Ubud Kintamani Tour

Taking the round trip to Kintamani. Including a visit to the Ubud area, provides a good opportunity for getting acquainted with Bali ,

Your first introduction to the island is the capital city of Denpasar with large town markets, an old palace, and a dancing school. The Museum of Denpasar houses an art collection of admirable scope beginning with prehistoric finds and continuing to traditional arts in practice today. Out of Denpasar, through villages specializing in stone carving and metalwork, the route leads to districts rich in the ruins of a fascinating civilization: the early Hindu Balinese kingdoms that vanished in the 15 th century. Bronze Age antiquities, awesome stone monuments and ancient statues recall legendary kings. Contemporary styles of painting and woodcarving flourish in the upland villages of Ubud and Mas, thus completing an historical view of Balinese art from past to present.

Green seas of rice, so abundant in the fertile soils of the southern plains, are scenes of quiet beauty. Fanciful palm leaf scarecrows and thatched huts to give shade are scattered throughout the countryside. A field is never without a shrine or small temple, honoring the deities of agriculture who give their blessings for a successful harvest. In village communities, women are threshing rice for tomorrow's meal, fetching water, washing along the river banks, or caring for bands of playful children who cannot resist energetically welcoming every passing visitor. The highlight of the trip is the ascent to the holy volcano Mt. Batur, and the sanctuary on the crater dedicated to the fertility goddess who dwells there. At about 1,700 meters, the slopes of Batur determine the lie of the land for central Bali . Waters enriched with volcanic minerals flow from the Batur highlands, led from one rice terrace to another, in descending steps to the sea.

Take your time; one day is not enough for the island's many surprises. No sooner than you begin to sightsee, you may find yourself in e middle of a festive religious procession: your best and most exciting guide to a Balinese temple ceremony. Many of the places mentioned here make beautiful side trips. Morning walks through family compounds lead to out of the way retreats. The highlands of Kintamani invite explorations down the crater to a cloistered mountain village, where people adhere to customs surviving for over a thousand years. Batur's peaks break through the mists around noon , so it is advisable to leave Denpasar early in the morning and plan for a full day excursion.

Within the Kintamani Tour to the volcano, there is a shorter round trip taking a half day. This trip passes through Celuk, a center of gold and silver work, to Kutri, and from there crosses over to Bedulu to concentrate on Ubud and Mas, the centers of painting and woodcarving. A worthwhile visit to view examples of some of the best in Balinese painting and sculpture over the years can be made at Ubud's Museum Puri Lukisan. Opened in 1954, the museum now has extra buildings for individual and group exhibitions as well. If you are pressed for time and are especially interested in the arts and in shopping, you'll find this shorter round trip most convenient

BATUBULAN. Driving northeast of Denpasar, one is soon among the fields and streams of Badung and Gianyar. Badung's district border is marked by a spinning factory named Patal Tohpati. Tohpati means "where people risk their lives" and alludes to a former battle between two rival kingdoms. Entering Batubulan, stone statues of divinities and demons, humans and animals line the roadside. They are sold to tourists and to the Balinese as protective figures or for family shrines. You can watch boys carving at the workshops, for the boys form the bulk of the dozen or so groups. Batubulan also boasts many dance clubs that regularly perform. Antiques and handicrafts are on sale, besides the stone carvings. Because its stone sculptors are exceptionally gifted, Batubulan is an area of beautiful temples. Particularly interesting is the Pura Puseh, lying 200 meters inland. Here, on the temple gate, deities from the Hindu pantheon are juxtaposed to ameditating Buddha.

CELUK. A silver-spun dragon twice encircle the wrist to form a bracelet sold in the village of Celuk, a center of gold and silver work original designs in delicate filigree make Balinese jewelry one of the most unusual styles in Asia. Although individual pieces are elaborate they have simple origins in their making. Art sans use a tree stump with a protruding iron spike as a pounding base, a bamboo stem to catch the filings, and a manually operated gas pump for heat. As with most Balinese craft gold and silver work is largely an hereditable trade. Apprentices' begin young. By the time the boys are twelve, they are already producing fine ornaments from the precious metal However, the increased demand by tourist has resulted in the craft extending beyond the traditional clan. Almost every family in Celuk now makes or sells gold and silver work. Kutri and Kamasan (near Klungkung) are other suc.smiting centers, the latter famous for large silver bowls

SUKAWATI AND BATUAN. After crossing the river Oos by the large new bridge. The road turns sharply north in to sukawati and than Batuan. In 1022 King Marakata issued an edict greating these two villages out of the old Sukawati. The important sukawati market even attracted Chinese merchants and the puri becomes the center for the arts. It is to day still the wayang center of Bali , besides owning famouse dance group.

Batuan specialize in dance, painting and weaving its painter tool part in devel .of modern. Balinese painting in the thirties and possess their own distinctive style. There are many art shops in both villages.

Beyond Sakah the tree way to Ubud, the road bridges a deep ravine of Pertanu River . This river an important historical landmark. The strip of land between its borders and the eastern river Pakerisan contains nomorous antiquities surviving from the early Balinese Hindu period beginning at the end of the 10 th century. Broken bas reliefs rock monasteries and Hindu statues are found scattered among the temples and rice fields. The Petanu River has a fable origin. A popular legend tells of the king Mayadanawa, whose pride in his great magical powers brought the goods to wage war against his. Defieted in battle by Indra's forces, he created a spring of poisoned water. Many of the gods died from drinking of bathing in its water. But Indra and his priest produced a spring of holy water the famous Tirta Empul which revived Indra's fallen allies. To escape his fate, mayadanawa change himself into a cock, then into rice, finally into a stone. Indra shot an arrow into the stone. Mayadanawa's blood poured forth into Petanu River . For many generations, this river was believed to be cursed. Until this century, it was forbidden to use its waters for irrigation; because it was thought that should the rice, because it was would spurt from the severed stems

BLAHBATUH. The Pura Gaduh of this market village is associated with Kebo Iwa, a legendary personality famous for his size, strength and magical power. Many landmarks and buildings are attributed to him, including the original gate of this temple. Enshrined in a small pavilion is a massive stone head over a meter high, said to be a portrait of Kebo Iwa. The head cannot be dated precisely and does not resemble usual Hindu-Javanese iconography; it is probably solely Balinese in creation. Kebo lwa was a high official of the last king of Bedulu before the Majapahit conquest in 1343. Gajah Mada, the great prime minister of Majapahit, realizing he could never conquer Bali while Kebo Iwa lived, enticed him to Java with the promise of a beautiful princess, and had him killed. The present temple is reconstructions following the earthquake of 1917, many of the statues are unfinished; some gay carvings are on the main stairs.

KUTRI. For those with a special interest the antiquities of Bali, a path leaves the lo.temple of Pura Bukit Dharma and climb steep hill covered with banyan trees to single shrine on top, Here is the fam. statue of Durga killing the bull demon un.her feet. Durga is the goddess of death, angry aspect of Siwa's wife Uma. Although the statue is defaced, the fluid motion of body defies the conventional pose of Balinese and Javanese sculpture, especially of fe. figures, and is closer to Indian prototype Standing over two meters high, this statue Durga is one of the finest works of remaining from the early 11 th century. Kutri was probably then part of the village Bur.where inscriptions say there was a burial temple honoring Mahendradatta. So Durga statue is thought to commemorates this East Javanese princess who came Bali to rule with her husband Udayana a earned the reputation of being a Calon Arang

GIANYAR. Before reaching Gianyar, traveling from Kutri, there is a road junction. If you wish to take a shorter round trip (skipping the Gianyar-Kintamani circuit), which allows more time for shopping in Ubud. And Mas, take the road which branches left to Bedulu and follow the tour from there. Or, if there is time, take the road right to Gianyar and Kintamani. On the' edge of Gianyar, the road pass several small textile works, with rows of bright, freshly dyed Rangda T-shirts and cloths hanging outside. Looking onto the square in the center of town is the puri, surviving intact from the former kingdom. A policy of war enabled its early rulers to carve out a powerful realm early in the 19 th century, until its expansion was checked by the Dutch. The puri, inside and out, presents fine examples of traditional architecture, stone and wood carving. The eating stalls near the cockfight arena are good, especially for roast pig. A side-road from Gianyar links with Lebih on the coast, where once a year people from all over the Gianyar regency hold a large celebration to placate the demonic forces that bring disease to man and rice. On a surfaced secondary road from Gianyar to Blahbatuh is the village Bona, a center of basket weaving and the home of the modern kecak dance. About three kilometers beyond Gianyar, the road onward to Kintamani branches left.

On a curve in the road near the village Sidan stands a small, elegantly carved temple-a particularly fine example of its kind which is the Pura Dalem the temple of the dead. The kulkul drum tower is decked with beliefs showing tormented wrongdoers being punished by devilish giants. The gates are flanked by deities of death who symbolize the Pura Dalem, particularly Durga, manifested as the witch queen Rangda. To the left is a separate shrine which always accompanies the Pura Dalem. It is dedicated to Merajapati, caretaker of the dead.

BANGLI. Further inland the weather is cooler. Plots abound with sweet potato, peanut, corn and spices. A high kulkul drum tower marks the entrance to Bangli, capital of a kingdom descended from the early Gelgel dynasty. The largest and most sacred temple of the district is Pura Kehen, the terraced mountain sanctuary and state temple of Bangli . An ancient document tells of the slaughter of a black bull during a feast held at this temple in the year 1204. Down below at the foot of the stairway, there is an old temple which contains a collection of historical records inscribed on bronze plates. Statues, in wayang kulit shadow play style, line the first terrace from which steps lead-to a magnificent closed gate the people of Bangli call "the great exit". Above the gate looms the hideous face and splayed hands of Kala Makara, the demonic one who catches harmful spirits to prevent them from entering. On either side are statues of villagers gesturing a welcome. An enormous banyan tree shades the first courtyard, where the walls are inl. with Chinese porcelain. An eleven-tiered me. dominates the inner sanctuary. Here on the right, you see the three-throned shrine of the Hindu trinity: Brahma, Siwa, and Vishnu. Hierarchy of deities is carved on -the back of the shrine. By turning left at Bangli, you may be pass the volcano and take a short cut to Tampaksiring. Just 3 kilometers out of Bangli on this road is Demulih hill. Is well worth the climb up, for the view central Bali is superb, and the hilly setti. (Worthy of being declared a sanctuary) conducive to peace and relaxation. Ban.it self, a little town that is usually pass through, is rewarding and worth a w.through to view some of the stone statue and temple beliefs. To reach the volcanoes Batur and Abang, continue straight. Ma.villages in this mountain region have retain an older form of culture that was not deep influenced by the courts of the lower slope

PENELOKAN. From the bamboo forests north of Bangli, the road emerges to a lookout above a huge volcanic basin. Ribbons of black lava ripple down the valley from the misty peak of Mt. Batur . This is Penelokan. "The place to look", where the world changes colors. Sometimes, the still lake there resembles blue glass, and at others, a sheet of platinum. In chartreuse and vermilion blouses. The mountain girls stride along the rim of an ancient creater surrounding Mt. Batur . Legend tells of Pasupati (Siwa) dividing the sacred Hindu mountain Mahameru and placing the halves in Bali , as the volcanoes Gunung Agung and Batur. Next to Agung, Batur is the most revered of Bali 's mountains. Temples throughout the island honor the deity who dwells at its summit.

In 1975 a road was built from Penelokan down to Kedisan on the lakeside a short, steep corkscrew way. Boats can be hired from the Penelokan craft market, or better still, one can settle everything down at the lake. On the flank of the volcano, opposite Trunyan, is a hot spring with the Hotel Gurunadi nearby, a convenient place to stay if you intend to climb Mt. Batur. Penelokan is also a good place to make a lunch stop, at one of several high standard restaurants.

Formerly, the people of this area lived relatively unperturbed at the base of the holy volcano. In 1917, Batur violently erupted destroying 65,000 homes, 2,500 temples and more than a thousand lives. Lava engulfed the village of Batur but miraculously stopped at the foot of the temple. The people took this as a good omen and continued to live there. In 1926, a new eruption buried the entire temple except the highest shrine, dedicated to God in his manifestation as Dewi Danu, goddess of the lakes and waters. The villagers were then forced to resettle on the high cliffs overlooking Batur. They brought the surviving shrine with them and rebuilt the temple, now known as Pura Ulun Danu of Batur village.

TRUNYAN. From Kedisan, on the shores of Lake Batur (where the new road leads), a prahu takes you across the lake to Trunyan, hemmed in by the towering crater wall. A path down the rim of the crater also leads there. Cut off and relatively inaccessible, Trunyan is ethnically and culturally outside the Balinese mainstream. The inhabitants who call themselves the Bali Aga, or the "original Balinese" to this day retain a social order aligned with prehistoric traditions. Cremation is not practiced here. On the lakeside, not far from the village, lies a simple fenced off area where the dead are placed and allowed to disintegrate by natural process. Secretive and protective about the customs exclusive to their community, the people keep hidden Bali 's largest statue 4 meters high, that of Ratu Gede Pancering Jagat, the patron guardian of the village. From the village of Songan , past Kedisan, there is a long but interesting walk back to Kintamani.

BATUR. In 1927, the people of Batur began building Pura Ulun Danu, the temple w.once lay at the foot of the voilcano. It was ambitious Project. The majority of the planned shrines are yet to be Completed present, the temple is finely and simply signed. Two august gateways, severe in trast to the elaborate split gates of South open onto spacious courtyards laid with be gravel. Rows of meru towers silhouette ag.the sky in full view of the smoking volcano. The bale gedong, a storehouse of preciously, contains a bell of solid gold. As the goes, the bell was presented to the treasure the temple by a king of Singaraja in at .ment for his having insulted the deities ritual in this temple is closely linked the veneration of Lake Batur and supplic., for the blessing of irrigation water mountain lakes help regulate the flo.water to the fields and villages through many natural springs lower down the sl.

KINTAMANI. Inscriptions from the 10 th century indicate that this high mountain district which takes its name from the ancient, windblown town at 1,500 meters was the earliest known kingdom in Bali . Its small houses are constructed of wood and bamboo tiles to give warmth in the cold evenings of the highlands. Plentiful vegetables and fruits prosper in the damp climate. Like many of the old villages in Bali , the center of community affairs is the bale agung, the village assembly hall, where the elders of the desa authority meet once a month. The dances of Kintamani are varieties of the Sanghyang trance dance, rarely performed in other parts of the island. Every third morning, the main street becomes a gay bazaar for all the surrounding villages. There are several small hotels for an overnight stay while exploring the area. Not far north of town, a dirt road branches left down towards Lake Bratan , and to the village of Selulung with its interesting little, stepped pyramids.

PENULISAN. The main road continues its ascent to a hillside in the clouds. At the top of a long flight of steps rises the mountain sanctuary of Pura Tegeh Koripan, at 1,745 meters the highest temple in Bali . It is actually a complex of temples at which a circle of surrounding villages worship. The sparsely adorned bales shelter lines of fine statues; portraits of Balinese kings, queens and divinities; and linggas. Several statues bear dates of the 11 th century, another that of the 15 th century. It is thought that this temple was the mountain sanctuary of the old Pejeng kingdom, just as Pura Besakih was the state mountain sanctuary for the later Gelgel dynasty. The clouds often wrap them selves around the high peak, but on a clear day, the view from Penulisan encompasses half the island: from the crest of Mt. Bratan in West Bali to the Java Sea . This temple is the farthest point north on this tour, but one can continue north to Singaraja

On the return trip south of Penelokan bearing right, you pass three villages striking in their uniformity. The identical rooftops and continuous high walls are seldom seen in the more relaxed organization of typical villages. Although such conformity could only come from old communities where individualism is still minimal, the true explanation for their construction is the eruptions of Gunung Agung and Mt. Batur in 1963. Because the soil was poisoned by the volcanic ash, all occupants of this region had to be evacuated to emergency camps set up all over Bali . When the people resettled upon their land, they rebuilt their entire village at the same time. Thus all the buildings look alike.

You are now entering territories that were settled by the Bronze Iron Age, which began about 300 B.C. and continued well into the first millenium A.D. The great bronze drum of Pejeng, and various axes, jewellery and figurines are still preserved in temples as

sacred heirlooms, or have been found in rice fields and entered private collection from the 10 th century till the Majapahit conquest in 1343, this area was the heartl. of the kingdom ol Pejeng-Bedulu. Its king issued decrees written on plates of bro.from which scholars have been able reconstruct the history of the kingdom. The inscriptions, found all over Bali , tell village and state affairs. Both Hinduism Buddhism were practiced, and priests ser as advisers to the kings and as member the royal court of justice. Many inscription, describe the founding of monasteries with a village territory and the freeing of village from certain state taxes to pay for monasteries' upkeep. The ruins of the monasteries survive to this day; many Bea.relief's cut into rock. Statues of god's kings dating from these centuries are preserved in dozens of temples.

TAMPAKSIRING. The hollowed spring of tirta Empul in Tampaksiring dates from legendary times. In popular folklore it was made by Indra when he pierced the earth to create a spring of amerta, the.of immortality, with which he revived his forces who were poisoned by Mayadanawa. The water are believed to have magic curative power, every year people journey from all over Bali to purify them selves in the clear pools. After leaved a small offering to the deity of the spring. Men and women go either side to bath. On the full moon of the fourth mounth each year the villagers from nearby Manukaya take a sacred stone to be cleansed at Tirta Empul. When the weathered inscription found on the stone was deciphered, it gave the date of Tirta Empul's foundation as AD 962 and described the cleansing ceremony for a thousand years these villagers had been abiding by this tradition with out having been aware of the meaning incised on the stone! In 1969 the temple at Tampaksiring was completely renovated. Many of the shrines were built anew and painted in bright colors. Outside the temple are rows of sales stands where you may buy souvenirs-the bargain being carved bone jewelry.

On the hill above the sacred spring is the Government Palace built in 1954. Once a resting place for Dutch officials, the site was chosen by former President Soekarno as his residence during his frequent trips to the island.

South of Tirta Empul, on a line joining it with Gunung Kawi, is Pura Mengening. There is a definite connection between these three places. At the latter temple there is a free standing candi similar to those candis the facades of which are hewn from the rock at Gunung Kawi. Like Tirta Empul, the temple has a spring of pure water, which is also a source of the River Pakrisan. Pura Mengening might be the commemorative temple of King Udayana .

GUNUNG KAWI. From the lookout above a long' stairway, ghostly habitations appear on the far side of the valley. The young River Pakrisan bubbles down over boulders, as it winds through the rice terraces. This is the striking setting of Gunung Kawi, a complex of rock-hewn candis and monks' cells.

Legend has it that the gigantic strongman Kebo lwa carved out all the monuments one night with his fingernails. Remarkably preserved in their deep niches over 7 meters high, they are only facades without interior chambers. There are ten in all the main group of five east of the river, a group of four west of the river, and one by itself at the southern end of the valley.

Each has a complex of monks' calls nearby. The candis however were not places of burial, but served as memorials to deified royalty. Short inscriptions on some of the candis have enabled archaeologists to attribute them to the end of the 11 th century, soon after the death of Anak Wungsu in about 1077. B.the identity of the kings and royal spouse honored there has not been determined with certainty. One theory say main group five candis honored Udayana, his queen, concubine, and his two sons, Marakata and Anak Wungsu. Another theory suggests to honored Anak Wungsu and his royal wave the group of four candis is thought to ensh.Anak Wungsu's concubines. The tenth candies honors a high. State official. Perhaps Anak Wungsu ordered the Gunung Kawi moments sculpted at a place where he him.used to meditate.

Similar though smaller rock hewn candis, and monks' cells have been discovered other parts of this central heartland of Pejeng kingdom, several of them also on River Pakrisan. By the suspension bridge, Campuan, Ubud, are a couple of cells those times the monastic tradition must b. been strong.

PEJENG. There are no great .ancient palaces. The remains.kingdom are mostly statues.many temple. One of the most impressive antiquities in Indonesia . How ever is the monumental bronze drum called the moon of Pejeng". Pura Penataran Sasih. It is thousand years older than the Pejeng Kingdom, for it survives from the bronze age in Indonesia which began about 300 B.C. first made know to the west in book published as long ago as 1705. It is the large drum in the world to be cast as a single piece. Shaped like an hour glass and over 3 meters long, the drum is of a rare type decorated with eight stylized head. A stone mold for a similar drum found in Bali proves that a highly sophisticated technique of bronze casting was used in ancient Indonesia .

The old Balinese, however, tell a different tale: once there were thirteen moons in the sky aid of twelve. One night, one of ach year instead, one of the moons fell to the earth and was caught in a tree. It shone so brilliantly that it prevented the local thieves from their nocturnal depredations. The boldest among them determined. To extinguish the light. He climbed up the tree and urinated on it. The "moon" burst, killing the thief, and fell to the ground in the form of a drum, explaining why it is now broken at the base. The large stones lined in back of the pavilion are said to be fallen black stars.

Besides in the Pura Penataran Sasih, which was the state temple of Pejeng , important antiquities are found in three other temples. Pura Kebo Edan (Crazy Buffalo) houses a giant statue 3.6 meters tall. In Pura Puser ing Jagat (Navel of the World) a remarkable stone vessel tells in carving the story of the Churning of the Ocean by the gods and demons to obtain the elixir of life. Two kilometers east of Pejeng is the old monastery of Goa Garba.

BEDULU. The village at the crossroads beyond Pejeng was once the center of early Balinese dynasties. In the 14 th century, the armies of the Majapahit dynasty in Java threatened many parts of the archipelago. One ruler refused to submit: Dalem Bedaulu or Raja Tapolung (fall from Meditation), the last king of the Pejeng dynasty, a man reputed to be endowed with supernatural powers. Boastful of his awesome powers, he was punished by the gods. According to one version of the legend, Bedaulu at his own command would have his head cut off by a servant and then replaced, without causing him harm. One day, however, the king's head accidentally fell into a river and was carried away by the torrent. The desperate servant hastily decapitated a pig and thrust its head onto the shoulders of the king. Ever after, the king dwelt on a high throne and forbade his subjects to raise their eyes in his presence. Alas for all secrets in Bali , the sharp eye of a passing child espies him. The world was spread throughout the land of "Bedaulu". He who changed head".

In other versions of the story it is the Majapahit prime minister Gajah Mada who discovered that the king had a pig head granted an audience, he asked to eat the boiled ferns and drink he had to raise his head, thus discovering Bedaulu's bestial appearance Scholars have a more prosaic theory for the origin of the name my have Bedaulu, or "(the village) up stream"

Dalem Bedaulu was the last monarch on the Pejeng Dynasty which fell in 1343 the Gajah Mada forces from Java. Short.there ere after e new ruling dynasties which owe.allegiance of Majapahit was established a Samprangan, just east of Gianyar. A century later the capital was moved to Gelgel near Klungkung.

GOA GAJAH. A short distance from Bedaulu stands the mysterious Goa Gajah or-" Elephant Cave ". A fantastically carved entrance depicts entangling leaves rocks, animals, ocean waves and demonic human shapes running from the gaping mouth which forms the entrance to the cave the monstrous Kala head that looms above the entrance seems to part the tock with her hands. Similarly decorated hermit cells are also found in Java. The large earrings indicate that the figure is that of a woman. The T-shaped interior of the rock-hewn cave contained niches which probably served as compartments for ascetics.

Recent excavations carried out in 1954 unearthed bathing places in front of the cave with six female figures, representing nymphs or goddesses holding water spouts.

An energetic clamber down rocks and rice terraces fifty meters behind the cave leads to the fragments of a fallen cliff face with the broken bas-reliefs of stupas and a tiny cavern enshrining two ancient Buddha statues.

An old Javanese chronicle written in 1365, some twenty years after the Majapahit conquest of Bali , says that one of the two Buddhist bishops in Bali at that time had his hermitage at Lwa Gajah, the "elephant river", which probably alludes to the Petanu River which flows nearby in its deep gorge. However, Goa Gajah dates back certainly to the 11 th century. Whether it was originally a Buddhist or Hindu hermitage cannot be answered with certainty, for there are both Hindu and Buddhist sculptures inside or outside the cave. Perhaps monks of both religions had hermitages close to one another. In pre Majapahit Java and Bali , the two religions, both influenced by Tantric beliefs and practices, had begun to amalgamate into what is called the Siwa Buddha cult. Buddhist practices and doctrines survive to this day amongst a small segment of the Brahmana priests who are mostly found in East Bali .

YEH PULU. A strenuous walk inland along borders of rice fields leads to the unfrequented ruins of Yeh Pulu. It's best to take a guide there, though you will always be accompanied by dozens of curious children who scamper along with you. Yeh Pulu is a small temple walled by a carved cliff face an enigmatic frieze 2 meters high and 25 meters long. Of the figures carved in high relief, none appear to be deities except the seated Ganesa, the elephant headed son of Siwa. In the first scene of the frieze, a man carrying two vessels of palm beer walks behind a woman of high caste wearing an elaborate headdress. They approach a house where an old woman appears from behind the doorway. Next, a man with an axe converses with a woman Sitting near him is a hermit wearing a turban which surprisingly is almost identical to the crown the high priest wears today. There follows a violent scene involving a bear (?) in which a man thrusts a special double ended knife into the beast's open muzz. Beside it, in a comic representation, a fro imitates the hero's attitude and action thrusting a knife into the mouth of attacking snake. Next, two men carry the animals on a pole between them, and final scene shows a rider on horseback a woman being pulled along behind. Mak. fun of this last scene is a little relief depicts a female monkey clinging to her mate's t.

Although the relief's were excavated 1925, their exact meaning remains conj. tural, like many mysterious carvings in district. The reliefs may represent a story Krishna , the last scene depicting the h.returning home triumphantly with Jambawa. The daughter of the slain bear, tied to horse's tail. Krishna later marries Jambawa

At the far end of the frieze is a herm. niche near a small underground spring. I. presumed Yeh Pulu was a hermitage da. from the 14 th century.

UBUD. The trip to Ubud is a time change from stone dwellings of antiquity to a current center of fine arts noted for its painters on the threshold of Ubud the village of Peliatan with an especially active dance troupe and gamelan orchestra. These famous musicians have represented Indonesia abroad in Europe and the United States . The village puri continues the tradition of fine performing with private dance lessons for aspirants from the age of five. It's delightful to watch a Legong instructor glide through the motions of the dance trailed by four little girls, their feet weaving patterns over the courtyard and their faces set in concentration to the essential rhythm of the drum.

A quieter rhythm guides the daily life of Ubud. Each morning farmers set their fighting cocks along the roadside to bask in the sun. Covarrubias says they do this so the cocks will be amused watching the passers-by: sturdy women suspending hemispheres of pots to be sold at market, farmers bearing sheaves of rice, and nowadays passing automobiles. It's nice to join them and stroll through the plentiful shops that line the avenue opposite the old puri in the town's center. Ubud is excellent for shopping. Galleries display contemporary styles by old masters of thirty years experience and young boys who have developed a manner of their own-the "Young Artists" style. Many shops have studios at the back where you may watch painters at work.

For decades the serene beauty of this village has lured celebrities and artists from all over the world, some of whom stayed to build their homes here. Down the road at Campuan, the junction of two rivers that flow through Ubud, are the formei residences of Walter Spies and Rudolf Bonnet, artists who lived here during the thirties. With the support of Cokorda Gede Agung of Ubud, these two painters founded the Pitha Maha, a society which encouraged the young artists of the area, criticized them, provided them with materials and encouragement, and patronized their work. Spies' own paintings inspired the Balinese 'artists to abandon the rigid forms of the traditional style and adopt such European techniques as perspective. (Spies died during World War II.)

Since the turn of the century the art of North Bali had come under European influence. The modern styles of Ubud and Batuan drew their inspiration from the scenes of everyday life about them, besides from the classic stories of Old Javanese literature. Many of the Balinese painters associated with Pitha Maha remain to this day among the island's most outstanding artists: A.A. Gede Sobrat, I Gusti Nyoman Lempad, Ida Bagus Made Poleng, I Gusti Ketut Kobot and several others, each working in his own style. An outstanding name among the woodcarvers was I Tjokot from the village of Jati , 15 kilometers north of Ubud. Mas and Nyuhkuning were other early woodcarving centers and still are.

At the present time Dutch born Han Sne. and the American Antonio Blanco are the long-resident foreign painters. They have galleries in their homes where their work may be seen. Dutch-born Arie Smit, when he first lived in Ubud, encouraged children paintings from which arose the "Young Artists" style with its bright colors. The patronage of the arts continues, with friend and collectors intermittently sponsoring exhibitions abroad

The Museum Puri Lukisan (Palace of Find Arts) , also called the Museum Ratna Wartha was begun in 1954 and opened two year later as a permanent collection of modern works of Balinese art. Beautifully situate above a garden, the museum display sculpture and paintings in chronologic, order, giving a clear view of the modern movements in Bali 's art centers. In the ear seventies two new buildings were added, or being used for exhibitions. Bonnet returned to Bali in 1973 to help expand the permanent collection.

Ubud is the only important tourist center in Bali outside the Denpasar-Sanur-Kuta area. There are several hotels, and recently in 1975 electricity came. Many tourists like to make Ubud their home while in Bali and travel out from there. Besides the main trips, there are many roads and places near at hand that are enjoyable to visit. The terraced fields and waterfalls in nearby gorges invite one to leave transport behind and set off on foot. Any direction is fine. The best-known walk is to the monkey forest, just south of Ubud, where a troop with a fine-looking king inhabits the surviving patch of jungle. A great banyan tree straddles the nearby gorge on the path down to a delightful bathing place. The Pura Dalem on the edge of the forest has exceptionally fine statues of Rangda gorging herself on young children. The road south through Padangtegal leads on to Pengosekan, a village of painters since the thirties. In Bali it gained some fame from the visit there in 1974 by Queen Elizabeth II.

Cross over the suspension bridge at Campuan, and turn left several hundred meters beyond, for the path to Pengastanan, main village of the "Young Artists". On trips further a field on the back roads, a motorbike is best. From Ubud, two roads, besides the usual one via Tampaksiring, lead to Kintamani. One road goes through Payangan, famous for its lychees which grow nowhere else in Bali . The second road is surfaced as far as Tegalalang. Jati, where I Tjokot lived, is just off the latter road beyond Tegalalang. There are several art shops along the road. Up nearer the crater; be prepared to encounter thick volcanic sands left behind when Gunung Agung erupted in 1963. Ubud serves well both the traveler who wants to get about and those who prefer a quiet relaxing stay.

MAS. According to the Balinese chronicles, Danghyang Nirartha (Padanda Sakti Wahu Rauh) came to Bali from Java at the end of the 15 th century and made his home in this village. This priest, from whom almost all of Bali 's Brahmanas claim descent, gave Balinese Hinduism the form it now presents, including its highly complex offerings and spectacular cremation rituals. He became court priest of the Gelgel ruler. Dozens of temples in Bali are associated with his name, for he made long trips on foot through the island. Most of the villagers of Mas (which means "gold") are Brahmanas who honor their ancestor in the Pura Taman Pule built upon the site of Nirartha's residence.

In the olden days, the fine arts of wood carving and painting were reserved almost exclusively for royal and religious purposes. Nowadays they are also produced for enjoyr ment and commerce. Men of every caste are artisans, and in Mas live some of the most talented. The best known is Ida Bagus Nyana, who in 1974 received a high national reward in recognition of his art. For many years he has not sold his beautiful and original carvings, which may be seen at his home. His son, Ida Bagus Tilem, is one of several accomplished sculptors working at Mas. Some carvers specialize in masks for the Topeng and other dances.

Do not be surprised when you visit an art shop to find a corps of woodcarvers making statues-the Balinese do everything in groups, and many of the young carvers work under the direction of a master. A carver selects his seasoned block of timber-often; an ebony from Sulawesi then shapes the rough form with an axe. With a mallet and dozens of small chisels, the carving is worked into its finished form and finally smoothened. The polish is nothing more than shoe shine. Again, the sculptors begin young. The most expensive carving is often done by boys of twelve years.

According to mythology, when the deities made mountains for their thrones, they set the highest peak in the east a place of honor to the Balinese. During centuries of isolation the islander knew this sacred volcano Gunung Agung. As "Navel of the World" in every temple a shrine is dedicated to the spirit of Mt. Agung The tapering form of cremation towers. merus. And even high temple offerings bear the shape of a mountain, mirroring the people's reverence for their holy volcano. Here, on the slopes of Gunung Aqung lies the mother temple of all Bali Pura Besakih A cluster of temples. Pura Besakih represents religious unity within Hindu Balinese beliefs.

In February 1963, devotees of this temple were busily engaged with last preparations for the Eka Dasa Rudra, the greatest of Balinese sacrifices which occurs once every 100 years. Suddenly a glow of fire shone from the crater and Gunung Agung began to rumble. A priestess interpreted the ashes of the volcano as a road conditions. Sacred portent sent to purify Besakih, and the people continued with their festal arrangements by the time the great sacrifice was held on March 8th, thick columns of dark smoke were surging from the summit. Shortly after, Mt. Agung exploded, destroying hundreds of homes and killing over a thousand people. It was a remarkable coincidence, for the volcano had been dormant for centuries. To most Balinese, of course, the eruption did not occur by chance, but was chastisement for having offended the gods. The volcanic ash destroyed most of the crops in the island. Many Balinese relate stories of hardship, when food consisted mainly of insects and field rats, until relief came. Today, Gunung Agung, is once again quiet, and Pura Besakih, the holiest of all temples in Bali , bustles with devotees.

East Bali offers a different impression from the southern plains. The east is a quiet Country of high bare hills ribbed with ancient terracing. The coastal strip along the eastern shore consists primarily of coconut and banana groves. Coral is gathered for making into building lime, but gradually the coral reefs are being destroyed. Partly hidden by the eastern coastal ranges is the colossal cone of Gunung Agung, the peak of which on clear days soars high above the countryside.

To reach Klungkung, follow the Ubud Kintamani Tour to Gianyar. And then drive directly east. In the area between Gianyar and Klungkung are lush river gorges, valleys sheltering farm villages, and country tracks down to the sea. East of Klungkung, landscapes are still blackened by the lava streams of the '63 eruption, which isolated this area from tourist travel for several years. Along the eastern shores palm dip their branches above the waves of the strait which separates Bali from the island of Nusa Penida . Many interesting places are side trips from the main route. To see the east, it's better to plan two sparated day trips: the first to Klungkung and Besakih, and the second a full day's outing the embrances part east of Klungkung and the territories of Karangasem. Seasonal changes affect the condition of side roads; so especially for traveling in the Karangasem district, inquire for information on present road conditions

KLUNGKUNG. As the seat of the Dewa Agung, nominally the highest of the old Balinese rajas, Klungkung holds a special place in the island's history and culture. As artistic centers, the palaces of Klungkung's rajas and noblemen patronized and developed the styles of music, drama and the fine arts that flourish today. The capital was shifted to Klungkung from nearby Gelgel in 1710, and a new palace built. Probably towards the end of that century the original Kerta Gosa, Hall of Justice, was erected. An exquisite example of the Klungkung style of painting and architecture, the present Kerta at the town's main intersection is beautifully laid out within its moat. Three Brahmana priests acting as judges presided over this royal court which continued in existence through Dutch times. Cases were brought here only if they could not be settled among families or individual villages, as the Kerta was the island's highest court of justice and by far the strictest. Imagine a terrified defendant kneeling before the tribunal, gaze chancing to wander to the coiling .which were painted scenes of the horrors .would meet after death, were he guilty if .dared to look higher he found each punishment complemented by a reward in heaven that time, perjury could bring a curse up three generations.

The Bale Kambang, the Floating Pavilion, likewise decorated, was used by the attendi.royal family. Pan Semaris and Mangku M. directed the present paintings in 1945.

Two kilometers south, between Klungkung and Gelgel, lies the village of Kamasan , the present day center of the Klungkung style painters. Indeed that style is often called Kamasan or wayang style, as it draws its m. themes front Old Javanese literary classic, Kamasan is also a famous center of gold a silver smithing. In the art shops of Klungkung one can buy modern and Klungkung style paintings, carvings, silverwork and silks.

BESAKIH. A climb north, throught the astronishing landscapes of Bukit Jambul, ascend over 900 metera up the slopes of Gunung Agung to Pura Besakih the holiest of all temple in Bali . It originated most probably as prehistoric terraced sanctuary where word ship and offerings were made to the god of Gunung Agung, the dominant landscape element in the Balinese world. Over a thousand years and more, it was enlarged and added to until it grew into the present complex of about 30 temples. In the 10 th century it was apparently a state tample. According to inscriptions kept here, an important event took place in the year 1007. In can only be quessed that his was associated with death rituals for Queen Mahendradatta. Udayana's co ruler who died previous year. Since the 15 th century it was the state temple of Gelgel Klungkung dynasty which built a series of small temples in honor of its deified rulers. Now it is the state temple for the provincial and national governments which meet all expenses. Today, Pura Besakih is revered by all Balinese as the "mother temple" of Bali .

Within the Besakih complex the paramount sanctuary is the pura Penataran Agung which rears its lofty merus on a hight bank of terraces. Steps ascend in a long perspective to the austere split gate. Inside the main courtyard stand the tree seated shrine enthroning the Trisakti, the trinity of Brahma, Visnu and Siwa. During festivals the shrines are wrapped in colered cloth symbolic of the deities. The Pura Penataran Agung and two other important temples higher up the slope likewise together symbolize the trisakti. In the center Pura Penataran Agung is hung with white banners for siwa; to the right, pura Kiduling Kreteg with the red banner for Brahma; and Pura Batu Madeg, to the left, with black banner for Visnu. These letter two temples are taken care of by the Karangasem and are taken care of by the Karangasem and Bangli regencies respectively, certain other shrines being the responsibility of the other regencies. All of Bali comes together at Pura Besakih. Religiously, oneness is symbolized in the padmasana in Pura Panataran Agung, dedicated to Sang Hyang Widdhi, the Supreme God.

Pura Besakih is most fascinating at festival times, but it is grand and impressive whenever you go there.

The drive up the mountain to Besakih, with a stopover in Klungkung for sight-seeing and shopping, takes a full day. To resume the tour of East Bali , if you are staying in Denpasar, it is best to leave early in the morning the following day. By passing through Klungkung before noon , you may choose a site to lunch on the beach or in the shaded countryside and visit the Bat Cave , fishing villages and Tenganan before reaching Karangasem in mid afternoon. In 1976 when the road linking Rendang with Karangasem is finished, it will be possible to make a Besakih-Karangasem round trip comfortably in a day. You may I.lucky to arrive in Bali during a time who eastern villages are holding ceremonies. Festivals, unique to these villages, should not missed, so check the calendar of events at yourhotel to find a good time to visit.

Enroute to Kusamba, one passes the first, numerous solidified lava streams which sw., through Karangasern. Where there were or rivers, rice fields and villages, now lie will strips of lava rock reaching down to t sea. The eruption of Mt. Agung in 1963 destroyed the roads, isolating one fifth of the isle and leaving many homeless. Recently, road and bridges have been restored, but the isle remains desolate in many places. A line of from trees, rising from the ash, once bordered Village Street . On holy days, women walk ki. meters with their offerings over the bar rock, faithful to places of crumpled br. which they remember as grand temp containing many shrines and bales.

KUSAMBA. Colorful outrigger prahus line the black sand shores of this fishing village, directly across from Nusa Penida, an island of 40,000 people. The strait between the two islands is filled with fish, and when the weather is calm the seas are be speckled with white sails. Twice a day fishermen set out for Nusa with cargoes of peanuts, fruit and rice, for that dry, hostile island is only sparsely cultivated. The sailors of Kusamba boast that their large prahus with crews of five can carry up to one and a half tons of cargo. They also carry passengers across who wish to visit the coral gardens and white sand shores of Nusa. Another trade of east coast villagers is salt panning. Where the road nears the sea, rows of brown, thatched roofs emerge from the sands. These huts are small factories for making salt. Wet sand is gathered from the sea and spread in sand banks along the beach. After drying, it is dumped in a large bin inside the hut. Slowly, a pure water of high salt content drains through the sands, which is then poured into bamboo troughs to evaporate in the sun, leaving the salt crystals. The entire process takes one day, and on a good day the salt panner makes five kilograms of salt which he sells in the market of Klungkung. Although Kusamba is a fishing village, the people live a bit inland because of the old Balinese fear that the ocean is magically dangerous.

A trip to Nusa Penida is for the traveler who can appreciate out of the way places without comforts. The Kusamba prahus come in at Sampalan, the fishing center for Nusa, particularly beautiful in the morning with Bali looming across the strait. All the terraces in this rocky island are faced with stone. Several villages weave a reddish ikat cloth that can also be bought at Klungkung. With its own peculiarities of language and art, the island has interesting temples Pura Ped on the north coast, and one at Batukandik where the sun seat takes the form of a woman.

GOA LAWAH. The road continuing east parallels lovely seascapes with a full view of Nusa Penida, inviting sunbathing, picnics and refreshing swims. One passes close to the sinister Goa Lawah, the Bat Cave , whose walls literally vibrate with thousands of bats-their bodies packed so close together that the upper surface of the cave resembles undulating mud. The sight would be more eerie if it weren't that whenever the creatures venture out of. The cave into daylight, their radar sense directs them back into their murky dwelling place. Being an extraordinary phenomenon, Goa Lawah is considered holy. A temple with shrines protects the entrance. The cave is said to extend all the way back to Besakih, and may contain an underground river, which comes up, it is said, at Pura Goa (Cave Temple) within the Besakih complex a temple associated with the mythological naga or serpent Basuki which is also honored at Pura Goa Lawah, where a snake is said to live, feeding on bats.

PADANGBAI. A perfectly shaped bay crad.in the hills, the harbor of Padangbai is main port of all transit to the neighboring land of Lombok , with passenger and ci. vessels departing each morning. International shipping lines making stopovers in Bali an, to the left of the bay; visitors and cargo ferried to the pier. An area enclosed by w. sand coves and turquoise sea, the small ha town makes a good visit for yachtsmen sa. to Bali . The history of this coastal village connected with those eventful years that the deaths of Mahendradatha and Udayana the beginning of the 11 th century. There I.at Padangbai at that time a priest of g.stature, Kuturan by name, who was capa.rejecting the wishes of a king and is remembered for his reform's of village organization Pura Silayukti at Padangbai is said to , his residence. Continuing east, the road pa.through the beautiful area around Mangu Mountains on one side, the sea on the o.

TENGANAN. On a side-road, leading inland to the hills near Karangasem, is Tenganan, one of the most conservative villages of the Bali Aga "original" Balinese. This is a walled village. Within the bastions, all living compounds are identical in plan and are arranged in rows on either side of the wide, stone-paved lanes which run the length of the village. The people of Tenganan claim to have come originally from Bedulu. The legend of how they acquired their land dates from the 14 th century: the mighty king Dalem Bedaulu lost his favorite horse and sent the villagers of his kingdom in all directions in search of it. The men of Tenganan traveled east and found the corpse of the horse. When the king thereafter offered to reward them, they requested the land where the horse was found, i.e. all the area in which the carcass of the dead horse could be smelt. The king sent an official with a keen sense of smell to partition the land. For days, the chief of Tenganan led the official through the hills, yet still the air was polluted with odor of dead horse. At last, the tired official decided this was enough land and departed. After he had left, the Bali Aga chief pulled from his clothing a very smelly remnant of the horse's flesh.

Tenganan still owns, communally, these large tracts of well cultivated land. Traditionally, the men were not accustomed to work in the fields with their own hands and hired out their land to men of neighboring villages. The aristocratic Tenganese went to the fields chiefly to collect tuak, a popular palm beer. The women of this village weave the famous "flaming" cloth, kamben gringsing, which supposedly has the power to immunize the wearer against evil vibrations. Through an intricate process of weaving and dyeing, known only here, a single cloth takes five years to complete. Only the finest pieces are worn by Tenganan people for ceremonial dress. The imperfectones are sold, since they are much in demand throughout Bali .

During ceremonies here, girls, from the age of two, wrap their bodices in silk, don a multi colored scarf and flowered crowns of beaten gold. Men begin to play the mysterious melodies of the gamelan selunding, an archaic orchestra of iron sound-bars, seldom heard outside a few cloistered villages in the east. Very slowly the girls file out of the darkness their eyes cast to the ground. Silently, they lift their scarfs and let them fall again, always moving in slow, dreamlike elegance. This is Rejang, a ritual offering dance.

The Fight of the Pandanus leaves at Tenganan takes place only once a year during a festival called Usaba sambah. To the accompaniment of the sacred gamelan selunding two men each with a round, plaited shield attack each other with wads of pandanus leaves, the variety with thorns down either side of the leaf. The two favorite tactics are to rush and clench the opponent. The clench has one disadvantage: while one man rubs this thorny wad across his opponent's bac.he is rather open to the same treatment occasionally, the earnestness of an expression makes one wonder if an insult is not being repaid. During this festival, Ferris wheels, su.as you pass on the road past Klungkung, a set up on the rising terraces of the village some have one wheel of seats, others tw.and the whole wooden contraption is turn by the foot-power of two men at the tops the poles on either side.

Within a few kilometers of Tenganan .other conservative- and secluded villages th.enact, unchanged, rituals peculiar to the At Asak, dancers sweep their hair in a gre.coil to one side, as seen in old stone Statue of noblewomen. Men play the ancient gamelan gambang of wooden keys. Beyong Tenganan the main road crosses a pass overlooking huge valley. At the highest point, where drive often place offerings, a path climbs steeply to Pura Gumang and a great view.

AMLAPURA (KARANGASEM). Crossing a wide solidified lava flow which year by year is slowly being brought back to cultivation, you enter Amlapura, the main tow of Karangasem regency. The former kingdom was founded during the weakening of the gelgel dynasty late in the 17 th century, and became in the late 18 th and early 19 th century's the most powerful state in Bali . Puri Agung Karangasem long served at the residence of these kings, who extended their domain across the eastern straits to the island of Lombok . The puri's austere, there tiered gate, penetrating the walls of red brick, is a notable introduction to Karangasem architecture.

During the Dutch conflict at the turn of the century, the raja of Karangasem cooperated with the European army and was allowed to retain his title and autocratic powers. Puri Kanginan, the palace where the last raja was born, is a 20 th century eclectic creation of design from Europe , China and Bali . The main building with a large veranda is called "bale London " because the furniture bears the central motif of the Royal Crest of England. The wooden paneling appears to be Chinese work, while Ramayana relief on the adjacent tooth filling pavilion, retain a Balinese flavor. The photograph over the entrance to Bale London portrays the late king, Anak Agung Anglurah Ketut, as a young man studying with his religious teacher. It was his pleasure to make fantastic moats and pools. Five kilometers south, on the beach at Ujung, he helped design a moated water palace opened with religious ritual in 1921. In about 1947, he built Tirta Gangga (6 kilometers north on the road to Culik) as a rest place, where hi laid out a series of pools, decorated with unusual statuary. It suffered damage during 1963 eruption and at the hands of political agitators during that period. It is possible to continue on this road (in bad condition in 1975) to the northern capital of Singaraja

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