Difference between revisions of "Biography of I Dewa Putu Mokoh"
From BASAbaliWiki
Line 1: | Line 1: | ||
− | {{PageSponsor}} | + | {{PageSponsor |
+ | |sponsor_enabled=No | ||
+ | }} | ||
{{Biography | {{Biography | ||
|Full Name=I Dewa Putu Mokoh | |Full Name=I Dewa Putu Mokoh | ||
− | |Pen Name= | + | |Pen Name=Mokoh |
|Photograph=Dewa-Putu-Mokoh.jpg | |Photograph=Dewa-Putu-Mokoh.jpg | ||
+ | |Linked place=Place Ubud | ||
|Biography text=Dewa Putu Mokoh was the first of six children. He was born in Pengosekan, Ubud in 1936. His father, Dewa Rai Batuan, was an undagi (traditional Balinese architect) and famous gamelan musician. His mother, Gusti Niang Rai, was an expert in making lamak (decoration for offerings). Mokoh only had three years of education at the People's School (SR), equivalent to elementary school. | |Biography text=Dewa Putu Mokoh was the first of six children. He was born in Pengosekan, Ubud in 1936. His father, Dewa Rai Batuan, was an undagi (traditional Balinese architect) and famous gamelan musician. His mother, Gusti Niang Rai, was an expert in making lamak (decoration for offerings). Mokoh only had three years of education at the People's School (SR), equivalent to elementary school. | ||
Mokoh began to study drawing when he was about 15. However, his desire to become a painter had troubled his heart since childhood. Unfortunately, his father strongly opposed his desire to become a painter and rather wanted him to work in the fields, husbanding ducks and cows. For his father, painting was just a waste of time and didn’t generate any income. | Mokoh began to study drawing when he was about 15. However, his desire to become a painter had troubled his heart since childhood. Unfortunately, his father strongly opposed his desire to become a painter and rather wanted him to work in the fields, husbanding ducks and cows. For his father, painting was just a waste of time and didn’t generate any income. | ||
− | However the teenage Mokoh had plenty of initiative. Though he was busy working in the rice fields, he often managed to find time to play at the home of his uncles, I Gusti Ketut Kobot and I Gusti Made Baret. He loved watching and admiring them while they were painting and he also learned a lot of traditional art techniques from them: such as sketching, colour blocking, shading, highlighting, gradation | + | However the teenage Mokoh had plenty of initiative. Though he was busy working in the rice fields, he often managed to find time to play at the home of his uncles, I Gusti Ketut Kobot and I Gusti Made Baret. He loved watching and admiring them while they were painting and he also learned a lot of traditional art techniques from them: such as sketching, colour blocking, shading, highlighting, and gradation.* |
Mokoh later met Rudolf Bonnet (1895-1978), a Dutch painter who had lived in Ubud since 1929. Bonnet was one of the initiators and founders of Pita Maha (1936) and the Ubud Painters’ Group (1951). Mokoh was keen to show Bonnet the drawings and paintings that he had learned to create from his uncles. | Mokoh later met Rudolf Bonnet (1895-1978), a Dutch painter who had lived in Ubud since 1929. Bonnet was one of the initiators and founders of Pita Maha (1936) and the Ubud Painters’ Group (1951). Mokoh was keen to show Bonnet the drawings and paintings that he had learned to create from his uncles. | ||
− | Bonnet taught Mokoh the principles of modern painting. These included techniques for color recognition, mixing colors, composition, discovering one’s own creativity, as well the principle of freedom in painting. Bonnet always suggested that Mokoh search for his own creativity rather than follow in the footsteps of Kobot and Beret who | + | Bonnet taught Mokoh the principles of modern painting. These included techniques for color recognition, mixing colors, composition, discovering one’s own creativity, as well the principle of freedom in painting. Bonnet always suggested that Mokoh search for his own creativity rather than follow in the footsteps of Kobot and Beret who focused on traditional themes. |
− | As a result of this contact with Bonnet, Mokoh experienced enlightenment. His confidence grew. He began to realize that good paintings did not have to have Ramayana and Mahabarata themes with complicated compositions filling the image area. Mokoh felt that | + | As a result of this contact with Bonnet, Mokoh experienced enlightenment. His confidence grew. He began to realize that good paintings did not have to have Ramayana and Mahabarata themes with complicated compositions filling the image area. Mokoh felt that the purpose of such paintings was to disguise the lack of ability of the painter to work on images. |
For Mokoh, good paintings can also be based on objects around the painter, or created based on fantasy and imagination, with simple coloring techniques and image processing. A painter must dare to paint with different styles and objects, must dare to explore new possibilities. | For Mokoh, good paintings can also be based on objects around the painter, or created based on fantasy and imagination, with simple coloring techniques and image processing. A painter must dare to paint with different styles and objects, must dare to explore new possibilities. | ||
Line 21: | Line 24: | ||
Over time, the themes of Mokoh’s paintings became quite diverse. He painted about everyday life, flora and fauna, folklore, the world of children, fantasy, erotica, or simple things that attracted his attention. | Over time, the themes of Mokoh’s paintings became quite diverse. He painted about everyday life, flora and fauna, folklore, the world of children, fantasy, erotica, or simple things that attracted his attention. | ||
− | In the context of art in Bali, Mokoh is an anomaly. By studying with Kobot and Baret, he was born into the realm of traditional painting. However, the advice of Bonnet and his friendship with Mondo | + | In the context of art in Bali, Mokoh is an anomaly. By studying with Kobot and Baret, he was born into the realm of traditional painting. However, the advice of Bonnet and his friendship with Mondo opened his horizons to further develop himself in the thinking of modern art. |
Personal character is very strong in Mokoh's paintings which are often considered eccentric. He was not interested in painting the decorative things that usually appeared in traditional painting. However, with gentle strokes, he swooped straight onto on the subject matter that he portrayed through humorous, innocent, and often surprising narratives. | Personal character is very strong in Mokoh's paintings which are often considered eccentric. He was not interested in painting the decorative things that usually appeared in traditional painting. However, with gentle strokes, he swooped straight onto on the subject matter that he portrayed through humorous, innocent, and often surprising narratives. | ||
Line 29: | Line 32: | ||
In addition to domestic exhibitions, Mokoh's paintings have appeared in many joint exhibitions abroad, including America, Australia, Denmark, Finland, the Netherlands, Germany, Italy, Venice. In 1995, Mokoh’s paintings were exhibited at a solo exhibition at Fukoaka Art Museum, Japan. | In addition to domestic exhibitions, Mokoh's paintings have appeared in many joint exhibitions abroad, including America, Australia, Denmark, Finland, the Netherlands, Germany, Italy, Venice. In 1995, Mokoh’s paintings were exhibited at a solo exhibition at Fukoaka Art Museum, Japan. | ||
− | * | + | * The original Balinese terms are: nyeket, ngabur, ngasir, nyigar, ngontur. |
|Biography text ban=I Dewa Putu Mokoh wantah oka kapertama masemeton sareng nenem diri. Dané embas ring Pengosékan, Ubud, 1936. Ajinnyané, Dewa Rai Batuan pinaka undagi miwah pangrawit sané kajanaloka. Biangnyané, Gusti Niang Rai, waged makarya lamak. Dewa Mokoh wantah naenin ngranjing masekolah tigang warsa ring SR, pateh sekadi SD mangkin. | |Biography text ban=I Dewa Putu Mokoh wantah oka kapertama masemeton sareng nenem diri. Dané embas ring Pengosékan, Ubud, 1936. Ajinnyané, Dewa Rai Batuan pinaka undagi miwah pangrawit sané kajanaloka. Biangnyané, Gusti Niang Rai, waged makarya lamak. Dewa Mokoh wantah naenin ngranjing masekolah tigang warsa ring SR, pateh sekadi SD mangkin. | ||
+ | |||
Dewa Mokoh ngawitin mauruk ngambar daweg mayusa 15 warsa. Nanging, sampun saking alit ngarsayang dados tukang gambar. Ajinnyané ngarsayang mangda Dewa Mokoh magarapan ring umané, ngangonang bébék lan banténg. Manut ring pikayun ajinnyané, ngambar wantah ngutang-ngutang galah turin nénten nekaang jinah. | Dewa Mokoh ngawitin mauruk ngambar daweg mayusa 15 warsa. Nanging, sampun saking alit ngarsayang dados tukang gambar. Ajinnyané ngarsayang mangda Dewa Mokoh magarapan ring umané, ngangonang bébék lan banténg. Manut ring pikayun ajinnyané, ngambar wantah ngutang-ngutang galah turin nénten nekaang jinah. | ||
+ | |||
Dewa mokoh rikala truna nénten kirangan wiweka. Ri tepengan nénten ibuk magarapan ring sawahé, dané pepes nyilib malali ka jeron uwannyané, I Gusti Ketut Kobot lan I Gusti Made Baret. Dané seneng nlektekang lan angob rikala Gusti Kobot lan Gusti Baret sedekan ngambar. Mawit saking Gusti Kobot dan Gusti Baret akéh mauruk ngambar nganggén teknik tradisional, makadin ipun nyekét, ngabur, ngasir, nyigar, ngontur miwah sané siosan. | Dewa mokoh rikala truna nénten kirangan wiweka. Ri tepengan nénten ibuk magarapan ring sawahé, dané pepes nyilib malali ka jeron uwannyané, I Gusti Ketut Kobot lan I Gusti Made Baret. Dané seneng nlektekang lan angob rikala Gusti Kobot lan Gusti Baret sedekan ngambar. Mawit saking Gusti Kobot dan Gusti Baret akéh mauruk ngambar nganggén teknik tradisional, makadin ipun nyekét, ngabur, ngasir, nyigar, ngontur miwah sané siosan. | ||
Dewa Mokoh raris katemu ring Rudolf Bonnet (1895-1978), tukang gambar saking Belanda sané meneng ring Ubud ngawit 1929. Bonnet boya ja sios wantah pamucuk sané ngadegang Pita Maha (1936) dan Golongan pelukis Ubud (1951). Marep ring Bonnet, Dewa Mokoh ketah nyihnayang gegambaran sané muruk saking Gusti Kobot lan Gusti Baret. | Dewa Mokoh raris katemu ring Rudolf Bonnet (1895-1978), tukang gambar saking Belanda sané meneng ring Ubud ngawit 1929. Bonnet boya ja sios wantah pamucuk sané ngadegang Pita Maha (1936) dan Golongan pelukis Ubud (1951). Marep ring Bonnet, Dewa Mokoh ketah nyihnayang gegambaran sané muruk saking Gusti Kobot lan Gusti Baret. | ||
+ | |||
Bonnet raris sane ngurukang Dewa Mokoh guat-guat gambaran modern. Makadin ipun, nguningang warna, nyampuh warna, komposisi, penggalian kreativitas lan prinsip kebebasan rikala ngambar. Bonnet setata nglémékin mangda Dewa mokoh ngarereh kreasi gambaran, néntén setata nulad pamargin Gusti Kobot lan Gusti Baret sané seneng ring tema tradisional. | Bonnet raris sane ngurukang Dewa Mokoh guat-guat gambaran modern. Makadin ipun, nguningang warna, nyampuh warna, komposisi, penggalian kreativitas lan prinsip kebebasan rikala ngambar. Bonnet setata nglémékin mangda Dewa mokoh ngarereh kreasi gambaran, néntén setata nulad pamargin Gusti Kobot lan Gusti Baret sané seneng ring tema tradisional. | ||
Dewa Mokoh ngamolihang rasa jenar. Rasa sumeken ring manahnyané nyansan mentik. Dane nyansan éling, gegambaran sane becik nenten ja setata ngangén tema Mahabharata lan Ramayana sané ngebekin sahananing widang gambaranné. Dewa Mokoh ngarasayang, gegambaran kadi punika kaangen nyilibang rasa nenten sumeken tukang gambar rikalaning ngarap gegambaran. | Dewa Mokoh ngamolihang rasa jenar. Rasa sumeken ring manahnyané nyansan mentik. Dane nyansan éling, gegambaran sane becik nenten ja setata ngangén tema Mahabharata lan Ramayana sané ngebekin sahananing widang gambaranné. Dewa Mokoh ngarasayang, gegambaran kadi punika kaangen nyilibang rasa nenten sumeken tukang gambar rikalaning ngarap gegambaran. | ||
+ | |||
Manut Dewa Mokoh, gegambaran sané becik prasida karuruh ring sakancan sané parek ring tukang gambar, utawi kagambar manut idep lan kayun, tur kawarnain saha kaolah manut widang sané dahat sadarhana. Yén dados tukang gambar rikala ngambar sepatutnyané lepas saking gaguat lan parindik sané mabinayan, taler patut wanen ngaruruh makudang-kudang gaguat anyar. | Manut Dewa Mokoh, gegambaran sané becik prasida karuruh ring sakancan sané parek ring tukang gambar, utawi kagambar manut idep lan kayun, tur kawarnain saha kaolah manut widang sané dahat sadarhana. Yén dados tukang gambar rikala ngambar sepatutnyané lepas saking gaguat lan parindik sané mabinayan, taler patut wanen ngaruruh makudang-kudang gaguat anyar. | ||
Gelisan enggal, tematik gambaran Dewa Mokoh ngalimbak tur akéh. Dané prasida ngambar indik gaginan ngarahina, taru lan buron, satua, para alit-alit, fantasi, semara, miwah indik sadarhana sane nudut kayunnyané. | Gelisan enggal, tematik gambaran Dewa Mokoh ngalimbak tur akéh. Dané prasida ngambar indik gaginan ngarahina, taru lan buron, satua, para alit-alit, fantasi, semara, miwah indik sadarhana sane nudut kayunnyané. | ||
Line 69: | Line 76: | ||
|Photo of work=34481839 10215319775604298 1501631084780060672 n.jpg | |Photo of work=34481839 10215319775604298 1501631084780060672 n.jpg | ||
}} | }} | ||
− | |Topic=Artists | + | |Topic=Visual Artists |
− | |SummaryTopic= | + | |SummaryTopic=Modern innovative painter |
− | |SummaryTopic id= | + | |SummaryTopic id=Pelukis inovatif modern |
− | |||
|Contributor name=jengki | |Contributor name=jengki | ||
}} | }} |
Latest revision as of 22:21, 31 October 2021
- Full Name
- I Dewa Putu Mokoh
- Pen Name
- Mokoh
- Photograph by
- Link to Photograph
- Website for biography
- Place
- Ubud
- Related Music
- Related Books
- Related Scholars Articles
Enable comment auto-refresher