Panca Warna: The Living Energy of the Cosmos from Ancient Myths to Contemporary Art Practice

Proceeding Bali-Global Arts and Design Symposium 2025 Volume 1, pages 35-51 CONTACT: [email protected] Panca Warna: The Living Energy of the Cosmos from Ancient Myths to Contemporary Art Practice I Wayan Karja The Indonesian Institute of the Arts Bali KEYWORDS Panca Warna, Balinese cosmology, aesthetics, symbolic philosophy, contemporary art practice ©2025 The Author(s). Published by Penerbitan LP2MPP Institut Seni Indonesia Bali. This is an open-access article under the CC-BY 4.0 license. Awakening Cosmic Energy through Panca Warna Panca Warna, the five sacred colors: white, red, yellow, black, and multicolored (often including gold), have long been understood as more than just a visual system. The five sacred colors of Balinese cosmology symbolize the living balance between humans and the universe, Figure 1. Rooted in ancient myths and rituals, these colors promote harmony between the microcosm and the macrocosm. Panca Warna is part of the color system in Dewata Nawa Sangga, the nine sacred colors, five of which are considered core colors. [1] The author first used the title "Panca Warna" at a solo exhibition in Scala, Basel, Switzerland, in 2005 [2]. Since then, its exploration has continued and remains highly relevant for sustaining balance and emotional stability. ABSTRACT In Balinese tradition, color is central to both artistic expression and spiritual practice, serving as a guiding principle that connects aesthetic forms with cosmological meaning. This study focuses on Panca Warna, the five sacred colors, white, red, yellow, black, and multi-colored/gold, each associated with a specific direction: east, south, west, north, and center. These colors express principles of opposites, balance, and renewal, connecting human life as a microcosm with the universe as a macrocosm in harmony. The study uses an interdisciplinary approach, combining cultural analysis, hermeneutic interpretation, and artistic reflection, to show how color serves both as a symbolic system and as a medium of artistic innovation, preserving ancestral wisdom while enabling new interpretations in contemporary practice. The findings demonstrate that the significance of color transcends its cultural origins, offering a paradigm for understanding how traditional cosmologies inform broader global discourses on art, ecology, and spirituality. This study expands the understanding of sacred colors in Balinese tradition and demonstrates their relevance to global discourses, offering a foundation for cross-cultural studies and contemporary art practices rooted in traditional wisdom. 36 | I. W. Karja Figure 1. Panca Warna (Karja, 2025) *No specific location in the body Today, Panca Warna continues to inspire contemporary art, demonstrating how timeless values endure in creative practice. In Balinese tradition, Color embodies energy, direction, deity, and cosmological principle, forming a symbolic mandala that unites the microcosm of human life with the macrocosm of the universe. For centuries, these colors have guided ritual, temple decoration, painting, and performance, embedding philosophical reflection within aesthetic practice. As such, Panca Warna represents not only the aesthetic foundations of Balinese art but also the metaphysical framework of harmony and balance in Balinese philosophy[1], [2] Although Panca Warna holds a central place in Balinese culture, most studies remain limited to describing its ritual use or offering surface interpretations of its symbolism. What is often missing is an exploration of its deeper reality as a living force that shapes daily life and artistic practice, as well as its role as a guiding principle for harmony, ethics, and cosmic energy balance. Few works examine how these colors continue to 37 | Panca Warna: The Living Energy of the Cosmos... inspire creativity beyond ritual contexts. There is also little attention to their potential contribution to wider philosophical and ecological discussions, leaving an important gap in understanding their relevance in today’s world. The main issues are: What is the concept of Panca Warna in Balinese mythology and ancient cosmology? How has the idea of Panca Warna been revitalized and applied in contemporary art practice? What is the meaning of the symbolic and aesthetic aspects of Panca Warna in understanding cosmic energy and its relevance in today’s artistic expressions? Several foundational ideas emerge from the literature on this subject. For Taussig, color is not just something we see, but something we feel, a living energy that connects the sacred, the body, and the world [3]. The color is deeply connected to the cosmology, the universe, astronomy, and astrology, as expressed through the Vastu Purusha Mandala [4] [5] [6]The quadrants of Vastu explain that good art should embody three essential qualities: bhogadyam (usefulness), sukha darsham (beauty or aesthetic value), and ramya (spiritual satisfaction)[7]. In Bali, divinity is believed to possess three corresponding qualities: satyam (truth), sivam (purity), and sundaram (beauty) [8]. In Tantric philosophy, the human body is understood to contain aura and seven chakras, or centers of vital energy, though some texts mention variations in their number [9]. In Kundalini Tantra, these seven chakras are as follows: Mooladhara – a dark red lotus, Swadhisthana – a vermilion lotus, Manipura – a yellow lotus, Anahata – a blue lotus, Vishuddhi – a violet lotus, Ajna – a silver-gray lotus, and Sahasrara – a multicolored or red lotus[10]These interrelated concepts show how artistic, cosmic, and spiritual systems are unified through symbolic structures that connect the human body, the universe, and divine order. In the mecaru purification ritual, five types of liquids are used: tuak (white), arak (yellow), brem (black), toya anyar (fresh water) (clear), and blood (red). Each substance symbolizes one of the vital fluids in the human body: lymph, gastric fluid, bile, serum, and blood. Hindus believe in the Nine Gods (Dewa Nawa Sanga) who guard the nine directions, maintaining peace, safety, and prosperity[11]. Among them, five deities play key roles in preserving cosmic balance: Iswara in the east, Brahma in the south, Mahadeva in the west, Vishnu in the north, and Shiva at the center[12]. The Balinese concept of ulu-teben is closely linked to the giri-danu (mountain and lake) symbols, which express the union of lingga and yoni, representing fertility. Historically, Balinese kingdoms extended their power by appointing royal relatives to govern surrounding villages such as Mancawarna and Bedulu. The universe itself is believed to be composed of the five great elements: earth, water, air, fire, and ether, 38 | I. W. Karja known as the panca maha bhuta, which together sustain the harmony of both the physical and spiritual realms[13]. Drawing on Hans-Georg Gadamer’s hermeneutics, the concept of panca warna in Balinese cosmology can be understood as a bridge between tradition and the present. Rooted in a cosmic system that connects directions, deities, and natural elements, panca warna is more than a sacred symbol; it is a living idea that continues to evolve through each generation. Its meaning is not fixed but shaped by the ongoing dialogue between cultural heritage and contemporary experience. As Kandinsky observed, the true reality of art lies in the expressive power of color itself; color is a power that directly influences the soul[14]. Pablo Picasso pointed out that colors, like features, follow the changes of the emotions. This study explores panca warna not merely as a traditional five-color system but as a manifestation of cosmic energy that unites myth, ritual, and artistic practice. Through an interdisciplinary approach combining cultural analysis, hermeneutics, and artistic reflection, it seeks to show how these five colors function as both a symbolic order and a dynamic medium for creative expression in contemporary art[15]. The discussion contributes to academic and practical dialogues by highlighting how Balinese wisdom, encoded in Panca Warna, can inform global conversations on art, ecology, and spirituality. It demonstrates that these colors are not static symbols of tradition but living energies capable of guiding new forms of aesthetic innovation and ecological awareness. By foregrounding their philosophical and artistic significance, the study affirms the enduring role of indigenous cosmologies in shaping intercultural understanding and offering pathways toward harmony between humanity and the cosmos. The Concept of Panca Warna in Balinese Mythology and Ancient Cosmology In the Balinese perspective, the world is divided into two realms: the seen and the unseen, sakala and niskala, symbolized by black and white. In ancient cosmology, the universe is seen as protected by nine guardian deities, called Dewata Nawa Sangga. They rule over the eight directions and the center, each linked to a certain color, element, and power that keep the cosmos in balance, Figures 2 and 3. The findings of this study show that Panca Warna is more than a set of ritual colors and images of gods and goddesses, but the whole cosmos. It is a living cultural energy that shapes artistic imagination, social values, and the core of cosmological understanding. These colors do not function only as symbols in ceremonies but also act as guiding principles that link human life with the universe, offering direction for balance, ethics, aesthetics, and creativity. Their continuing presence proves that tradition in Bali is not a fixed 39 | Panca Warna: The Living Energy of the Cosmos... inheritance but a source of renewal, constantly reinterpreted in art and cultural practice. Figure 2. The concept of ancient mythology in Balinese cosmology Figure 3. Dewata Nawa Sangga, Balinese Cosmology Figures 4–10 illustrate how the Balinese cosmological order connects color, ritual, and artistic expression. Figure 4 presents Dewata Nawa Sangga, the nine deities who guard the directions of the universe, each linked to a specific color and element. These colors are not only symbolic but are also manifested in ritual practice, as seen in Figure 5, where the mecaru ceremony employs the panca warna (five sacred colors) to restore harmony between humans and nature. The same cosmological order is represented in Figure 6, a place for preparing tirtha (holy water), and Figure 7, which shows young coconuts (bungkak) arranged in panca warna according to their directional placement: white in the east, red in the south, yellow in the west, dark green in the north, and sudamala multicolored in the center. This principle extends beyond ritual into artistic creation. Figures 8-9 show the use of panca warna threads as symbolic materials in preparing to paint sacred figures such as the Barong, dragon, and lion, embodiments of cosmic power and protection. Finally, Figures 10 depict the bagia, a cosmic diagram where the panca warna embodies the unity of the five directions, expressing the harmony of the macrocosm and microcosm at the core of Balinese philosophy. 40 | I. W. Karja Figure 4. Dewata Nawa Sangga, Balinese Cosmology (Karja, 2020). Figure 5. Mecaru ritual used the panca warna and the colors in between (Karja, 2020) Figure 6. A place for holy water (Doc. Karja, 2020). Figure 7. Young coconut in panca warna (Doc. Karja, 2020). Figure 8. Yarn, use the elements of panca warna (Doc. Karja, 2020). Figure 9. Preparing to paint the Barong and the symbol of mystical creatures, dragon and lion (Photo doc. Karja, 2020). Figure 10. The symbol of cosmic as bagia uses the element of panca warna (Photo doc. Karja, 2020). In Balinese cosmology, the cycle of orientation begins in the east, where light rises and sets the rhythm of existence. From this point, movement turns clockwise toward the south, marking a shift from white to red, from clarity to vitality. This transition carries 41 | Panca Warna: The Living Energy of the Cosmos... both spatial and symbolic meaning. White, linked with the east, signifies purity, awakening, and the opening of consciousness[17]. As the cycle turns southward, red emerges as the color of energy, passion, and generative force. The clockwise movement, therefore, reflects more than a change of direction; it expresses a cosmological principle in which light awakens and transforms into the active power of creation. Through this rhythm, the cosmos is also not seen as static space but as a living cycle of renewal, where color becomes both marker and medium of life’s unfolding[18], [19], [20]. From the south, marked by red as the surge of vitality and creation, the cycle turns westward into yellow. This transition represents the passage from active growth to maturity and fulfillment. In Balinese cosmology, yellow is linked with prosperity, abundance, and the ripening of life’s potential. The west, aligned with the setting sun, embodies the fullness of existence, a stage where energy stabilizes into form before it begins to wane. From the west, the cycle continues northward, where yellow gives way to black. This shift marks the movement from completion into dissolution, where life enters the phase of return and transformation. Black in this context does not signify absence, but rather depth, mystery, and the fertile ground of renewal. The north is therefore associated with protection, endurance, and the hidden energy of restoration. The cycle then turns back to the east, where black yields once again to white, and the rhythm of light begins anew. In this clockwise movement, the colors white, red, yellow, black, and Panca Warna represent the full cycle of the cosmos: awakening, creation, growth, dissolution, and renewal. It is within this continuous cycle that Balinese thought situates both the cosmos and human life, affirming that existence is not static but a living rhythm of balance and transformation. At the center of this cycle lies the fifth color, known in Balinese as brumbun, which brings together white, red, yellow, and black. In artistic interpretation, the meeting point of the four directions is often depicted in white or gold, symbolizing purity, unity, and transcendence. The center functions as the cosmic axis, the point where all energies converge and harmonize. It affirms that creation is not only a process of movement through cycles, but also an integration of forces into a balanced and unified whole. The Concept of Panca Warna: Revitalized and Applied in Contemporary Art Practice In this section, six images are used as samples for analysis through a hermeneutic reading. Panca Warna can be understood as a “text” whose meanings unfold through its cosmological, ritual, and artistic contexts. Rooted in Balinese myths and practices, 42 | I. W. Karja the five colors serve not only as decoration but as symbols that organize space, orient rituals, and guide human relationships with the cosmos. Each color, white, red, yellow, black, and the central unifying tone of panca warna, holds layers of meaning related to direction, deity, element, number, letter, and moral order. Panca Warna shows how Balinese cosmology transforms color into a spiritual medium that reflects and sustains universal balance. Its lasting presence in visual art reveals the harmony between philosophy, ritual, and aesthetics, ensuring that artistic expression always remains connected to its cosmological roots. At the same time, the reinterpretation of these colors in contemporary practice shows that the philosophical depth of Panca Warna remains a living source of creative inspiration, linking ancestral wisdom with present-day concerns. Each color is more than a visual tone; it carries meaning connected to direction, natural elements, and divine forces that sustain balance in the universe. In this way, the system of five colors expresses both polarity and harmony, showing that opposites do not conflict but instead complete one another. Color becomes a language of light, a medium through which humans connect their lives to cosmic energy and align themselves with the natural order. In Balinese rituals, offerings made of flowers, palm leaves, and food are carefully arranged according to the principle of cosmos, where each color corresponds to a direction and a deity, turning simple materials into a cosmological statement. In sacred drawings (rerajahan) and wayang paintings, colors are used not only for aesthetic harmony but also to express the presence of divine energy, bringing protection, purification, and alignment of consciousness. A clear example can be seen in the paintings of I Gusti Nyoman Lempad, Figure 11, whose works often embody the essence of color, translating spiritual balance and cosmic order into elegant visual form. Even in contemporary art, whether painting, installation, or performance, artists who engage with color continue to awaken this spiritual essence, affirming that creativity itself is a form of offering. The colors are not merely pigments on a surface but radiant energies that sustain the ongoing dialogue between the human spirit and the divine cosmos. 43 | Panca Warna: The Living Energy of the Cosmos... Figure 11. I Gusti Nyoman Lempad uses black and white, with red and gold as accents, photo rep doc. I Wayan Karja, 2019. The symbolic depth of Panca Warna lies in its ability to convey meaning across multiple levels of interpretation. White marks clarity and awakening, red embodies energy and creation, yellow signifies prosperity and ripeness, and black represents dissolution and the hidden power of renewal. At the center, the meeting point of all directions, the fifth color holds the principle of balance and integration. These associations are not static; they form part of a living cosmology in which color mediates the relationship between human life and universal order. In his abstract symbolism, Figure 12, the work of I Wayan Sika refers to the mecaru ritual, a ceremony performed to cleanse and harmonize the spirit of a place. His use of color is based on the Panca Warna system, where each hue holds cosmological and spiritual meaning. The composition often takes the form of a square (klakat) with nine holes, symbolizing the balance of the nine directions (nawa sanga) and the flow of energy within sacred space. Despite its abstract style, the identity of Bali remains clearly embedded in its imagery, revealing how traditional ritual concepts continue to inspire and shape contemporary Balinese art. 50 | I. W. Karja pigment; it breathes as the language of the soul, revealing the hidden harmony between the human spirit and the cosmos. In this living dialogue, tradition is not preserved but reborn, where art speaks from the deepest pulse of existence. This study affirms that Panca Warna functions as a dynamic cultural system, a meeting point between ancestral wisdom and modern creativity. It continues to inspire new ways of understanding art as a psychological, spiritual, and therapeutic process, connecting human experience with nature and the cosmos. 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