住所: Jl. Raya Mas 86, MAS, Kecamatan Ubud, Kabupaten Gianyar
It all started in 1968 when the skilled wood-carver A.A Gede Raka Wirayuda opened, for the first time, in Ubud, the doors of the Tonyraka Art Gallery. Since then, for almost 30 years, this gallery has accumulated and sold its collection, known, mostly, for works created using wood carving techniques. The big change came in 1997 when his son, A.A Bagus Tony Hartawan, decided to expand the gamma of pieces at the gallery, enriching the spaces with works of modern and contemporary art, including paintings, sculptures and installations. Thus, the Tonyraka Art Gallery became a point of reference for foreign artists who lived and worked in Indonesia, especially in Bali, as well. As a young entrepreneur committed to promoting local art, Tony gave a new mission and vision to the gallery, making this important cultural centre on the island, not just a simple business but a visionary treasure playing an important long-term cultural role.
Written by Balinese scholar Professor I Made Bandem and American art historian Bruce W. Carpenter, this stunning study of masks as an ancient art form is a richly illustrated book, with over 1000 color images by photographer Doddy Obenk.
A collection fit for a king at the Buleleng museum
A particular museum, intended to preserve the cultural heritage of Northern Bali and whose collection, consisting of statues, sarcophagi, weapons and other relics, is mainly due to donations from the family of King Buleleng Ki Gusti Anglurah Panji Sakti.
Ikat Gallery: antiques and high craftsmanship on Bali Island
The Gallery opened its doors in 1980, initially as an antiques shop specializing in ikat fabrics and crafts. Over the years it has successfully expanded its research into the sector of luxury antique furniture and fine jewellery.
It is one of the sacred dances of the of Bali Island, with a mystical meaning. The ceremony is intended to ask for salvation from a catastrophe or epidemic. The Sanghyang Dedari is different from other Balinese dances, because Sanghyang requires the dancer's body to be possessed.