The Life of a Balinese Temple : Artistry, Imagination, and History in a Peasant Village

Should a temple be seen as a work of art, its carvers as artists, its worshipers as art critics and patrons? What is a temple (and its art) to the people who make and use it? Noted anthropologist Hildred Geertz attempts to answer these and other questions in this unique look at transformations in material culture and social relations over time in a village temple in Bali. Throughout Geertz offers insightful glimpses into what the statues, structures, and designs of Pura Désa Batuan convey to those who worship there, deepening our understanding of how a village community evaluates workmanship and imagery. Following an introduction to the temple and villagers of Batuan, Geertz explores the problematics of the Western concept of "art" as a guiding framework in research. She goes on to outline the many different kinds of work—ideational as well as physical—undertaken in connection with the temple and the social institutions that enable, constrain, and motivate their creation. Finally, the "art-works" themselves are presented, set within the intricate sociocultural contexts of their making. Using the history of Batuan as the main framework for discussing each piece, Geertz looks at the carvings from the perspective of their makers, each generation occupying a different social situation. She confronts concepts such as "aesthetics," "representation," "sacredness," and "universality" and the dilemmas they create in field research and ethnographic writing. Recent temple carvings from the tumultuous and complex period that followed the expulsion of the Dutch and the increasing globalization and commercialization of Balinese society demonstrate yet again that any anthropology of art must also be historical. Should a temple be seen as a work of art, its carvers as artists, its worshipers as art critics and patrons? What is a temple (and its art) to the people who make and use it? Noted anthropologist Hildred Geertz attempts to answer these and other questions in this unique look at transformations in material culture and social relations over time in a village temple in Bali. Throughout Geertz offers insightful glimpses into what the statues, structures, and designs of Pura D�esa Batuan convey to those who worship there, deepening our understanding of how a village community evaluates workmanship and imagery. Following an introduction to the temple and villagers of Batuan, Geertz explores the problematics of the Western concept of "art" as a guiding framework in research. She goes on to outline the many different kinds of work-ideational as well as physical-undertaken in connection with the temple and the social institutions that enable, constrain, and motivate their creation. Finally, the "art-works" themselves are presented, set within the intricate sociocultural contexts of their making. Using the history of Batuan as the main framework for discussing each piece, Geertz looks at the carvings from the perspective of their makers, each generation occupying a different social situation. She confronts concepts such as "aesthetics," "representation," "sacredness," and "universality" and the dilemmas they create in field research and ethnographic writing. Recent temple carvings from the tumultuous and complex period that followed the expulsion of the Dutch and the increasing globalization and commercialization of Balinese society demonstrate yet again that any anthropology of art must also be historical

Saving Buddhism explores the dissonance between the goals of the colonial state and the Buddhist worldview that animated Burmese Buddhism at the turn of the twentieth century. For many Burmese, the salient and ordering discourse was not nation or modernity but sāsana, the life of the Buddha's teachings. Burmese Buddhists interpreted the political and social changes between 1890 and 1920 as signs that the Buddha's sāsana was deteriorating. This fear of decline drove waves of activity and organizing to prevent the loss of the Buddha’s teachings. Burmese set out to save Buddhism, but achieved much more: they took advantage of the indeterminacy of the moment to challenge the colonial frameworks that were beginning to shape their world.

Alicia Turner has examined thousands of rarely used sources to trace three discourses set in motion by the colonial encounter: the evolving understanding of sāsana as an orienting framework for change, the adaptive modes of identity made possible in the moral community, and the ongoing definition of religion as a site of conflict and negotiation of autonomy. Beginning from an understanding that defining and redefining the boundaries of religion operated as a key technique of colonial power - shaping subjects through European categories and authorizing projects of colonial governmentality - she explores how Burmese Buddhists became actively engaged in defining and inflecting religion to shape their colonial situation and forward their own local projects.

"Should a temple be seen as a work of art, its carvers as artists, its worshipers as art critics and patrons? What is a temple (and its art) to the people who make and use it? Noted anthropologist Hildred Geertz attempts to answer these and other questions in this look at transformations in material culture and social relations over time in a village temple in Bali. Throughout, Geertz offers insightful glimpses into what the statues, structures, and designs of Pura Desa Batuan convey to those who worship there, deepening our understanding of how a village community evaluates workmanship and imagery." "Illustrated with photographs, drawings, and maps, The Life of a Balinese Temple is a record of a complex communal achievement. Based on continued on-site study over a twenty-year period, it is a contribution to Bali studies and the anthropology of art that will also find an appreciative audience among students of religion, art historians, and those interested in material culture."--Jacket Contents Acknowledgments Terms, Names, and Spelling Preface Part I. Work 1. A Temple and an Anthropologist 2. Those Who Carry the Temple on Their Heads 3. The Purposes of Pura Désa Batuan Part II. Works 4. The Age of the Balinese Rajas (before 1908) 5. The Age of the Dutch Rajas (1908–1942) 6. Forms, Meanings, and Pleasures 7. The Age of the Last of the Dutch Rajas (1948–1950) 8. The Age of Freedom (1950–1967) 9. The Age of the Tourists (1966–1995) Afterword Notes Glossary Bibliography Illustration Credits Index About the Author In this book anthropologist Hildred Geertz explores a village temple in Bali. She offers insightful glimpses into what the statues, structures, and designs of Pura Desa Batuan convey to those who worship there, deepening our understanding of how a village community evaluates workmanship and imagery. Following an introduction to the temple and villagers of Batuan, Geertz researches the problematics of the Western concept of "art" as a guiding framework in research.