Ornamentation and Iconography in Balinese Temples

Balinese temples are enlivened by a variety of stone sculpture and relief which to the Western eye have an almost baroque or rococo quality. The original inspiration for many of the statues and motifs may have come from India, but everywhere they have been subjected to strong local influences which over centuries have given rise to a uniquely Balinese artistic tradition.
The basic material used for stone carving is a soft volcanic sandstone, or tuff, which has a very plastic quality and lends itself well to being shaped by the stone mason`s chisel. Equally, it deteriorates fairly rapidly when exposed to the elements and Balinese temples are in a constant process of renovation and renewal.
A Balinese Iconography
One of the most striking images in Balinese temples is the face of a leering monster, which lolling tongue, bulging eyes and ferociously large canines, which is typically found over the monumental gateway (kori agung) leading to the innermost courtyard. This demonic visage is the face of the bhoma, whose fearful countenance is intended to drive away malevolent influences the temple precincts.
Less important locations are augmented with karang bintulu-a monstrous single eye which stares unblinkingly over a dental arcade of upper teeth with extended canines. This motif is typically surmounted by an image of a mountain-a representation of the legendary Mount Meru which stands at the centre of the Hindu-Buddhist universe and is identified in Indian mythology as the abode of the gods.
Corner motifs include karang curing, which are composed by the upper part of a bird`s beak with a single eye and jagged teeth, or as an alternative, karang asti, the jawless head of an elephant. When the Mexican artist and author Miguel Covarrubias, who lived in Bali during the 1930s, asked why these images lacked a lower mandible, he was told that this was because they did not have t o eat solid food. Covarrubias comments:”This is, in my opinion, a typically Balinese wisecrack and not an indication of any such symbolic meaning”
Other decorative motif include border designs (patra) of which there are several kinds. The type known as patra olanda might have been inspired by Dutch sources, while the pattern known as patra cina, indicates Chinese origins.
Padmasana shrines and meru are typically decorated with geometric or foliate motifs, while the carvings or pavilions may include representations of animals and mythological beasts, or even the gods themselves.
The most important images are reserved for the walls and gateways for they divide the sacred precincts of the temple from the profane, secular world outside. Especially significant in this last respect are the reliefs which adorn the free-standing wall, or aling-aling, which is placed just behind the kori agung gateway as one enters the innermoust courtyard in the temple complex. The latter typically sports a rogues` gallery of demons and ogres who are intended to deter malevolent influences from penetrating the inner sanctum.

A Typology of Temples

A conservative estimate reckons that there are some 20,000 temples in Bali. Most of the time they are deserted, watched over by a lay priest, or pemangku, who keeps the temple precincts clear of leaves and acts as a general caretaker. But every temple has its birthday festivals, or odalan, whose date is fixed either according to a 210-day ritual cycle, or alternatively the ancient Hindu lunar Saka calendar. An odalan may last for several days, and their principal aim is the ritual purification of the temple catchment area and its congregation. On these occasions, the temple becomes the centre of intensive activity drawing in the entire local community to participate in prayer and ritual supplication to the gods and to partake of the associated entertainments-gamelan performances, puppet theatre, dance drama, operetta and the like.
Temples for All Occasions
There are a great variety of temple types in Bali, each servings a different function. Every village, or desa, has three main temples which govern the religious life of the community. They are known as the kahyangan tiga and they are identified with the Hindu trinity of Brahma, Vishnu and Siwa. Other kinds of temples include pura panataran, or royal temples, which are usually incorporated as part of a palace complex, and private origin temples dedicated to the ancestors of a particular family- variously pura dadia, pura kawitan and pura padharman, depending in the genealogical depth being traced. There are also hill temples (pura bukit), sea temples (pura segara) and temples dedicated to the tutelary gods of seed (pura melanting) and markets (pura pasar). Each irrigation society-a collective of rice farmer who draw their water from a common source–will also have its own temple (ulun carik).
Sad Kahyangan
Especially prominent temples in the religious life of Bali are the `six great sanctuaries`, or `temples of the world` (sad kahyangan) which are recognized as the most sacred sites on the island. They include Pura Luhur Uluwatu at the westernmost tip of Bukit Penisula, Pura Goa Lawah near Kusamba, Pura Lempuyang Luhur in Karangasem, Pura Batukau in Tabanan and Pura Pusering Jagat in Pejeng. The most sacred temple of all is Pura Besakih, on the southern slopes of Gunung Agung, which is identified as the `mother temple` of all Bali. Other important regional temples include the `temples of the Sacred Ones-pura dang kahyangan-which are associated with the legendary Javanese priests who brought Hinduism to Bali.
King and Cosmos
In traditional Hindu cosmology, the political territory of a kingdom is conceived, in symbolic terms, as being coterminous with the universe as a whole, a microcosm of the macrocosm. In this respect, the seat of the ruler, which was ideally situated at, or near, the geographical centre of the kingdom, was perceived not only as the ultimate source of temporal power but also as a cosmological and ritual centre. The two aspects of power went hand in hand, the ruler, in Classical Indonesia, being regarded as divinely appointed (cakravartin).
The kingdom of Mengwi
The temple of Pura Taman Ayun was once the state temple of the kingdom of Mengwi which flourished in the 17th and 18th centuries. The actual sanctuary itself was founded in the mid-18th century and reflects and attempt to literally re–centre the kingdom following a power struggle between rival factions within the royal family. The ascendant house decided to consolidate its advantage by building a new temple complex at Taman Ayun, situated halfway along a line running between Gunung Pengelengan-the local Mount Olympus- and the coastal temple of Pura Ulun Siwi. In cosmological terms this point was identified as the `navel` (puseh) of the world, and axis mundi situated midway between the heavens and the Stygian seas.

Pura Uluwatu

The spectacularly located Pura Luhur Uluwatu, on the westernmost tip of the rocky Bukit Peninsula, is one of the sad kahyangan, or `six great sanctuaries` on the island of Bali. The temple is dedicated to the supreme godhead, Ida Sang Hyang Widhi Wasa, in his manifestation as Rudra, the dissolver of life. Violent storms or other cataclysmic interventions of nature such as plagues or volcanic eruptions are said to be Sanghyang Widhi acting in his capacity as Rudra and the location of Pura Uluwatu serves him well. Historical Associations Pura Uluwatu is said to have been founded by the Sivaite priest and sage, Mpu Kuturan, who came to Bali from Java in the early years of the 11th century. Though his teachings seemed to have incorporated many Buddhist elements, Mpu Kuturan is said to have been responsible for a revival of Hinduism in Bali at a time when the religion was in decline. Pura Uluwatu is also associated with the legendary Nirartha who is credited with being the principal architect of a 16th century Hindu Renaissance in Bali around the time of the collapse of the Majapahit dynasty in East Java. Like Mpu Kuturan, Nirartha founded many temples and encouraged the building of padmasana shrines at existing sanctuaries, including padmasana at Pura Uluwatu. It is claimed that it was at Pura Uluwatu that Nirartha achieved his final liberation from the endless cycle of rebirth, becoming one with the godhead. This singular event resulted in the word luhur being added to the name of the temple-luhur comes from the verb ngeluhur, meaning `to go up`, a reference to the apotheosis of Nirartha. The Temple Pura Uluwatu is built from dark grey coral stone which is much harder and more durable than the volcanic tuff which is normally used for most Balinese temples. This has meant that the stone sculptures and decorative elements are better preserved here then in the case of order ancient sites. It is difficult, however, to put a precise date to the existing structures because the temple had been renovated and rebuilt many times in the course of its long history. At the very beginning of this century, part of the temple collapsed into the sea which required substantial reparations, while the most recent restoration work was carried out in the 1980s. The three candi bentar gateways at Pura Uluwatu are unusual in that the upper portions have been sculpted in the shape of wings-the Balinese themselves refer to this type of candi bentar as `winged` (bersayap). The oldest of the three candi bentar, which leads into the central courtyard, is also incised with stylized flying birds which one scholar has identified as a Balinese ``version of the Chinese phonix``. Exotic influences notwithstanding, the principal motif ornamenting all three candi bentar and the kori agung gateway leading into the inner sanctum, is quintessentially Balinese, namely the head of bhoma. Some of these are surmounted by an image of Mount Meru, the cosmic mountain at the three of Hindu-Buddhist universe, while over the kori agung gateway,one finds a representation of an urn. The latter is identified as the sacred vessel holding ambrosia (amrta), the immortal elixir of life, which in Indian mythology was extracted by the gods from the primeval ocean of milk. Lightening Strikes Only those who have come to pray may enter the inner sanctum, but one can get a general view from a terrace on the southern side of the central courtyard. The most important structure in the enclosure is a three-tired meru which stands at the far end. This was struck by lightening a few years back- a very singular and inauspicious event, which could only be redressed by elaborate rites of purification and a rededication of the temple.

Death and Afterlife in Bali

Death in Bali is considered to be both ritually polluting and contaminating. These perceptions are reflected in the location of the pura dalem -the community temple where funerary rites are held-at the inauspicious, seaward end (kelod) of the village and also a little to the west, the setting sun in Bali being identified with the passing of life. The community graveyard and cremation site are located nearby-the cremation ground is usually simply a clearing in the cemetery at most kelod end.
Pura dalem can often be spotted from some distance away by the presence of kapok trees (Ceiba pentandra), with their distinctive horizontal branches and cotton bearing pods, which are frequently planted in the vicinity.
Siwa, Durga and Rangda
Hindi deities are typically perceived as having a number of different attributes or guises and pura dalem are usually dedicated to Siwa in his destructive aspect, though Siwa is of course also conceived as a god of creative energies. This apparent conflict of interests between these dual natures is not so much a case of contradiction as one of complementarity, for death, in the Hindu scheme of things, is merely one stage in an endless cycle of reincarnation and in this last respect, it is a necessary prelude to rebirth.
The creative aspect of Siwa is often personified in his wife, Durga, but she too, like her husband, has a dark, destructive side to her, metamorphosing into the demoic with-like Rangda, whom the anthropologist Clifford Geertz describes as a “monstrous queen of the witches, ancient widow, used-up prostitute, child-murdering incarnation of the goddess of death”.
Death and the Fate of the Soul
There are a number of perspectives on the post-mortem fate of the soul in Bali. Some are mutually exclusive and would logically deny all other possibilities; others are more tolerant of rival interpretations. Two explanations, however, would seem to prevail in Balinese accounts of what happens to the soul after death.
The first of these supposes that the correct performance of mortuary rituals, including cremation, ensures that the soul, which at the moment of death is impure, will subsequently be purified, thus enabling it to merge with a collective ancestral deity. The Balinese are rather vague about the precise nature of this aggregate ancestral spirit, but it is sometimes said to be responsible for the spiritual welfare and general health and well-being of living descendants.
The second point of view assumes that the soul of the deceased is subject to divine judgment based on the relative merit, or moral discredit, of deeds carried out during the dead person1s life time. Depending on the final `score`, which is reckoned according to the laws of karma-pala (literally, `actions` and their `fruit`), the soul is then sentenced to a period in the afterworld-either Heaven of Hell as the case may be –before being reborn into the world of the living again.
Burial and Cremation
The pollution of death is reflected not only in the kelod location of the graveyard, but also in the degradation of being interred underground.
Should there be sufficient funds, an immediate cremation is preferred since this skips the burial stage. In the case of members of a royal family, it is considered unseemly that such an illustrious corpse should be placed in the ground, so the body is preserved, lying in state, in a special pavilion in the palace compound, until suitable preparations for a lavish cremation ceremony have been completed and there is an auspicious day in the Balinese calendar for the ceremony to take place. This lying in state period may be last for months, even years. Priests are not buried either, there being a ritual prohibition on their interment.
Creamation (ngaben) releases the soul from its ties to earth, returning the five elemental constituents of the body-earth, fire, water, air and space-to the cosmos. The ashes are thrown in a river or cast upon the sea, with the final mortuary sites being held some 12 days later (longer in the case of the triwangsa castes). These complete the Balinese cycle of death rituals, at which point the newly-purified soul becomes incorporated with those of the ancestors.

Sacred Rice and Subak Temples in Bali

Rice and its cultivation are central to the Balinese way of life. In Balinese eyes, rice is a gift from the gods-it was created by the Hindu deity Vishnu who then presented it to man as his divine patrimony. In this respect, rice is a sacred thing whose cultivation entails not only planting and looking after the crop as it grows towards maturity, but also requires the careful implementation of a set of ritual procedures first laid down by the god Indra. Subak Associations The modern Balinese farmer grows two crops of rice each year in irrigated, terraced rice fields which for many are the definitive feature of the Balinese landscape. Water sources in the mountains are directed to each individual rice field by an intricate network of channels and aqueducts, whose maintenance and regulation are governed by local cooperative organizations called subak. Each mini-watershed has its own subak council, made up from neighbouring farmers who are party to this common water supply: together they are responsible for the equable distribution of water to all the irrigated rice fields within their purview. Each subak council has its own temple (ulun carik), which is situated in the middle of the rice fields belonging to its member, and this is where the major ceremonies of the rice cycle are held. The temple of Ulun Danau, on Lake Bratan, is identified as the `mother` temple of all the subak system on the island and some subak associations make regular pilgrimages to this sanctuary immediately prior to irrigating their rice fields. There are also countless small, roofless shrines (bedugul), which are commonly found in cultivated areas, typically beside a dam or weir. These tend to be erected and maintained by individual farmers whose rise fields are in the vicinity. A Balinese Harvest Home The most important subak ceremony in the agricultural cycle is the festival or ngusaba nini, which is usually held either just before or immediately after the rice harvest. It is held at the subak association temple and takes form of a thanksgiving ceremony dedicated to the rice goddess Dewi Sri. Dewi Sri is the wife of Vishnu and is one of the most popular deities in the Balinese pantheon, being conceived as the paragon of everything that is good and beautiful. Furthermore, as rice goddess, she is identified as the fountainhead of agricultural fertility and bountiful harvests, while her daughter, Dewi Melanting, is the tutelary deity of seed and plants. For the rites of ngusaba nini, a mouth-watering selection of offerings are prepared by subak association members, and after they have been dedicated by the priests to the beneficent gods, and in particular to Dewi Sri, they are shared amongst the participants at the festivals. As with all temple offerings, the gods are said to enjoy the essence (sari) of whatever is presented to them, leaving its material residue for the delectation of their followers.

One Week In Bali

Bali remains a great place to be visited.

One Week in Bali

Should I visit Bali? An island located within an unstable country (Indonesia) full of earthquakes, terror, volcanic explosions and corruption on all levels? Should I bring my family to a place torn apart by bombs not long ago?

These thoughts lay far behind when our friendly driver negotiated space between the countless motorcycles, cars and horning trucks as dusk fell. Offerings for the spirits, flowers, rice loomed from every bamboo shrine in front of every house, and incense sticks burning on the many family shrines and temples filled the air with a sweet sandalwood smell.

After a journey of forty minutes we arrived at our hotel that was built into an ancient village complex, with the layout of a Hindu temple mandala. In every corner of the vast complex appeared a flower, incense sticks, and candlelight, which produced an atmosphere of magic short of sacredness. We were received by the hotel staff with great friendliness and politeness, and guided to our pavilion-style suite that overlooked the swimming pool and the valley behind. Everything in the room was from the finest- hand-made wooden furniture in Bali style combined with a bamboo-and-reed ceiling and white marble floors. In every corner of the room a Hindu statue, a hibiscus blossom caught the eye.

Actually, the entire country seems to be permeated by Hindu culture. The main deities Brahma, Vishnu and Shiva are worshipped in single temples, and the split of service and preference for the God Shiva (as it can be seen in India) is not seen here. Here and there, we witnessed offering ceremonies, and on such occasions the whole charm and elegance of the Balinese culture comes to surface. Sometimes, whoever, I couldn’t help feeling that some offering rituals have become a rather superficial or symbolical gesture. Words, attributed to the Mogul Emperor Babur, came to my mind.

“This land (Hinduist India),” he said, “ is full of dazzling appearances, beauty, and charms, yet something essential and focal seems to be missing.”

Classic Bali Hindu architecture is, similar to Nepal and India, obsessed with rectangular design, stairs and steps. This however strangely harmonizes with the sinuous outlines of the rice-field terraces following the winding rivers, deeply incised in volcanic plateau rock. The devotion to detail, as well as spiritual offerings, and a striking awareness of the invisible world can be found everywhere, and I believe it creates a sense of something one might call ‘spatial consciousness,’ and, on a large scale, harmony.

“The ‘good’ and the ‘bad’ cannot be separated,” explained my driver.
“Through our offerings we appease the bad spirits.”

I argued with him, saying:

“ Perhaps it works in most cases. But let’s take the case of the Islamist bombing in Kuta. I don’t think that these kinds of bad spirits can be appeased in traditional ways. That kind of enemy needs to be fought, and exterminated.” We discussed the matter up and down for a while; finally agreeing that ninety-five percent of all evil energies can be negotiated and finally appeased. What to do with the unusual five % remained a question to be answered.

During the course of our holiday week we visited handcraft sales centers, drove to the crater-lake, and haggled ourselves through tourist’s universe, and rode elephants. Frankly speaking, I hate to be and to be treated as a tourist. I felt tired of all the Teflon smiles and empty sales talk. I almost gave up on Bali. But on that day we made serious, good friends among the locals, and we were invited to their modest house in Denpasar. We felt their genuine friendliness, love and generosity. It was a wonderful experience, and it was like we had discovered a lost branch of our family.

With morale boosted, I opened up again for Bali, and I would like to share a bit of understanding a few practical tips:

· Money. Prices are quoted in Indo Rupees, and USD in wealthier shops targeting tourists. A rampant Rupees inflation makes calculations somewhat difficult.

· Shopping. Bali offers a treasure of handcraft. Highlights are furniture (bamboo, rattan, teak), silver jewelry, woodcarving, and stone sculpture. Prices are better in the villages, where the goods are produced, compared to the tourist centers, where prices can be a three-fold higher. Every purchase needs to be negotiated. Generally, Gold quality is low (18 karat) and the price for it is far too high. Silver quality is great (mostly 900) and also very arty and well crafted. Another highlight is batik and many other forms of textile. In the poorer districts up on the mountain range, quality of all handcraft tends to be poor (local lightwood only), and bargaining can be rather aggressive if not unpleasant. Watch the exchange rate. Often, prices are quote in USD, and grossed up with an unrealistic exchange rate.

· Food. It’s not cheap, but fairly clean and delicious. Within the tourist realm, the price range is comparable to the US (Florida). On village markets, a full simple meal only costs in the order of 1 US $/ person, but one should watch hygiene and the color of the pan oil. Bali offers good-quality sticky rice, tasty salads, fresh fruit, nice grilled fish, and a (fairly dry) local wine (called Hattan, growing on the flanks of the volcano areas). Several brands of spirit (arrak, rice brandy) are traded, too. The locally produced coffee (Arabica and Robusta) tastes nice.

· Roads. They are by far too narrow, overcrowded and often bordered by open drains. Traffic follows a tacit code of conduct rather than the official laws of traffic. Accidents are only avoided by telepathic consciousness, mysterious foresight, and divine intervention. Not surprisingly, walking along the road can be a dangerous business,

· Black magic. It’s all around, and seduction is part of it. Black magic is nothing but a form of manipulation with the goal of extracting the maximum of money from ‘innocent’ strangers, such as through illicit services. Possession of illegal drugs is fought with capital punishment, yet drugs seem to be fairly common in places such as Kuta. My advice is to stay friendly, and polite whilst keeping a healthy level of natural distance and watching one’s own good mind.

On the last day in our wonderful country hotel we spent the day only watching and listening- little birds were building nests in the reed grass roof of our pavilion. Farther away, weaverbirds serviced their new hanging abodes under gently swaying coconut trees under a blue sky, whilst kites rose in a mild breeze in the distance. Smoke rose from a little village near-by where silversmiths were busy melting metal for jewelry. Simple wind-propelled noise wheels located above the rice-field terraces beyond the little river blended seamlessly with the gamelan music at the restaurant.

Yes, Bali may be located in a tectonically active and often violent part of the world, but it expresses perhaps the most peaceful atmosphere I ever witnessed. What produces its charm? I wondered about this and here comes the answer: Bali is not about holiday or doing something. Bali is about being. 

Bali Culture

Bali culture starts with Tri Hita Karana,
the Harmonious Relationship between Human to God, Human to Human, Human to Nature.

Tri Hita Karana was derived from Sanskrit, means three, welfare and cause. In the culture of Bali the complete sentence means three things that cause welfare.

Trihita Karana have a significant meaning in the culture of Bali about three harmonious relationship, namely the relationship between human being with the only God that created the holy knowledge to the human being that must compulsorily be followed, the relationship of human being with other human being and the relationship between human being with the environment and other creatures.
 
1) The harmonious relationship of Human being with God:
Mentioned in the Holy book VEDA that God (also called: Brahman) created this universe with all of its contents. The Almighty placed the planet and heaven in the sky. The Culture of Bali also implement the harmony is not only for human being but also for all creatures, the earth, the heaven, God, the universe included animals and plants.

2) The harmonious relationship of human beings
When the human being can maintain the harmonious relationship with God, by following the directions, then it is reflected by showing cares to other human being in his/ her daily lives. To discuss and create a win-win commitment, to simplify any cases, to build the happiness together and  release all the difficulties for the sake of human being. In most of the mantras God mentioned the importance of human relations, to avoid bad act. The Almighty God has given the same opportunity of human being, and all depend upon the choice, willingness and capability of human being to implement. The harmony must be implemented truly not the fake one, it comes out from the inner part of the heart of every individual. In Bali Culture, harmony can be shown through sincere tolerations and respects, not only for the one we know but also for the the ones we do not know.

Harmony is not only shown among people with the same level, but between superior and staffs, employers and customers, government and the people with the ultimate goal to get win-win relationship, and it happens in the culture of Bali

3) The harmonious relationship between human being and the universe, environment & other creatures
The source of happiness is laid on the harmony between human being with universe, the earth, the sky, and with other creatures. The Culture of Bali think speak and act this harmony through its people's daily activities.

About Bali's History

We start with Bali in the old times. The history of Bali is the beginning of the life of Balinese in this island, we can find the evidence about the life style of the Bali society even not in writing (since most of Balinese were illiterate) but mostly all remaining around this island showed the real life of Balinese in the old times

Based on the findings the social life of Balinese in the old times separated into:

Balinese Period of hunting and collecting food I period

Balinese Period of hunting and collecting food II period

Balinese Period of planting and livestock

Balinese Period of blacksmith

Bali in Period of Dutch
Many of the Articles of Bali mentioning that the Balinese became the darlings of the Dutch authorities. Indeed, the Dutch administration took a patronizing attitude toward the Bali people and their culture, allowing the Balinese to continue using their own language and practice their own ‘Traditional custom’. Although the remaining pro-Dutch princes were deprived of political powers, they maintained much of their influence and importance as patrons of the Balinese arts.

Bali Tourism and Accommodations

Bali - which has more than half the hotels in all of Indonesia - offers the best and widest range of accommodation of any region of Indonesia catering to the international tourist. Bali Hotels are ranging from international five-star hotels with extravagant suites costing US$600 per day to simple, homey, family-run inns with a thin mattress for a bed and a single hanging light bulb for less than five dollars per night.

All these Bali hotels have convention facilities, swimming pools, sports grounds and a selection of restaurants, bars, nightclubs, or discotheques and beachfronts. There are also smaller Bali cottage style hotels with modern amenities. Most unique is the long established. Above hotels and those with two stars have air conditioning, attached baths, telephones and TV.

Bali Airport
Bali main airport Ngurah Rai has accommodations service desks in both the domestic and international arrival lounges. These dispense excellent information and the staff will even call a hotel in any area of Bali of your choice and order transportation, which is usually free, though you could end up paying for it. To Nusa Dua area , it can cost Rp 100,000 ($10). Find out who pays before you commit.

As you emerge from either the domestic and international terminals at Bali’s airport, drivers or their assistants will be waiting there to escort guests to the hotel of their choice. They’ll be holding up hotel signs; if you have already decided to stay in Bali at a certain hotel, take advantage of the free ride.

Handling your carriage in Bali
basically any hotel in Bali , no matter what the class is, will offer to store your luggage in special storage rooms while you’re traveling around Bali or to other islands of Indonesia. In lower-priced home-stays, the owner will even store your gear in the family quarters with the tacit understanding that you’ll stay again in Bali upon your return

Bali Religion and Culture

Bali is an island Magic which has been the favorite destination of a range of discerning travelers. Bali is an only Hindu province in Indonesia, and the rich blend of tradition and culture has had an incredible impact.

In Bali, the gods and goddesses called the “Dewa-Dewi” -a god being a “Dewa” and a goddess a “Dewi”. The Balinese religion uses the Indian Hindu pantheon, though having adapted it to its own history, character and unique Balinese needs.

Bali Geography
The Island of Bali is part of the Republic of Indonesia and is located 8 to 9 degrees south of the equator between Java in the West and Lombok also the rest of the Lesser Sunda Islands (Sumbawa, Flores, Sumba and Timor) in the East. Flying time to Jakarta is about 1.5 hours, to Singapore and Perth (Australia) 2.5 ’till 3 hours, to Hong Kong about 4 hours. Bali has an area of 5620 sq. km, measures approximately 140 km by 80 km.

Bali The surroundings

A friendly and remarkably artistic Balinese people, living amid breathtaking panoramas, have created dynamic society with unique Bali arts and ceremonies, making Bali an island almost unreal in today’s hectic and changing world. Bali terrace rice fields dominate the landscape, with rivers and small irrigation streams dissecting a luscious green landscape, filling the air with enchanting sounds of running water.

Bali is Indonesia's province

Bali is an Indonesian island located at 8°25'23?S,
115°14'55?E Coordinates: 8°25'23?S, 115°14'55?E,
the western most ofthe Lesser Sunda Islands,
lying between Java to the west and Lombok to the east.
It is one of the country's 33 provinces with the provincial capital
at Denpasar towards the south of the island. The island is home to
the vast majority of Indonesia's small Hindu minority. It is also the largest tourist destination in the country and is renowned for its highly developed arts,
including dance, sculpture, painting, leather, metalworking and music.



Capital: Denpasar

Governor: Dewa Made Beratha (2007)

Area: 5,632.86 km² (2,175 sq mi)

Population: 3,150,000 (2000)

Density: 559.2/km² (1,448.3/sq mi)

Ethnic groups: Balinese (89%), Javanese (7%), Baliaga (1%), Madurese (1%)

Religion: Hindu (93.18%), Muslim (4.79%), Christian (1.38%), Buddhist (0.64%)

Languages: Indonesian (official), Balinese

Time zone: UTC+8

Web site: http://www.bali.go.id/default_e.asp



Administrative divisions

The province is divided into 8 regencies (kabupaten) and 1 city (kota):
Badung
Bangli
Buleleng
Denpasar (city)
Gianyar
Jembrana
Karangasem
Klungkung
Tabanan 

Welcome to Bali

This is my new blog,
I made this to share my favourite place on my country.
I think only less people have knowledge about Bali, so i come to explore my knowledge about Bali to all of you.