The embodiment of Balinese Hindu philosophy “ Tri Hita Karana ” in contemporary visual art: case study on Mangu Putra’s painting

The foundational Balinese Hindu philosophy Tri Hita Karana, which emphasizes harmonious relations among the divine (Parahyangan), humanity (Pawongan), and the environment (Palemahan), has long governed Balinese socio-cultural practices, spatial planning, and customary law. However, how this philosophical framework is formalized and translated into the painterly strategies of contemporary fine art remains insufficiently explored. To address this gap, this study investigates the embodiment of Tri Hita Karana in Mangu Putra’s artistic practice. Applying Edmund Feldman’s formal analysis alongside iconographic and contextual interpretation, the paper examines Selalu Ada Maaf (2007) as its primary case study, supported by a comparative analysis of eight additional paintings from across his work. The analysis reveals that Tri Hita Karana operates not merely as an iconographic motif, but as a visual organizing principle. Mangu Putra constructs this framework through asymmetrical spatial compositions that position humanity within a broader cosmic order, restrained chromatic palettes, and recurring symbolic motifs that articulate ethical reflection, spiritual devotion, and ecological responsibility. By demonstrating how indigenous philosophy actively structures contemporary canvas strategies, this study contributes to a more grounded understanding of contemporary Balinese visual philosophy, showing how traditional Hindu concepts are continuously reinterpreted through critical artistic expression rather than decorative tourism imagery.