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Yeh Pulu Relief tourist attraction is located in Banjar Batulumbang, Bedulu village,

Blahbatuh subdistrict, Gianyar regency, it is about 26 km from Denpasar City. This tourist
attraction is part of the archaeological heritage site series on the bank of the Petanu River. Yeh
Pulu is not only an archaeological heritage site but it also has beautiful rice field and cliff and it is
easy to be reach because it is situated on Denpasar-Tampaksiring-Kintamani tourism track

HISTORY OF YEH PULU

The relief of Yeh Pulu lies in a valley that extends from north to south, it is bounded by a
steep wall on the west side, a quite deep valley in the southern and eastern edges, this carved relief
has a length of 25 meters. As reported by Nieuwenkamp, a Dutch painter, this relief was first
discovered in 1925 with several restorations in 1949 and 1953 in order to protect the sandstone
wall from abrasion of the rice field water above the wall.

In general, Yeh Pulu Relief described about the daily life of ancient Balinese society,
according to Stutterheim, an archeologist, Yeh Pulu relief came from 14th Century AD, the form
of the building that is shown on the reliefs have similarity with the reliefs found at Penataran
temple in East Java. Yeh Pulu derived from word “yeh” = water, while “pulu” = container of rice,
so that Yeh Pulu means water that come from / come out from the container of rice ( pulu ) located
in western part of the relief cluster that extends along 25 meters with a width of 2 meters, it is the
longest relief in Bali.

Near the lotus pond there is a café called Pulu Cafe that serves meals and freshly squeezed
fruit juices. All ingredients, such as water spinach and other vegetables, are harvested from the
surrounding gardens.

The walk takes in a waterfall, a rice temple (pura sawah), beautiful rice terraces, a special
place to view the sunset, great swimming in the big Pakrisan river, a small bathing place just 200
meters north of Yeh Pulu. These various sights are not easy to find without a guide. Wear good
walking shoes or strong strapped sandals, a small backpack with water, a hat, plastic bag for your
camera/video and a small towel or sarong.

ARCHAEOLOGICAL HERITAGE
Yeh Pulu relief still has good and clear picture’s surface, it is not certain what is actually
depicted on the relief, as a beginning we see an arch, next, a picture of a man who raised his hands
up to greet, then there are also another pictures, among others:

 A picture of a man who is carrying a cooking pot on his shoulder, he is walking behind a
beautifully dressed women heading to a house, an old lady is opening the door, there is a man
who is hunting a bear above them.
 An old woman is sitting surrounded by sandstones and trees, the monkeys are playing around,
a man who is carrying a hoe with a lady standing next to him. On the left side there is a woman
sitting with turban-like crown on her head, and there is also a Satan holding a spoon, on the right
side.
 A man is ridding horse, three armed men are attacking the tiger, a frog is attacking a snake.
 Two men are carrying 2 animals which tied to the pole, a woman is holding the tail of a horse.
Among these reliefs, there is also a hollow as a meditation place (ceruk) that carved on the
Ganesha statue. There is also a former entrance picture, and a picture of a man who is entangled
in elephant trunk. There is bathing pond with several hollows “ceruk” and sculptures that have
been damaged.

For most people who visit Bali Yeh Pulu remains a well hidden secret. This may not be a
grand attraction, but the site is one of Bali’s oldest and contain some of the most mysterious and
important sculptures from it’s time, Yeh Pulu is therefore of great importance to the Balinese.
Among the most prominent are reliefs of the elephant-headed god Ganesh, horsemen, an
ascetic, and a seated woman. Compared to Goa Gajah, Yeh Pulu is less visited, though the
combination of fresh air and green paddies can be very rewarding.

Bernet Kempers pointed out in his book Monumental Bali (1977) that the relief represents
stories from the life of Lord Krishna, one of Vishnu’s incarnations. The hunting scene, for
example, corresponds to the Hindu legend of Krishna defeating the bear Jambavat. Additionally,
the whole series starts with a standing man with his arm raised. This salute-like gesture is actually
a recurrent motif, derived from India, which indicates Krishna’s presence in a work of art.
The young Lord Krishna, a shepherd boy, has offended the God Indra who then threatens
to destroy him and his playmates with rain and flood. To protect himself and his friends, the young
god uproots Mount Govardhana to use as an umbrella. To demonstrate his supernatural powers,
he raises his hand.

The only deity directly represented is two-armed Ganesha, the elephant-headed son of
Shiva, carved into his own niche to the far right. The similarity between the Ganesha figures at
Goa Gajah and Yeh Pulu suggests a close historical relationship between the two sites.

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