Abstract: This article is devoted to the study of the ancient Balinese temple Pura Luhur Uluwatu, which belongs to the circle of the six most revered sanctuaries of the island (Sad Kahyangan). The purpose of the article is to analyze the features of the spatial organization of the temple complex, the main types of structures on its territory, the motives of sculptural decoration. Based on the methodology of the regional approach, the author pays special attention to the study of the identity of this architectural ensemble as an example of the pura public temples of South Bali. In the course of the research, the methods of compositional analysis of the planning structure of the temple, morphological, iconographic and artistic analysis of decor motifs, full-scale study of the cult object and others were used. The scientific novelty of the article is that the architectural composition and plastic decoration of Pura Luhur Uluwatu are considered for the first time in the aspect of the relationship of regional-typological and local-individual characteristics. The study also concretizes the list of architectural forms within each spatial zone of the main sanctuary and its satellite temple Pura Dalem Jurit, clarifies their structural and functional characteristics, outlines a holistic picture of the decorative decoration. As a result of the conducted research, it was concluded that Pura Luhur Uluwatu is a striking example of the sacred architecture of the southern region of the island with typological features inherent in it: variability of planning development, closeness, economical use of temple space, free interpretation of individual decorative motifs. The uniqueness of the temple is manifested in its spectacular location on the edge of a sheer cliff protruding into the ocean, the elongated plan of the main sanctuary, the contours of which repeat the outlines of the southwestern protrusion of the Bukit Peninsula, the extreme minimalism of structures and the means of decorative design used, the simplicity of architectural forms. The creative imagination of local craftsmen was reflected in the original configuration of the entrance gates Candi Bentar and Candi Kurung, as well as in the articulation of individual decorative elements (kasar mascarons, kalasa vessels, etc.).