Second Half 20th Century

Children at Play by I Made Kania (signature on the underside), second half of the 20th century, 24 x 14 x 11 cm Seated at his desk, computer glowing, the collector has placed his latest acquisition before him. He has resolved to write an article about it. Yet, concentration eludes him: in his old building, where the soundproofing is poor, the noises of the neighborhood are a constant companion. Judging by the thuds echoing through the ceiling, the young children of the couple

Embracing Couple by I Wayan Purne (incised signature on the underside), mid-1950s to mid-1980s, 23.5 x 21 x 18 cm I Wayan Purne (whose name is sometimes spelled "Purna") is among the masters who, in the second half of the 20th century, adopted the rounded forms style created by Ida Bagus Njana in the mid-1950s. A skilled and particularly prolific sculptor, he is said to be highly regarded by Asian collectors. His pieces are generally signed under the base. Some of his finest

Young woman holding a flower and a mirror by a sculptor from the Njana Tilem Gallery, between 1970 and 2000, 31 cm, private collection Probably created between the 1970s and 1990s, the sculpture is carved from Macassar ebony, a dark wood streaked with reddish veins. It depicts a young woman kneeling, her legs folded to one side. With her head tilted, she gazes at a flower she holds between the fingertips of her right hand. In her other hand, she holds a mirror. She is simply

Dewi Uma and Batara Kala, by I Made Polih, 1950s or 1960s, 55 cm, private collection This sculpture of fairly large dimensions (55 cm high) is signed by I Made Polih and was created between 1950 and 1974. The wood is probably panggal buaya (also known as crocodile wood). According to the information available to me, it long belonged to an American teacher who lived and worked in Bali. The sculpture is representative of I Made Polih’s talent, employing here the elongated styl

A major goddess Sarasvati is one of the three principal goddesses of the Tridevi (the supreme trinity in its feminine form), alongside Lakshmi and Parvati. She is associated with the creator god Brahma, either as his creation or as his consort. As the goddess of knowledge and the arts—particularly music—tradition credits her with the invention of Sanskrit. Her mount is a white goose or a swan. Certain representations influenced by Indian iconography depict her with four arms,

Pregnant Woman, mid-20th century, 13 cm, private collection This small figure bears no inscription, but the fairly strong similarities it shows with another piece in my collection signed by I Wayan Gejir could justify an attribution to that carver. Like the sleeper discussed here , it is a variation on the motif of the sleeping figure created by Ida Bagus Njana in 1956. Beyond the plump appearance characteristic of this style of full, rounded forms, one finds the attitude of

A Makara, before 1971, 30 × 19 × 13 cm, private collection The sculpture depicts a makara, a motif found in numerous representations from India to Southeast Asia, including China. The makara is a mythical creature associated with the aquatic realm. Its features draw from those of the elephant, the crocodile, and the dolphin. Endowed with a protective function, its image is often placed on the thresholds of palaces or temples, such as at Borobudur, as shown in the picture belo

Female figure (Dewi Sri?) by I Wayan Wiri, between 1950 and 1976, 73 cm, private collection At 73 cm in height, this sculpture is the tallest in my collection. What does it represent? I have no certainty on this point, but it may depict the goddess Dewi Sri. Dressed in a long gown, the figure holds a fold of fabric against her breast with one hand. Resting on her left forearm is a fragrant pudak—the inflorescence of Pandanus amaryllifolius, a plant widely cultivated in Indone

Ganesha by I Ketut Tulak, second half of the 20th century, 26.5 cm, private collection This small figure of a dancing Ganesha is signed by I Ketut Tulak. Although Tulak is generally recognized as a master, little information about him is available in French or English. Born in 1927, he appears to have been active until the early 21st century. His work demonstrates a keen sense of line and a remarkable ability to vary styles in the depiction of traditional themes, moving fluid

A Sleeper, attributed to I Made Satriawan, 1960, Mas, 22 x 22 x 24 cm, private collection The subject is very simple: a young man with generous proportions is asleep. He is seated, his legs hidden beneath a sarong. His head is inclined on his shoulder. As is often the case in Balinese sculpture, this piece is unsigned. However, according to the Indonesian dealer from whom I acquired it, it was created by a sculptor named I Made Satriawan during the 1960s, in the village of Ma

Shiva by I Ketut Sadra, second half of the 20th century, 36 cm The figure, richly adorned and wearing a crown, is seated on a lotus-shaped throne. Its front hands perform a mudra (a codified gesture endowed with ritual or symbolic value), while its two rear hands hold a lotus, a symbol of purity and spiritual elevation, and a fly-whisk, a symbol of royalty. The fineness of the features and the hair flowing slightly behind the shoulders might suggest a female figure. However,