Traditional Balinese architecture incorporates elements from neighboring cultures while maintaining an indigenous base. It follows the Tri Angga concept of dividing space into sacred, common, and service areas. A traditional Balinese house contains temples, sleeping areas, work spaces, and storerooms arranged according to these principles. The Kraton in Yogyakarta is the royal palace, with areas for ceremonies, royal residences, and training of officials laid out based on Balinese cosmological concepts. Asian art examples shown are the Hindu goddess Durga from India, the elephant-headed god Ganesha also from India, and the Chinese deity Guan Yu.

1. BALINESE
ARCHITECTURE
NORSHAM BINTI LEBAI ITAM

2. TRADITIONAL BALINESE
HOUSE

Traditional Balinese
architecture has
Javanese, Chinese,
and South Indian
elements, all laid over
a strong ancient
Indonesian/Polynesian
base--.

3.  TRI ANGGA
Tri angga means "three
parts" ; high middle, and
low . The tri Angga of
Bali as a whole place are
divided as follow: the high-
sacred mountains which
form a ridge from east to
west through the center of
the island, the middle-is
where most of the
Balinese live, the low-is
the sea.
BALI GOD HOUSE

4. BALI LAND
 Natural forest area 18,1 % ,Protect forest area
963 km 2,rice field nearly 30 %,non irrigate field
30 % ,garden of cash crops such as coffe 17 %
,temperature average 29 degrees , in
mountainous area 10 degrees .Wet season from
November to March. Geographically, Bali is the
end of Asia

5. Original house of Bali

 1Family Temple. is the place to worship
the ancestor and the Hyang Guru.
2. Sleeping Pavilion.This building usually
a large eight-post structure on a high base.
3. West Pavilion The west pavilion or Bale
dauh, is the workhouse of the compound.
4. Ceremonial Pavilion The east pavilion,
or bale dangin is the ceremonial pavilion.
5. Sakenam The guest pavilion for
relatives and children.
6. Granary Or the lumbung is the
storage area for rice.
7. Kitchen Or paon is in the south
because of the association with Brahma
(the god of fire) whose place in the south.
8. Protective Wall Or aling-aling, most
behind the gates to deflect the malign
influences.


6. BALI TRADITIONAL ‘UMAH’
 The proportioning of an umah is
called karang sikut satak..
 This karang sikut satak is divided
into three parts, based on the
concept of the Mandala, which
divides a plot into zone utama,
madya, and nista. Zone utama
is,"parahyangan" a place for the
family prayer, zone madya is for
"pawongan" - a place for daily
activities, and zone nista is for
"palemahan" a place for animals,
cages, plants etc.

7. BALI TRADITIONAL ‘UMAH’
 Around the umah are built
confining walls with 4
paduraksas, pillars on the walls
having four angles. The names of
each angle are sri raksa, aji
raksa, rudra raksa, and kala
raksa. The entrance to the yard
of the umah is called angkul-
angkul. The simplest angkul-
angkul is called lelengen and the
most complicated is called
bintang aring and kori/gelung
kori.
 After you enter the angkul-
angkul, you will see a wall called
aling-aling facing you. Aling-aling
is a wall which limits and at the
same time guides so as to
prevent people from viewing from
and into the yard (natah of the
house through angkul-angkul).
Angkul-angkul
Aling-aling

8. BALI TRADITIONAL ‘UMAH’
 Natah is an open space in the middle of the
house. The Balinese's activities, including all
kinds of ceremonies, take place here. Another
place where they can do their religious
activities is the sanggah (a place of worship
for family) with its several pelinggih (holy
buildings). While a place of worship at a
parahyangan is called a sanggah, at a
pawongan it is called a pelangkiran (a place of
worship for each bale), and at a palemahan it
is called a penunggun karang.
 The number of bales (buiding) in one umah
varies according to the concepts of desa,
kala, patra (place, time, situation) and desa
mawa cara (local customs/traditions).
However, in general there are four to six units
of bale, the names of each being based on
their position or the direction of compass such
as the bale daja (balai in the north), bale
dangin (balai in the east), bale delod (balai in
the south), and bale dauh (balai in the west).

9. BALI TRADITIONAL ‘UMAH’
 The naming of a bale is also
based on the typology of the
building. The simplest bale
daja is called meten. The
meten which has a veranda
with four pillars in front is called
meten bandung. If another four
pillars are added in front as if it
looks like a two-floored
veranda, then it is called meten
gunung rata.
 The same applies to the bale
dangin which is based on the
number of its pillars : bale
dangin saka enam ( six pillars),
saka kutus (eight pillars), and
saka roras (twelve pillars).

10. HINDU BALI
 Balinese Hindu, mixed with elements of
Buddhism, animism and ancestor worship
 Lower castes outnumber the higher castes
by ten to one. Holy men, military
personnel, and the merchants rank at the
top of the hierarchy.
 With 3 million residents, it has numerous
orchestras, actors/actress, dancers, and
artists. Frequent religious festivals, feasts,
and other ceremonies

11. HINDUISM -
DIFFUSION/CULTURAL
 Essentially is a cultural religion of South
Asia.
 Hinduism is “a way of life”, if you build a
temple you will be rewarded. So, there
are many “shrines” which should be in a
“comfortable” position (for example, under
a large, shady tree) and near water which
has a holy function in Hinduism.
 A village temple should face the village
from a prominent position

12. BALI – HINDU BASIC
PHILOSOPHIES

13. BASIC 1
 “RWA BHINEDA” or “ SEMARA RATH”
Means:
THE RECONCILLATION OF 2 OPPOSING POLES,
ELEMENTS, NORMS OR VALUES.
i.e. INDIVIDUAL / MICRO-COSMOS
&
NATURE / MACRO-COSMOS
PERFECTION

14. BASIC 2
 “ TRI HITA KIRANA”
means:
3 CAUSES OF GOODNESS. ALL IN THIS
WORLD CONSISTS OF 3 COMPONENTS – THE
SOUL, THE BODAY AND THE ABILITY.
ARCHITECTURAL PLANNING & DESIGN IS
BASED ON:
THE BASIC CONCEPT OF “TRI ANGGA”

15. THE BALINESE
CONCEPT OF
BALANCED
COSMOLOGY

16. TRI LOKA OR TRI ANGGA
HIERACHY OF SPACE AND ITS
PHYSICAL MANIFESTATION
TRI LOKA SHUAH LOKA BHUWAH LOKA BHUR LOKA
TRI ANGGA UTAMA MADYA NISTA
1. UNIVERSE ATMOSPHERE LITHOSPHERE HYDOSPHERE
2. EARTH/WORLD MOUNTAIN
(FOR GODS)
LAND
(FOR MAN)
SEA
(FOR EVIL SPIRITS)
3. VILLAGE/TOWN PURA
(TEMPLE)
BANJAR (HUMAN
SETTLEMENT)
KUBURAN (CEMETRY)
4. HOUSING PARAHYANGAN/
PAMERAJAN/
SANGGAH
(HOUSEHOLD
SHRINE)
PAWONGAN / NATAH
(WORKING AND
SLEEPING
QUARTERS)
PALEMAHAN/
LEBUHAN (ENTRANCE,
THE MOST PUBLIC
AREA)
5. TEMPLE JERO
(INSIDE, THE MOST
SACRED)
TENGAH
(MIDDLE)
JABA
(OUTSIDE, THE LEAST
SACRED)

17. TRI ANGGA CONCEPT,
BASED ON THE BASIC
PHILOSOPHY OF TRI
HITA KIRANA

18. THE PHYSICAL TRANSLATION OF TRI ANGGA CONCEPT IN
THE DESIGN OF A HOUSE

24. THE KRATON
JOGJAKARTA
Presented by Norsham binti Lebai Itam

28. THE KRATON JOGJAKARTA Bangsal Kencana (Golden Pavilion) yang menghadap ke timur
merupakan balairung istana. Di tempat ini dilaksanakan
berbagai upacara untuk keluarga kerajaan di samping untuk
upacara kenegaraan. Di keempat sisi bangunan ini terdapat
Tratag Bangsal Kencana yang dahulu digunakan untuk latihan
menari. Di sebelah barat bangsal Kencana terdapat nDalem
Ageng Prabayaksa (Proboyakso) yang menghadap ke selatan.
Bangunan yang berdinding kayu ini merupakan pusat dari
Istana secara keseluruhan. Di dalamnya disemayamkan Pusaka
Kerajaan (Royal Heirlooms), Tahta Sultan, dan Lambang-
lambang Kerajaan (Regalia) lainnya.
 Di sebelah utara nDalem Ageng Prabayaksa berdiri Gedhong
Jene (The Yellow House) sebuah bangunan tempat tinggal
resmi (official residence) Sultan yang bertahta. Bangunan yang
didominasi warna kuning pada pintu dan tiangnya
dipergunakan sebagai kantor pribadi.

29. THE KRATON JOGJAKARTA Di selatan bangsal Kencana berdiri Bangsal Manis menghadap
ke arah timur. Bangunan ini dipergunakan sebagai tempat
perjamuan resmi kerajaan. Sekarang tempat ini digunakan
untuk membersihkan pusaka kerajaan pada bulan Suro (bulan
pertama dalam kalender Jawa). Bangunan lain di bagian ini
adalah Bangsal Kotak (tempat menunggu para penari untuk
pentas di bangsal Kencana), Bangsal Mandalasana (tempat
abdi-Dalem Musikan memainkan ansambel musik diatonis),
Gedhong Patehan (tempat mempersiapkan minuman teh),
Gedhong Danartapura (kantor bendahara), Gedhong Siliran
(tempat menyimpan lampu/lentera), Gedhong Sarangbaya
(tempat menyimpan peralatan makan dan minum), Gedhong
Gangsa (tempat memainkan orkestra gamelan), dan lain
sebagainya. [

30. THE KRATON JOGJAKARTA
 Keputren dan Kesatriyan
 Keputren merupakan tempat tinggal Permaisuri dan Selir raja.
Di tempat yang memiliki tempat khusus untuk beribadat, Mesjid
Keputren, ini pula tinggal para puteri raja yang belum menikah.
Tempat ini merupakan kawasan tertutup sejak pertama kali
didirikan hingga sekarang. Kesatriyan pada zamannya
digunakan sebagai tempat tinggal para putera raja yang belum
menikah. Bangunan utamanya adalah Pendapa Kesatriyan,
Gedhong Pringgandani, dan Gedhong Srikaton. Bagian
Kesatriyan ini sekarang dipergunakan sebagai tempat
penyelenggaraan even pariwisata. Di antara Plataran Kedhaton
dan Kesatriyan dahulu merupakan istal kuda yang dikendarai
oleh Sultan.

31. THE KRATON JOGJAKARTA
 Kamagangan
 Di sisi selatan kompleks Kedhaton terdapat Regol Kamagangan
yang menghubungkan kompleks Kedhaton dengan kompleks
Kemagangan. Gerbang ini begitu penting karena di dinding
penyekat sebelah utara terdapat patung dua ekor ular yang
menggambarkan tahun berdirinya Keraton Yogyakarta. Di sisi
selatannya pun terdapat dua ekor ular di kanan dan kiri
gerbang yang menggambarkan tahun yang sama.

32. THE KRATON JOGJAKARTA
 Dahulu kompleks Kemagangan digunakan untuk penerimaan
calon pegawai (abdi-Dalem Magang), tempat berlatih dan ujian
serta apel kesetiaan para abdi-Dalem magang. Bangsal
Magangan terletak di tengah halaman besar digunakan sebagai
tempat upacara Bedhol Songsong, pertunjukan wayang kulit
yang menandai selesainya seluruh prosesi ritual di Keraton.
Pawon Ageng (dapur istana) Sekul Langgen berada di sisi timur
dan Pawon Ageng Gebulen berada di sisi barat. Kedua nama
tersebut mengacu pada jenis masakan nasi Langgi dan nasi
Gebuli. Di sudut tenggara dan barat daya terdapat Panti
Pareden.Kedua tempat ini digunakan untuk membuat
Pareden/Gunungan pada saat menjelang Upacara Garebeg. Di
sisi timur dan barat terdapat gapura yang masing-masing
merupakan pintu ke jalan Suryoputran dan jalan Magangan.

33. THE KRATON JOGJAKARTA
 Di sisi selatan halaman besar terdapat sebuah jalan yang
menghubungkan kompleks Kamagangan dengan Regol
Gadhung Mlati. Dahulu di bagian pertengahan terdapat
jembatan gantung yang melintasi kanal Taman sari yang
menghubungkan dua danau buatan di barat dan timur
kompleks Taman Sari. Di sebelah barat tempat ini terdapat
dermaga kecil yang digunakan oleh Sultan untuk berperahu
melintasi kanal dan berkunjung ke Taman Sari.

34. THE KRATON JOGJAKARTA
 [sunting] Kamandhungan Kidul
 Di ujung selatan jalan kecil di selatan kompleks Kamagangan
terdapat sebuah gerbang, Regol Gadhung Mlati, yang
menghubungkan kompleks Kamagangan dengan kompleks
Kamandhungan Kidul/selatan. Dinding penyekat gerbang ini
memiliki ornamen yang sama dengan dinding penyekat
gerbang Kamagangan. Di kompleks Kamandhungan Kidul
terdapat bangunan utama Bangsal Kamandhungan. Bangsal ini
konon berasal dari pendapa desa Pandak Karang Nangka di
daerah Sukawati yang pernah menjadi tempat Sri Sultan
Hamengkubuwono I bermarkas saat perang tahta III. Di sisi
selatan Kamandhungan Kidul terdapat sebuah gerbang, Regol
Kamandhungan, yang menjadi pintu paling selatan dari
kompleks cepuri. Di antara kompleks Kamandhungan Kidul dan
Siti Hinggil Kidul terdapat jalan yang disebut dengan
Pamengkang.

35. Pintu Gerbang Donopratopo, Kraton Yogyakarta

36. Kraton Yogyakarta

37. Kraton Yogyakarta

38.  ASIAN ART

39. The Goddess Durga Killing the Buffalo
Demon, Mahisha (Mahishasuramardini),
Pala
period (ca. 750–1200), 12th century
West Bengal, India or Bangladesh
Purchase, Diana and Arthur G. Altschul Gift,
1993 (1993.7)
Metropolitan Museum of Art
www.metmuseum.org
Durga from India

40. Central Indian
Ganesha
sandstone, 11th-12th century
Ackland Fund, 85.2.1
Ackland Art Museum,
The University of North Carolina at Chapel
Hill
Ganesha from India

41. Chinese, Ming Dynasty, 1368-1644
Guan Yu
wood, lacquer and lacquer paste, polychrome and
gold,
leather and hair, 1490s
The William A. Whitaker Foundation Art Fund, 95.2
Ackland Art Museum,
The University of North Carolina at Chapel Hill
Guan Yu from China

42. Standing Buddha, Gupta period (ca.
319–500), 5th century
Uttar Pradesh, Mathura, India
Mottled red sandstone; H. 33 11/16 in.
(85.5 cm), W. 16 3/4 in. (42.5 cm)
Purchase, Enid A. Haupt Gift, 1979
(1979.6)
Metropolitan Museum of Art
www.metmuseum.org
Buddha from India

43. Wisdom King Fudo (Fudo Myo-o),
Heian period (794–1185), 12th
century
Kyoto, Japan
Joined-woodblock construction with
pigments; H. 63 3/4 in. (162 cm)
The Harry G. C. Packard Collection
of
Asian Art, Gift of Harry G. C.
Packard,
and Purchase, Fletcher, Rogers,
Harris
Brisbane Dick, and Louis V. Bell
Funds,
Joseph Pulitzer Bequest, and The
Annenberg Fund Inc. Gift, 1975
Fudo from Japan

44. Seated Buddha, Tang dynasty
(618–907), ca. 650
China
Dry lacquer with traces of gilt and polychrome
pigments; 38 x 27 in. (96.5 x 68.6 cm)
Rogers Fund, 1919 (19.186)
Metropolitan Museum of Art
www.metmuseum.org
Buddha from China

45. Krishna Battles the Armies of the
Demon Naraka: Page from a
Dispersed Bhagavata Purana, ca.
1520–30
Delhi-Agra area, India
Ink and opaque watercolor on paper; 7 x
9 1/8 in. (17.78 x 23.18 cm)
Purchase, Lita Annenberg Hazen
Charitable Trust Gift, 1985 (1985.34)
Metropolitan Museum of Art
www.metmuseum.org
Krishna from India

46. Seated Ganesha, 14th–15th century
Orissa, India
Ivory; H. 7 1/4 in. (18.4 cm), W. 4 3/4 in.
(12.1 cm)
Gift of Mr. and Mrs. J. J. Klejman, 1964
(64.102)
Metropolitan Museum of Art
www.metmuseum.org
Ganesha from India

47. Shiva as Lord of Dance (Nataraja),
Chola period (880–1279), ca. 11th century
Tamil Nadu, India
Copper alloy; H. 26 7/8 in. (68.3 cm),
Diam. 22 1/4 in. (56.5 cm)
Gift of R. H. Ellsworth Ltd., in hon
Metropolitan Museum of Art
www.metmuseum.org
Shiva from India

48. Standing Parvati, Chola period
(880–1279), ca. first quarter of the 10th
century
Tamil Nadu, India
Copper alloy; H. 27 3/8 in. (69.5 cm)
Bequest of Cora Timken Burnett, 1956
(57.51.3)
Metropolitan Museum of Art
www.metmuseum.org
Parvati from India

49. Standing Bodhisattva Maitreya (The
Bodhisattva of the Future), 9th–10th
century
Nepal
Copper alloy with gilding and color; H.
26 (66 cm), W. 8 1/4 in. (20.9 cm)
Rogers Fund, 1982 (1982.220.12)
Metropolitan Museum of Art
www.metmuseum.org
Bodhisattva from Nepal

50. Portrait of Jnanatapa surrounded
by lamas and mahasiddhas, 14th
century
eastern Tibet
Distemper on cloth; 27 x 21 1/2 in. (68.6 x
54.6 cm)
Purchase, Friends of Asian Art Gifts, 1987
(1987.144)
Metropolitan Museum of Art
www.metmuseum.org
Jnanatapa from Tibet

51. Yama, mid–17th–early 18th century
Tibet
Ink, distemper, and gold on cloth; 72 3/8
x 46 5/8 in. (183.8 x 118.4 cm)
Purchase, Florance Waterbury Bequest,
1969 (69.71)
Metropolitan Museum of Art
www.metmuseum.org
Yama from Tibet

52. Four-armed Avalokiteshvara (The
Bodhisattva of Infinite
Compassion), ca. second quarter of the
8th century
Prakhon Chai, Buriram Province, Thailand
Bronze with silver and black glass or
obsidian inlay in eyes; H. 56 in. (142.2
cm)
Rogers Fund, 1967 (67.234)
Metropolitan Museum of Art
www.metmuseum.org
Avalokiteshvara from Thailand

53. Avalokiteshvara, Angkor period
(802–1431)-, fourth quarter of the
10th–first quarter of the 11th century;
Khmer style of Banteay Shrei
Cambodia or Thailand
Bronze with silver inlay; H. 22 3/4 in. (57.8
cm)
Purchase, The Annenberg Foundation
Gift, 1992 (1992.336)
Metropolitan Museum of Art
www.metmuseum.org
Avalokiteshvara from Cambodia

54. Krishna on Garuda, Central Javanese
period (ca. 730–ca. 930), second half of
the 9th century
Java, Indonesia
Bronze; H. 15 7/16 in. (39.2 cm)
Purchase, Lita Annenberg Hazen
Charitable Trust Gift, 1992 (1992.135)
Metropolitan Museum of Art
www.metmuseum.org
Krishna on Garuda from Indonesia

55. Bust of warrior, Kofun period
(3rd–7th century), 5th–6th century
Kanto region, Japan
Earthenware with painted, incised,
and applied decoration;
H. 13 1/8 in. (33.3 cm), W. 10 7/8 in. (27.6 cm)
The Harry G. C. Packard Collection of
Asian Art, Gift of Harry G. C. Packard,
and Purchase, Fletcher, Rogers, Harris
Brisbane Dick, and Louis V. Bell Funds,
Joseph Pulitzer Bequest, and The
Annenberg Fund Inc. Gift, 1975
(1975.268.414)
Metropolitan Museum of Art
www.metmuseum.org
Warrior from Japan

56. Female dancer, 2nd century B. C.;
Early Western Han dynasty (206 B. C.-A. D. 9)
Chinese; China
Earthenware with slip and pigments; H. 21
in. (53.3 cm)
Charlotte C. and John C. Weber
Collection, Gift of Charlotte C. and John
C. Weber, 1992 (1992.165.19)
Metropolitan Museum of Art
www.metmuseum.org
Dancer from China

57. A Lady Playing the Tanpura, ca.1730–40
Kishangarh, Rajasthan, India
Ink, gold, opaque and transparent
watercolor on paper; 18 1/2 x 13 1/4 in.
(47 x 33.66 cm)
Fletcher Fund, 1996 (1996.100.1)
Metropolitan Museum of Art
www.metmuseum.org
Tanpura Player from India

58. Playing Weiqi at the Water
Pavillion, Hanging scroll, mid–20th
century
Fu Baoshi (Chinese, 1904–1965)
China
Hanging scroll; ink and color on Korean
paper; 49 3/4 x 29 1/2 in. (126.4 x 74.9 cm)
Gift of Robert Hatfield Ellsworth, in
memory of La Ferne Hatfield Ellsworth,
1988 (1988.324.3)
Metropolitan Museum of Art
www.metmuseum.org
Weigi Players from China