The Dialectics of Ideology, Social Environment, and Spirituality in I Wayan Pendet’s Artistic Practice in Nyuh Kuning, Gianyar, Bali

Abstract

This study examines the wood sculpture practice of I Wayan Pendet in Nyuh Kuning, Gianyar, Bali, by placing individual ideology as the primary focus of analysis. The study is grounded in the transformation of Balinese sculpture, which has undergone a shift from sacred functions toward aesthetic commodities within the context of tourism and the global art market. It aims to understand how Pendet negotiates the relationship between tradition, modernity, and contemporary consciousness through his creative practice. The research employs a descriptive-interpretive qualitative approach based on the sociology of art. The methods include observation of the artistic production process, in-depth interviews with the artist’s family and social environment, and visual analysis of his wood sculptures. The theoretical framework draws upon Pierre Bourdieu’s concepts of habitus, field, and capital; Howard S. Becker’s concept of art worlds; Theodor W. Adorno’s critique of the commodification of art; and Arnold Hauser’s historical-cultural approach, complemented by an understanding of Balinese Hindu cosmology through the principle of Tri Hita Karana. The findings indicate that Pendet’s artistic practice constitutes an ideological praxis that positions art as a space for self-reflection as well as a form of symbolic resistance to the dominance of economic rationality. Although his works participate in the art market, they retain profound spiritual, cosmological, and ecological meanings. The study concludes that Pendet represents a contemporary Balinese artist who is capable of engaging with global perspectives without losing his local cultural roots.