud and Batuan style that represented by painters the late I Gusti Nyoman Lempad, Kobot, the late Ida Bagus Made, Wayan Bendi, I Gusti Made Baret, Ida Bagus Made Wija, Taweng, Wayan Jujul, Ketut Kasta, Ida Bagus Sugata and so on. While, on the middle and first floor were displayed the works of Indonesian and Balinese painters like Affandi, Basuki Abdullah, Dullah, Fajar Sidik, Srihadi Sudarsono, Roedyat, Made Wianta, Erawan, Made Budhiana, Djirna, Marsa, Arnawa, Abbas Alibasyah, the late Ida Bagus Kalem, Kartika, Suwaji, Darmika, Made Ruta, Made Sudibya, Wayan Lotra and many more.
Currently, there are 300 collections of painting at Rudana Museum. Considering such number of painting, so the display is changed regularly. Rotation system employed is assuredly appropriate for the reason that visitors will constantly get newly backdrop.
Rudana Museum probably constitutes one of foremost fine art museums in Bali and Indonesia. Proven, several pupils and students visit the museum execute comparative study here. Such visit is definitely pleasurable because one of the functions of museum, namely as educational medium, has been fulfilled.
Operational cost of Rudana Museum is sufficiently expensive. Accordingly, its financing is taken from fixed fund of Rudana Art Foundation other than from the sale of entrance ticket and contribution of donators. The splendid building that was rooted in a dream of a Balinese man named Nyoman Rudana remains to stand firmly up to present moment. As if the sluggish economic and tourism condition did not affect it at all. Works of the maestros stay to be faithfully suspended on the wall and address every single visitor that comes by. (BTN/Gung Man)

To Grasp Perspective on Drawings by Children

Children are analogised to a piece of white paper. So, whatever written down on it will unquestionably leave a trace. Just as the children that acquire drawing lesson, either at school or private course.
Teacher of the children will exert influence on their psyche. Whatever is taught will grow into reference for them in the future. This is discernible from the works of children who attend drawing course. Drawings they produce look similar, either on object description, colouring or other techniques of drawing.
There is an interesting point on drawings by children, namely perspective they make. It is an image description of space that draws a distinction between close and distant object.
Children never think about perspective. They do not either realize if the drawings they make involve perspective. For them, drawing is part of playful activities. So, it never comes into their mind when the drawing is over, they will one day become a foremost painter, for instance. In their mind, drawing is just a medium of ‘communicating’.
Realized or not, we often teach perspective to children in our way. This is definitely misleading. Aside from being difficult to be understood by children, this matter will make their creativity restrained. Their freedom to express themselves will be disrupted, as by nature, perspective on children’s drawing is different from that of adult.
In general, perspective on drawings made by children consisting of four categories, namely avian, overturning, mutual-overlaying and piling perspective. Children will apply avian perspective on all obvious and complete objects. Here, as if children occurred above the object drawn so it conveys extensive spatial visual image.
Overturning perspective is discernible on the way to draw the object as it overturns. For instance, they draw a road along with trees and electric poles on both sides. Considering their limited capacity pertaining to perspective, so trees and electric pole are drawn as overturned.
Other perspective is the mutual overlaying. In this regard, children draw the close object completely, while the distant ones or lie behind are overlaid with the first object, so do the further objects will be covered by the second object and go on. Meanwhile, the use of piling perspective can be seen when they draw close objects placed on the bottom side of drawing space and other further objects are set down over them. Ultimately, the farthest objects are drawn on the uppermost of the drawing space.
Through this perspective concept, we give freedom to children to draw on a piece of canvas. Later, we should get down to reduce the intervention towards their drawing activity. Forcing the use of perspective of mature person to them will make them tortured and interfere with their expression. The more fatal thing, it will discourage their interest towards the subject of fine arts, in this case, drawing. (BTN/Gung Man)