Chong Yan Chuah  蔡崇彦

Language as Mythical. Translingual Negotiation and Adaptation. Complexities of Translation and Textual Mediation. Misrepresentation / Perspectives and Recognizing Diverse Ways of Knowing.

FRAMEWORK. LANGUAGE as MYTHICAL
In Balinese culture, language is often deeply intertwined with mythology and religious beliefs. Balinese Kamasan paintings frequently depict scenes from Hindu epics such as the Ramayana and the Mahabharata, which are central to Balinese religious and cultural identity. These paintings serve as visual narratives that communicate and perpetuate mythical stories, often accompanied by textual elements such as inscriptions or captions written in the Balinese script.

︎︎︎ By considering the ways in which these artworks engage with multiple languages and cultural traditions.

︎︎︎ Reflecting a translingual negotiation and adaptation of diverse linguistic and cultural sources.

︎︎︎ Exploration of the complexities of translation and textual mediation. Deciphering the symbolic meanings embedded in these artworks requires an understanding of not only linguistic codes but also cultural contexts and mythological narratives.

︎︎︎  Misrepresentation_Perspectives:: gods, community, commons, decolonization, indigenous knowledge, spirituality, and conviviality.

︎︎︎ Recognizing and valuing diverse ways of knowing, being, and acting in the world. Rather than seeking universal solutions or prescriptions, embracing the multiplicity of worldviews, cultural practices, and ontological perspectives that exist across different societies and contexts

Blueprints - Layout - Spatial Relationship

The tangible and the transcendent. The virtual canvas emerges as a potential arena for the evolution of this ancient art form, preserving its essence while embracing the dynamics of contemporary storytelling.

METHODOLOGY
Analysis Log:
Balinese Kamasan Painting and Evolution in Misrepresentation/Representation

Overview:
Balinese Kamasan painting, originating in Bali, Indonesia, is a traditional art form renowned for its distinctive two-dimensional "floating perspective." This narrative technique diverges from realistic spatial relationships, opting for symbolic representation to convey cultural stories and Hindu epics.

Misrepresentation and Representation
Kamasan painting is not a misrepresentation; it consciously embraces a stylized approach, intertwining frontal and profile views. The focus is on storytelling rather than adhering to conventional depictions of depth. It's essential to view this as an intentional artistic choice deeply rooted in Balinese culture, not as a deviation from realism.

Spatial Relationship:
The two-dimensional nature of Kamasan painting deliberately discards realistic spatial relationships. Figures appearing stacked or overlapped contribute to a narrative-driven visual language, emphasizing cultural and spiritual meanings over tangible depth.

New Frontiers:
The analysis prompts consideration of a potential evolution in representation. Could the traditional 2D format of Kamasan painting find expression in a 3D environment within the virtual space? This hypothetical exploration envisions a dynamic canvas, transcending physical constraints, where traditional storytelling converges with contemporary immersive experiences.

Digital Realm Integration:
In this speculative scenario, a digital canvas could amplify the storytelling potential of Kamasan painting. The virtual space, unencumbered by physical limitations, offers possibilities for dynamic movement and exploration of narratives from multiple perspectives. The proposal isn't about abandoning tradition but adapting it to a modern context.