The Taman Gili Palace Compound
Meaning literally "island garden," the Taman Gili complex consists of the Bale Kambang and the Kerta Gosa, set within an extensive garden enclosure and framed by a tall gateway to the west called the Pemedal Agung. These are all that remain of the Semara Pura Royal Palace after it was pounded by Dutch artillery, ending 200 years of rule in Bali by the lineal descendants of Majapahit. Open daily 0700-1800.
     In 1710 the Dewa Agung himself, Gusti Sideman, took a personal hand in the design of his new puri. A great lover of the arts, he employed the realm's best carvers, carpenters, masons, and sculptors, working with only the very finest materials. The result was Bali's first and most opulent example of Hindu-Balinese court architecture. Indigenous forms blended with Majapahit motifs and techniques resulted in a unique complex, 150 meters on each side, built in the shape of a mandala—a microcosmic representation of the universe. Within the precincts of this "The Palace of the God of Love" (Semara Pura) were courtyards, gardens, and moats surrounding elegant pavilions, each serving a different function. In the northwest corner is a kulkul tower; on a side street to the west is the great stone gateway the Pemedal Agung, riddled with bullet holes during the puputan. Its main door, side doors, and arch are extensively carved; note the ridiculous-looking Dutchmen in top hats.
     Pay the entrance fee of Rp1100 (Rp500 children) at the loket in the parking lot opposite the complex. Since the ceiling of the Kerta Gosa is high, it's a good idea to bring binoculars for more detailed study. Hire one of the wordy, vacuous, and virtually incomprehensible guides

Museum Daerah Semarapura
To the west of the Kerta Gosa is this small but functional museum (open Mon.-Fri. 0700-1700) you can visit on your ticket (Rp550 adults, Rp300 children) for Taman Gili. No English labels. The museum contains a number of old Dutch newspapers recounting firsthand the sickening puputan—fascinating examples of the hyperbole of the day. Exhibits also include the royal litter bearing the raja when the Dutch opened fire. Black-and-white photos of the raja and his family, miniature cannon, ancient pounding stones, water jars.

Bale Kambang
One of the most important structures, built in the most sacred area of the compound, is open-air Bale Kambang, the Floating Pavilion. Surrounded by an artificial pond once covered in water lilies, this rectangular structure built in 1941 served as a reception pavilion for the raja's important visitors and a place of relaxation for Brahmanic judges.
     The Bale Kambang was restored and enlarged by the Dutch in the early part of this century; note the whimsical statues of Dutchmen on both sides of the entrance. The date of the paintings on the ceiling is not known, but the last original work was completed, most likely, by the celebrated Kamasan artist Wayan Kayun in 1945. The paintings were last restored in 1983. Eight rows of paintings are decorated with symbols from Balinese astrology and scenes from the tale of Pan Brayut, concerning a poor couple with 18 children. Other paintings depict the legend of Sang Sutasoma, the wise old man of Balinese folk literature.
     A striking status symbol of rajadom, the Bale Kambang is probably a descendant of Javanese three-tiered pagodas that served as water-locked meditation towers—remnants can be seen in the Taman Sari of Yogyakarta on Java. Architecturally, the Bale Kambang is related to the destroyed water palace at Ujung in Karangasem.

Kerta Gosa
The royal Court of Justice of the Gelgel dynasty lies at the beginning of the town center on the right, on the south side of Klungkung's main intersection. Located in the northeast corner of the Taman Gili complex, it's an elaborate open-sided pavilion reached by climbing a steep, short flight of brick steps with naga as balustrades.
     In precolonial times the pavilion was a meeting place for the Dewa Agung and the princes and lords of the district, who assembled to discuss matters of state. From this high perch the raja and company could survey the entire palace compound, the town, and the surrounding land. It later became a courthouse where the king and his high priests sat in judgement. The supreme court of the land, the raja, with his Brahman judges and ministers, would hear cases of murder, political consipiracy, sacrilege, and breaches of caste rules. Summary justice was traditionally administered on the accused. Because of the severity of the sentences—mutilation was the most favored form of punishment—most cases were settled at the village level before a council of elders. Only the most important cases, beyond the jurisdiction of clan or village leaders, would be heard before this high court.
     Although the 1908 fire destroyed most of the palace compound, the Kerta Gosa was officially reopened in 1909, designated as a court for cases involving adat law, as opposed to colonial law. It functioned as a court of justice until Indonesian independence in 1949.
     The Dutch sponsored a renovation of the Kerta Gosa in 1920, remaining faithful to its original design. In 1930 a group of master painters under the direction of Pan Seken completely replaced earlier, deteriorated paintings drawn on cloth. The only visual record of this group's work, applied directly on the wood of the ceiling, is a photograph taken by Walter Spies. The complex was again restored in 1960, when the Kerta Gosa's famous murals were repainted. The entire ceiling was replaced; new paintings by Pan Semaris (son of Pan Seken) depicting the story of Bima Swarga were rendered on asbestos sheeting. The last paintings, executed in 1989 to replace faded panels, are woefully inferior acrylic works. Carbon monoxide fumes, Bali's hot and humid climate, and the moisture of monsoon rains have exacted an irreversible toll on the superb 1960s work, in which no artificial dyes were used.
     Meant to serve as a warning to evildoers and the guilty, every square centimeter of the walls and ceilings is covered in concentric murals painted in the traditional wayang style popular at the time the puri was constructed. The large, vaulted roof rests on carved columns, and the paintings ascend the pyramidal ceiling to a central gilded wood lotus surrounded by four fluttering doves. The various levels of heaven and hell are described through the story of Bima, the hero who journeys to the underworld to save the souls of his parents. Bima has a darker complexion than the other princes and is bereft of their winglike epaulets—he's relied upon for his strength, ferocity, and courage and has no need for such finery.
    The scenes picture terrifying episodes defendants would meet after their deaths, before rebirth as dogs, snakes, or poisonous mushrooms. Thieves are boiled in oil in large copper kettles; souls are castrated, beaten, burned, and torn; birds peck out eyes; decapitated whores walk planks over seas of flames; unfortunates are sawn in half for disrespecting their parents; liars suffer clawing by tigers; women who underwent abortions have their breasts gnawed away by rats; miscreants are crushed by the elephant-king Gajahraja. All these lurid punishments are executed by fierce little demonic spirits called buta who work in the Kingdom of the Dead. They place wrongdoers under sword-trees which they then shake; they remove the intestines through the anuses of those who farted in public. Old maids are chased by boars and poked with tusks; childless, promiscuous woman are forced to suckle a huge caterpillar.
     Lawbreakers were obliged to attend their own trials. While relatives waited in the adjoining Bale Kambang, the accused would kneel before the all-powerful tribunal, their eyes taking in the horrendous punishments portrayed on the ceiling above. But if the wrongdoers lifted their eyes from the horrors of hell, they could perhaps find some comfort. Above hell's gruesome miseries and agonies shine the delights and beauty of heaven. The highest panels show pious souls attended by councils of divinities—the just rewards for those who lead good and honest lives.

Food
The restaurant at the Ramayana Hotel serves Indo-Chinese food (ayam goreng Rp7000, omelette Rp2000), or eat at the Sumber Rasa at Jl. Nakula 5 across from the old stanplatz. Just a couple doors down is the Chinese-run Bali Indah, Jl. Nakula 1, tel. (0366) 21056—fairly clean, quite inexpensive, and only several minutes from the Kerta Gosa.
     RM Sederhana, Jl. Gunung Rinjani 13, tel. (0366) 21524, is a Muslim restaurant next to Losmen Wishnu. Friendly service and cheap, local prices for delicious sate kambing (Rp4000), gulai kambing (Rp2500), and sup ayam (Rp2500). At dusk the bus terminal offers many warung serving delicious and inexpensive Balinese and Indonesian food—the best place to eat for the least money in town. The sate stalls are particularly good.

Shopping and Crafts
Klungkung is right on the interisland trade route and derives most of its wealth from commerce. Down some steps behind a row of shops to the east of the Kerta Gosa, right in the center of town, (past the stoplight if coming from Denpasar), is Klungkung's huge, covered, old-style Asian marketplace—the largest of its kind on Bali. This excellent pasar is divided into different sections—to the left is bamboo, in the back are food warung, to the front clothes. You'll also find spices, vegetables, fruits, flowers, sweet cakes, traditional implements, basketry, handmade housewares, songket, ikat, and jewelry. A real people's market. Prices are good; very crowded. Ponies, with tassles and bells on their foreheads, pull carts to and from the busy pasar.
     Hard-sell vendors in the parking lot in front of the Kerta Gosa push souvenir-quality necklaces, fake coins, wooden sculpture, and cloth reproductions of the Court of Justice paintings (Rp25,000, first price). Along Klungkung's main street (Jl. Diponegoro) is a row of souvenir shops selling inexpensive woven lontar articles, gold and silver jewelry, traditional endek, songket, batik, temple parasols, wayang-style paintings, carvings, and antiques. Find here also ceramics, old selendang, and clever reproductions sometimes not available in other parts of Bali.

Services
Klungkung features a row of general goods stores, a Bank Rakyat Indonesia, and a 24-hour Wartel office opposite the Kerta Gosa. Klungkung's telephone code is 0366. The tourist office (open Mon.-Fri. 0700-1700, tel. 0366-21448) is in front of Museum Daerah Semarapura on the grounds of Taman Gili. On the right as you approach Klungkung's first main intersection, there's also a gas station, an apotik, and good doctors. Working in the town's hospital (RSU) on Jl. Flamboyan is Dr. Julius Tanasale, tel. (0366) 21172, who studied in Thailand and specializes in tropical diseases.

Getting There and Away
From Denpasar's Terminal Kereneng, board a bemo to Klungkung for Rp2000. From Ubud, take a bemo to the Sakah intersection, then change to one for Klungkung (Rp2500 total). If coming from Candidasa (25 km) or Amlapura, make sure the bemo is heading straight to Klungkung; some stop and wait for ferry passengers in Padangbai. Klungkung's main bemo station (Terminal Kelod) is a transport hub for all bemo and minibuses except those heading for Besakih (21 km, Rp1000). The Besakih terminal is just north of Klungkung's main intersection.
     Sample fares: Penelokan (Rp1200), Padangbai (Rp700), Amlapura (Rp1000), and Candidasa (Rp600). To Batubulan station in Denpasar it costs Rp2500 by minibus, Rp1250 by big bus. Transport out of Klungkung to Batubulan starts to wind down around 1900. After that, if you want to get back to Denpasar you have to charter (Rp20,000 and up). It can also be problematic to reach Besakih by public transport after 1500.