Mangku Mura

I Wayan Mura Born in 1920 into a family of tenant farmers in Banjar Siku, on the periphery of Kamasan village, Mangku Mura’s life reflects a profound intersection of religious devotion and artistic excellence. After completing primary school, he worked in his family’s fields before undertaking spiritual training to become a Mangku (temple priest) under Ida Pedanda Kerta, a Brahman high priest from neighboring Banjar Geria, royal advisor to Dewa Agung Oka Geg (King of Klungkung, 1929–1950). Upon ordination, he assumed the title "Mangku" as part of his name and was thereafter known as Mangku Mura.

Though Kamasan painting had traditionally been centered in Banjar Sangging, Mangku Mura broke geographical and social barriers by emerging as one of the most significant Kamasan wayang painters from outside that core artistic community. From Banjar Siku, he sought out and studied under various masters to cultivate his skills. His first teacher was Pekak Lui, a renowned Kamasan artist active in the late 19th century. Later, he studied with other respected painters including Pan Ngales, Wayan Kayun, Nyoman Dogol, and Pan Seken, all based in Banjar Sangging.

A devoted learner, Mangku Mura synthesized diverse stylistic influences into a distinctive visual language, one that was passed down to the next generation of artists, including Mangku Kondra and Mangku Muriati. His work is noted for its meticulous attention to narrative detail, spiritual depth, and innovative adaptation of traditional forms. Initially, his paintings were created for ceremonial and decorative purposes within temples in Banjar Siku. Over time, however, his work gained broader recognition, circulating throughout Bali and eventually entering private and institutional collections across Indonesia and abroad. In the 1960s, he was invited to participate in the major renovation of Kerta Gosa, the royal court complex in Klungkung, a prestigious project overseen by his former mentor Pan Seken.

Mangku Mura's legacy lies not only in the refined visual quality of his wayang paintings, but also in his role as a bridge between sacred duty and artistic mastery. As both a priest and painter, he embodies the spiritual and cultural continuities that define the Kamasan tradition, while expanding its reach beyond conventional boundaries.