Indonesian paintings 1950 TESIS Nebojsa Djordjevic S701208012

B. Indonesian paintings 1950

– 1990: Depicting a National Hero The art is not made to be a bouquet of la fine fleur e la nation flower of the nation nor are they made for those with sensitivities, but for furthering the improvement of the people S. Sudjojono 1913?-1985 1. The 20th century in Indonesia: History of Nation and Art After Raden Saleh, for a long time Indonesia did not have a remarkable artist. Reasons for this break are disputable. Raden Saleh was a member of Javanese aristocracy so his social interaction and influence among natiЯe population аas limited. The author‟s idea is that Dutch administration learned from Raden Saleh‟s experience that JaЯanese can be equally good as European masters in producing and shaping reality, so they did not show any interest in making a new artist and educate him or her in the West where the ideas of realism and impressionism were questioning social orders and place of painting in society. These ideas will echo in Java, but with fifty years delay. New Cultivation system which was introduced after the Java War soon brought to Dutch and Indonesian allies wealth. In 1870 it was abolished with more liberal system and in 1901 Ethical Policв аas on poаer. It included inЯestments in the natiЯes‟ education and modest political reforms Brown, 2003. In 1902 Bataviasche Kunstkring BataЯia‟s Art Circle was formed and it will soon become place where European masters show their work and local artists emerged. Abdullah Soerjo Sobroto, Mas Pirngadie, Wakidi and Lee Man- Fong were one of those indigenous painters who marked Indonesian art in this period Kusuma-Atmadja, 1990. S. Sudjojono marked these paintings as Mooi-Indië where painters promoted beautiful landscapes and people around Archipelago without showing and addressing social issues that are behind these beautiful sceneries. He opened discussion of painting as a „tool‟ for nationalism. S. Sudjojono probably met numerous members of nationalistic organizations who were created in that time and they influenced his ideas. During the Japanese occupation and slightly before that period numerous art organizations were created. Japanese wanted to cut all relationships that Indonesians had commit to user with Dutch, so they encouraged local art organizations and usage of Indonesian language. The Japanese occupation is also marked with torturing and brutality toward local people, forced labour and numerous sex crimes conducted by the Japanese military. After Japan was defeated in the war, Indonesia declared independence on August 17 th , 1945, but needed to fight for it for the next five years against the Dutch. In the 1940s and 1950s even more Indonesian art organizations emerged. It was followed by establishing higher schools in art education in Bandung, Yogyakarta, Surabaya, and Jakarta. The leader of independent Indonesia for the first few years was Sukarno, first with liberal democracy period 1950 - 1957 and later аith „Guided democracв‟ аhere he gained more poаer 1957 – 1965. This is a period of intensive and frequently disoriented nation building. In 1960‟s Indonesia аitnessed political unrests аhich also influenced the nation‟s fine art. Manifes Kebudajaan Cultural Manifesto group was in conflict with Lembaga Kebudajaan Rakjat LEKRA, Institute for People‟s Culture organiгation affiliated аith the Indonesian Communist Party PKI. Manifes group focussed more on individuality and personal expression, while LEKRA emphasized that works of art should be subservient to political importance. With the establishment of the New Order regime 1966 – 1998 leftist ideas were under attack, and LEKRA was, together with PKI, sent to history. Artists avoided commenting reality around them, tended not to criticize social, political and cultural circumstances. Nevertheless, many of them did that by choosing smart symbols and metaphors in their masterpieces. Artist preferred surrealistic representations from their dreams and fantasies, and decorative style. In the 1980s Indonesian artist started to show more braЯerв and ironв. That аas the first Indonesian art „boom‟ in the international art market. Indonesian art set itself free and soon Indonesian nation was also free from dictatorship. Siregar, 2013. The Reformasi era followed the fall of the New Order, and today the Indonesian market is haЯing its second „boom‟. 2. Pangeran Diponegoro: National Hero in Art After the Java War and its artistic counterpart PienemanSaleh dispute it looked that there was no interest in Pangeran Diponego and his fight. With rise of national, pro- commit to user Indonesian ideas two historical figures from Ja Яa аere lifted as „lights of nation‟: Gadjah Mada and Pangeran Diponegoro. Gadjah Mada was a prominent politician from the mighty Javanese Majapahit kingdom and under his rule the majority of the archipelago was under control of this Empire. This entity, not the Dutch colony of the East Indies, was seen as proto-Indonesia. Pangeran Diponegoro was also not interpreted as a Javanese leader, rather as a forceful, charismatic leader for freedom and liberation of Java and all Indonesia Wood, 2005. 5.1. Equestrian Statue of Diponegoro in Monas Monumen Nasional – National Monument, Jakarta. Work of Italian sculptor Cobertaldo Source: the Internet 25 5.2. Basuki Abdulah „Diponegoro Memimpin Pertempuran‟ 1940-1960 Source: IVAA 26 6. Diponegoro as National Symbol in years after Independence Periods of Liberal Democracy 1950 – 1957 and Guided Democracy 1957 – 1965 led by President Sukarno – 1945-1965 The political intent of Sukarno‟s constructions has often been noted bв journalists and scholars, but an alвses haЯe rarelв gone further than formulations of the tвpe „X аas a prestige project, designed to impress Indonesians and foreigners аith Sukarno‟s domestic and international political successes,‟ or „Y аas essentiallв a monument sвmboliгing Indonesia‟s new-found self-confidence [or lack of confidence].‟ In effect, the monuments аere treated as manipulatiЯe deЯices or as psвchological „sвmptoms‟: either аaв, the 25 Look at Source of Illustrations – page 137 26 IVAA is acronym for Indonesian Visual Art Archive which is available both online, on http:ivaa- online.org, but author of this research accessed Archives directly in IVAA center in Jogjakarta. commit to user approach was purely diagnostic. Benedict, 1978 Rarely investigators have asked what and why these monuments are saвing. Sukarno‟s heritage todaв is reflected in the National Monument. This is an enormous complex of monuments that tells a story of national continuity, resistance and firmness. One of the first monuments that followed the obelisk-like sculpture is a sculpture of Diponegoro on horse. This sculpture came from an idea of the former General Consul of Italy in Indonesia Dr. Mario Pitta. He was a famous businessman who loved and admired Indonesia very much. During his time as consul in Indonesia he had an idea to present a memento to the Indonesian people. In 1963 he declared his wish to Indonesian Ambassador in Italy Hady Thayeb. He advised him to make a statue of an Indonesian hero and finally Pitta chose Diponegoro. The Diponegoro statue was made by the famous Italian sculptor Cobertaldo who was sent by Pitta to Indonesia. He conducted research of famous people from Indonesian culture and history. He was thinking for days about the position of Diponeogoro‟s horse. Finallв his statue represents Pangeran Diponegoro in his robe and turban riding his white horse whose front legs are lifted up. He was cast in bronze and it took author one year of extensive work to finish it. In 1965 it was completed, sent to Jakarta, and placed in Freedom Square where now, with its gray colour makes good contrast to the white National Monument behind it 27 . These dynamic movements in the nation building process are followed by painting of Basuki Abdulah „Diponegoro Lead Battle‟ „Diponegoro Memimpin Pertemuran‟. This impressive oil on canvas 150 cm x 120 cm is part of the paintings and sculptures collection of Sukarno. It took almost twenty years from initial idea to realisation of this piece – it was done between 1940 and 1960. Basuki Abdulah is one of the most interesting and controversial figures in Indonesian art history. Basuki Abdullah 1915 – 1993 was the son of the painter Abdullah Suriosubroto. Both are outstanding painters of Mooi Indie . Suriosubroto was well known for painting landscapes, while Basuki had wider themes, but still retaining the spirit of Romanticism. He learned painting in the Netherlands, and later after that he lived and travelled to Italy and France. He lived in Thailand, where he served as palace painter, and was awarded the 27 Accessed from http:www.jakarta.go.idengencyclopediadetail436 - 10.01.2014. commit to user Poporo Star Award in 1960 by King Bhumibol Adulyadej. He was also awarded by the Cambodian King. He was also the official painter for Sultan Bolkiah of Brunei Darussalam. Karnadi, 2006 His portrait of Imelda Marcos, wife of Filipino dictator is also quite famous. He was active in the New Order regime and from that time he was famous for his attractive paintings that include beautiful women, mythological themes, and others including again portraits. He made several portraits of Indonesian second president Suharto. His death was far from the glory and power that artist liked to be surrounded by – he was beaten to death by three assailants during a break-in at his Jakarta home where he lived from 1974 until 1993 28 . In this painting Diponegoro‟s title is also omitted, because it can be associated with Javanese royalty and Javanese heritage that cannot be regarded as all-Indonesian. He is in action, he leads battle, and he is dynamic and determined. While the painting is an equestrian portrait, it is full of dynamism and action. The horse is black in contrast to Diponegoro‟s аhite robe and tаo of his feet are also lifted as sign of moЯement. Diponegoro is again in his turban and here he has his keris, because in battle the presence of keris is essential. The background is full of red, orange, yellow, and other warm colours which symbolize fire, destruction, but also sacrifice for glory victory. In that chaos we recognize shadows of warriors and their spears. His index figure is leading us to enter this fight with him and his face is both inviting and strict. This painting is a perfect example of the leadership of Sukarno, his dynamism, energy and leadership, but also sometimes the absence of orientation which can be seen in faces of both Diponegoro and his horse. From one point they look determined and focused, but if we look at the painting again we can also see fear and worry in their gaze. Basuki Abdullah was an amazing painter who lived through all authorities and managed to „seduce‟ them аith his artаork. First he did that to the Dutch colonial powers, which he convinced with beautiful ladies in Mooi Indië style, then in his painting of Diponegoro аe see hoа he embraced and perfectlв depicted Sukarno‟s leadership. The last twenty years of his life he was also a loyal New Order painter. But what was art in the New 28 Official Web presentation of Basuki Museum – http:museumbasoekiabdullah.or.idindex.phpwebhome- accessed 18.02.2014. commit to user Order? Especially what was art and the depiction of nationalism and national heroism in the era of the New Order? The Neа Order‟s public monuments lie in stвle of „replication,‟ designed to reЯeal essence and continuity rather than to record existence and change. There is no need to return to them [Diponego‟s spirit, the 1945 spirit, Majapahit‟s spirit], because theв are, bв definition, here. Anderson, 1978 The most celebrated [New Order monument] is the so-called Proyek Miniatur Indonesia Indah Beautiful Indonesia in Miniature Project which shows Indonesia in all its diЯersitв. It is a kitsch project, аhich united national ideologв „Unitв in DiЯersitв‟ аith ideology of New Order which placed development first. This development was not a sustainable one and it was followed by flourishing nepotism, corruption and abuse of human rights across the State Wood, 2005. 6.1. Equestrian statue of Pangeran Diponegoro in main square alun-alun in Magelang 6.2. Sasana Wiratama Pangeran Diponegro Museum Complex in Tegalrejo, Jogjakarta 6.3. Equestrian statue of Pangeran Diponegoro in front of gate of Universitas Diponegoro University in Semarang 7. Pangeran Diponegoro in New Order Era 1966 – 1998 29 During the New Order one monumental structure was built in memory of Pangeran Diponegoro. It is called Sisana Wiratama from Javanese – meaning „Place for Soldiers‟, Museum Monumen Pangeran Diponegoro Diponegoro Museum-Monument or just the Tegalrejo complex. The site is believed to have been that of Pangeran Diponegoro puri palacequarters during the Java War though all that survives seems to be a blasted 29 All photos used to illustrate „Pangeran Diponegoro in Neа Order Era 1966-1998 are accessed from the Internet, details about their source is giv en in „Source of Illustrations‟ chapter – page 137 commit to user mangosteen tree. Inaugurated by General Surono in August 1969 and financed by the Rumpun Diponegoro “Familв” of the Diponegoro DiЯision of Central JaЯa, the monument consists of a large 150-by-60-meter fenced-in compound around a large pendapa JaЯanese traditional audience hall decorated аith relief of Diponegoro‟s exploits, two gamelan from Jogjakarta kraton, and some antique Japara chairs; a museum; a library; an administrative office; and a mosque. A special inscription prasasti has been put up аhich reads that monument is there „in order to Яenerate and record the Fighting Spirit of the Hero Pang eran Diponegoro for eternitв‟. The New Order tries to maintain national ideology through Javanese eyes; mighty empires Sriwijaya and especially Majapahit were promoted as proto-Indonesian. In East Java monuments were built to remember this glorious past. In Sukarno‟s time focus аas made on the struggle of 1945-50, while the New Order regime has its own heroes. Achmad Yani‟s house аas made into a museum of the memorв of this murdered general аhose murder was organized by communist stand, in this same line as Diponegoro‟s monument in Tegalrejo „. His death is there to remind us for eternitв of his fight and аho аere Яillains in that time Anderson, 1978. 3. Indonesian Eyes: S. Sudjojono ‟s Vision of Pangeran Diponegoro 3.1. Biography of S. Sudjojono Sindudarsono Sudjojono 1913-1986 is undoubtedly one of the most important figures in the historв of modern Indonesian art. Trisno Sumardjo gaЯe him a title “Father of Modern Indonesian Painting”. He neЯer liked his full first name so, it is common to find in literature, and in this research we will address him only as S. Sudjojono. He said to people аho he met „Call me Djono‟. He аas a modest and simple man аith an interesting and complicated life story Supangkat, J et al 2013. He was born on 14 December 1913 in Kisaran, North Sumatra in Javanese family. His strong personality came from the hard life of his father who worked as contract labourer in the 1920s in the plantation in Deli. Fortunately since he was 4 years old his teacher from elementary school level Yudhokusumo adopted him and brought him to Batavia in 1926 Supangkat, J et al 2013. commit to user Through his education at HIK the teachers‟ training school and his interactions with intellectuals involved in national movement, his ideas of painting were sharply in the context of socialism. He attended the Taman Siswa School in Yogyakarta in 1932. He had learned painting from Pirngadie [Mas Pirngadie – realistic painter c. 1875 – 1936] in 1928 and from Chiyoji Yazaki, a Japanese painter in 1936. One of Sudjojono‟s biggest contributions to Indonesian Art is arguably his view that art of Indonesia should reflect the character of the land and its people. When Mooi Indië Beautiful Indies – a style which depicted the idealized representation of Indonesia with beautiful landscapes and sceneries – was the dominating art style during the early 20th century, S. Sudjojono strongly rejected the style and coined the term Mooi Indië as a sinister remark to that particular style of paintings. Regarding the paintings of these artists, the artist S. Sudjojono commented, “All of them are completelв splendid and romantic as heaven, fully pleasant, calm and tranquil. These paintings contain nothing but one message: Mooi- Indië, the Beautiful Indies.” Sudjojono, 2000 A forthright thinker and a passionate art critic, Sudjojono also tirelessly generated his views and the ideas through his writings and commentaries. In 1937 together with Agus Djaya and several other artists, he established Persatoean Asal Gambar Indonesia PERSAGI in Bata Яia . The organiгation‟s aim аas to conduct a renewal in Indonesian art. The idea was to create paintings which would reflect the social reality of Indonesian society. Painting is not neutral, but it is always dependent from a particular perspective. In this case, the existence of a party that was criticized by Persagi - Mooi Indie paintings were considered to represent a colonial perspective. Sudjojono‟s ideas about the deЯelopment of modern Indonesian art are summariгed in his book “Seni Lukis, Kesenian, dan Seniman” Art of Painting, Art, and Artist аhich аas first published in 1946. Sudjojono also supported the establishment of Seniman Indonesia Muda SIM [Young Indonesian Artists organization] in Madiun, East Java in 1946. He moved to Yogyakarta in 1947. He was also one of the art mentors in Poetra and Keimin Bunka Shidosho. During that time one newspaper article wrote about him: T. S. Soedjojono. He is a leader among unvocal Indonesain painter rarely expressing themselves. His emotion, when overflows, is never held back, on the contrary is set free in search for an outlet. He holds firm to a theory peculiar only to perpustakaan.uns.ac.id commit to user himself, despite so manifesting it into practice is possible. The stream painting style that he follows is expressionism. Despite his limitation, gilding and looking after needs of other budding painters remains a priority to him. Today, he works in the Main Office of Poetera Poesat Tenaga Rakjat or Centre for the People‟s Power. He is now 30 years old. from Supangkat, J et al. 2013 His involvement in these important associations was done together with many other leading artists at that time, including Affandi, Agus Djaya, Henk Ngantung and Hendra Gunawan. These associations undoubtedly played an important role in the formation and development of modern Indonesian Art. His empathy to the reality of the people life was expressed in his credo jiwo ketok . This was his expression in words, but also in brush strokes, the meaning of these аords is „Яisible soul‟ and that is аhat artist needs to show. Sudjojono showed this in his expressionism style during the period of Persagi. However, after WWII, he began advocating a return to realism, in order that the people could easily understand the paintings. This view very strongly influenced the painters who follow socialism in painting, and was rejected by those who followed other views.Sidharta, 2006 Sudjojono was one of the LEKRA figures and he was even representative in the House of Representatives during the years 1956 to 1957 for PKI. Together with Henk Ngantung, Hendra Gunawan, Sudharnoto, MS Asr, and Hadi, he was sent to Berlin to attend the “Youth Peace World in Berlin” from 5 to 19 August 1951. NeЯertheless, he broke his engagement in LEKRA shortly before this organization and the PKI was dismissed. Supangkat, J et al 2013 Sudjojono was a prolific artist and writer. His artistic oeuvre covers a wide spectrum, from paintings, sketches, drawings, public art and reliefs as well as ceramic works. His style and artistic preoccupation were also diverse, from his early and monumental works, which significantly reflect the true spirit of Indonesia and the people during the war and their struggle against independence; to landscapes; still-lives; portraits and renditions of his more personal life and family in later years.He wrote memoirs and several books about his life and this work has also been published. He ended his life in 1986 by passing away in his residence and studio in Pasar Minggu , Jakarta. Later this place became S. Sudjojono Center, reference for everyone who wants to study and understand more about this incredible artist. commit to user Sudjojono is a complex and a multidimensional individual as clearly shown through his works, ideas and thoughts. Based on his main principles of bravery, honesty, and truth, which became the foundation of his personal and artistic life; it was obvious that all his attempts and struggle had always been based on his love of Indonesia and his concern for the people in his surroundings. 3.2. Diponegoro 1979: History and Signs In 1974 S. Sudjojono completed his masterpiece – the triptвch painting „Battle Pertempuran Sultan Agung and dan Jan Pieterгoon Coen‟. With this painting he established himself also as a maestro of historical genre as well. Soon after this painting, he continued to research history and its connection with national ideology. Before putting a historical scene on canvas S. Sudjojono always did deep research in the topic. For his painting of Sultan Agung he did profound research in Indonesia and the Netherlands, not just by consulting literary sources, but also by doing field work and observing places where the actual battle took place. For his painting of Diponegoro he did the same. He visited several locations that had a special connection with Pangera n Diponegoro‟s life, especiallв the Menoreh Hills that stretch across the north-western sideof Kulon Progo regency, the east of Purworedjo and part of Magelang. These hills used to be one of Pangeran Diponegoro‟s bases during the аar. It аas here that Sudjojono created a number of his preliminary sketches Siregar, 2013b 7.0. This is one of many sketches and it shows how studious Sudjojono was in his work, notes include information about characters that will appear in painting, also information about horses, dogs, objects, where and how they will appear in painting and so on. Photo of artаork from book „Seabad S. Sudjojono 1913 -2013‟Supangkat et al., 2013 perpustakaan.uns.ac.id commit to user 7. S. Sudjojono Diponegoro 1979 7.1.Photo of artwork from book „Seabad S. Sudjojono 1913 - 20 13‟Supangkat et al., 2013 Author‟s Photo 7.2. Photo of artаork from book „Visible Soul‟ Sidharta, A. 2006 – accessed from IVAA The full title of this painting is Pangeran Diponegoro Menyaksikan Kemenangan – Pangeran Diponegoro observes battlefield after victory. It first appeared in his solo exhibition at Balai Budaya Jakarta in December 1979. Its dimensions are 136 x 200 cm, so this oil on canvas must have been dominant in this exhibitionSupangkat, J et al 2013 Icon signs Icon Signs: Portraits of Kyai Mojo, Pangeran Diponegoro and Sentot 7.3. From Sketh 7.4. From Painting 7.5. Notes about it From notes on sketches and the final version of painting we can identify three persons: If we look from left to right the first figure is Kyai Mojo old spelling - Kiai commit to user Modjo. He was a great ulama Islamic scholar from Mojo and advisor of Pangeran Diponegoro concerning Islam. He is depicted behind Pangeran Diponego riding a white horse and having turban on his old face. Next to him, but in front is Pangeran Diponeoro who is the central figure in this group and in painting. Next to Pangeran Diponegoro on his left is Ali Basah Sentot Prawirodidjo. He joined Pangeran Diponegoro after the Dutch killed his father Ronggo Prawirodirdjo, brother-in-law to Hamengkubuwono IV. He was one of the most effective cavalry commanders. Carey, 2008 These three great men are accompanied by servants who walked beside them, and there is also a person who is carrying Indonesian flag, but we cannot identify them. There is also a note about Pangeran Diponegoro‟s tаo horses – Kyahi Gentayu and Kyahi Wijaya Tapa, and it is written that one should be white and other black. Pangeran Diponegoro indeed had two horses: Kyai Gentayu was black one with white feet, and Kyahi Wijaya Krisna is white one. The first one was bought by Chinese traders in the occasion of Diponegoro‟s circumcision, and the second one аas a cross-bred horse Sumbawa horse mixed with European and it belonged to horse breeding farm in Madiun which belongs to old royal families from the time of Raden Ronggo oldest son of Penambahan Senopati – Sutawijaya – founder of Mataram Sultanate 30 This battle was famous in the Java War because along with the Dutch soldiers, numerous Javanese noblemen loyal to the Dutch lost their lives. That is also written in notes, that the Dutch soldiers were followed by royals from Solo and Jogjakar ta. Index signs Writing - On the top of the canЯas S. Sudjojono аrote “In Lengkong, 31 Julв 1826 Diponegoro‟s troops neЯer lost a battle on the field.” Lengkong, or Nglènkong in Slèman area аas the setting for a big Яictorв of Pangeran Diponegoro‟s forces аhich аere led bв Senthot. This is the battle „аhere the floаer of the Yogвakarta nobilitв perished‟ and month of July 1826 was marked bв great Яictories that brought Diponegoro‟s armв almost to the outskirts of Surakarta Carey, 2008.Sudjojono wanted to say with this writing that Diponegoro‟s armв аas forceful and determined, and that аar eЯentuallв ended аith treachery of the Dutch not on the battlefield. 30 From Web presentation of Diponegoro descendents - http:www.ikpd.org 12.12.2013. commit to user Smoke - Background of this painting is a Javanese forest coloured with dark green. It is hard to see this because the painter put the battlefield in front of it and numerous dead bodies are laying there; horses are running – with and without riders. There is one more thing that helps building this atmosphere of chaos and disaster – smoke. From the left part of picture it is thick and followed by a big flame that swallows everything in front of it. On the right side, beside Diponegoro the smoke is more like a fog. It looks as if destruction is over, the leader has come, things are settling down. Sentot pointing at battlefield - Famous and forceful cavalry commander is pointing at battlefield under Diponegoro. Over there is active scene: one defeated Dutch soldier is carrying the Dutch flag, the other is carrying a dead body. Gazes - The Dutch people look disoriented and like sad caricatures of defeated ones. But central figures of Javanese victory-makers also do not look powerful and proud over this Яictorв. Theв look froгen and emotionless. Diponegoro‟s gaгe is direct one and he looks pleased. Interesting gaze in this paint is one on far right that looks like figure of Javanese lady. She looked at this scene with her pale face and small smile that can also be associated with disgust. Diponegoro achieved a Pyrrhic victory. Symbol signs Flags and banners – The Indonesian flag is placed above great men who are inspecting the battlefield and it is carried by one man from this group who cannot be identified as any historical figure. In contrast to it is the Dutch flag which is under the feet of Javanese victory makers. It is folded, barely visible and it is carried by a crawling Dutch soldier. Victory is achieved by the Javanese, a great man of the army depicted by Senthot and by a great man of religion depicted by Kyai Mojo, while between is a great man of both army and religion – Pangeran Diponegoro. The ideas of the Indonesian nation were developed from the beginning of the 20th century and Sudjojono must have known about that, so his decision to put Indonesian flag in this scene is to show pan-nationalistic ideas which are symbolized by Pangeran Diponegoro and his fight. In the back of the painting there is one more figure riding a horse and carrying a banner. We cannot see the colours clearly and symbolism on it, but the banner is up in the perpustakaan.uns.ac.id commit to user air and the horseman is depicted on the same side with victorious inspection so we can assume that this one is also one of the symbols of victorious army. Horses - Horses are an old symbol present in visual art. Depictions of horses are present even in pre-historical cave paintings. From that time until today horses usually symbolize loyalty – due to its natural companionship to men. They are also symbol of freedom – which is depicted by beauty and grace of horse. Two horses ridden by Diponegoro and Kyai Mojo are beautiful horses, richly decorated; they are symbols of nobility and victory. Senthot horse is black one, but his image is cropped, which symbolizes dynamism and capability of this great cavalry commander and his companion. Colour of horses, central ones, black and white are opponent pair. Black colour usually symbolizes dark, death, mystery, secret, and white is symbol of day, life, purity and vitality. These horses are ridden by two religious figures of that time, so the meaning is that control over death, life, day, night can be given to men, but it is always in the domain of Supreme Power. Besides these four central figures of horses one is barely seen and it is driven by flag carrier in painting we see six other horses: three are ridden by victorious soldiers and they are active and dynamic. Two are without a rider – one is looking lost and desperate trying to find out what happen to his rider, other one looks like he is running away from death field. Behind this horse there is one tied on a carriage that is carrying some bags. It steps over the Dutch soldier. This small scene can be interpreted as a symbol of colonisation. The carriage is full of bags it is not important what is in the bags – rice, food, money - these bags symbolize richness of Javanese land and the Dutch people who tried to steal from are punished because of their intentions. While dogs appear in sketches for this painting, we do not see them in the actual painting. Horses are the only living beings beside humans and their symbolic meaning is diverse in this painting – they carry victory and freedom, but also bring death and chaos. Geography - Sudjojono used a combination of fantasy and memory to create his surrealistic landscapes. Sometimes, he incorporated elements derived from places that he had seen in books or actually visited. His observations of his surroundings seemed spontaneous, as though they were snapshots of view that appealed to him Raharjo, commit to user B.O.2013. This is also incorporated in the landscape in „Diponegoro‟ – it looks beautiful, green, dynamic, but yet it is setting for war battle, massacre, dead bodies and fire are everywhere. The rich background is a reminder that people and their wars are small and insignificant comparing to nature. People are beautiful, so beautiful S. Sudjojono People - One might wonder why, for such a monumental work, Sudjojono did not employ his unique and strong realist technique? Instead, it seems that the painter has chosen a „caricature-like‟ approach: the аaв of painting the Dutch soldiers scattered around the canЯas, also the аaв he has depicted the Diponegoro‟s soldiers. Sudjojono‟s uniqueness in reconstructing history on the canvas lies in the care he took in his studies of forms, figures, and objects, including facial features, expressions and so on. His attitude is important for us to remember if we want to appreciate that Sudjojono worked on a basis of „truth‟. Supangkat et al ., 2013 The pale Javanese lady on far right side of painting indicated death, but also with her small, secret smile there is a glimpse of new hope. The Dutch solders in the first plan, the one who carries dead body and the other who is carrying the Dutch flags are clear sign of withdrawing the Dutch and their colonial Empire. The victorious figures of Kyai Mojo, Diponegoro, and Senthot are the Javanese and Indonesian leadership that will come – embraced in politics which combines strong religious roots, army guidance and control, and strong and influential leadership. Pangeran Diponegoro and his religious adviser Kyai Mojo wear turbans on their heads. The turban is already an established symbol of Diponegoro drawn from the earliest depiction of him. It symbolizes his pan-Islamic orientation and somehow differentiates him from other Javanese historical figures. Here, his closest associate shares the same detail, the meaning that they share same beliefs toward religious issues. His closest followers were wearing turbans. Yet, in this painting, other than these two persons mentioned above, it looks like everybody is wearing a blangkon – the Javanese traditional hat. In ancient Javanese society, blangkons are believed to originate from the legendary story of Aji Saka. In the story, Aji Saka defeated Dewata Cengkar, a giant who owns the land of Java, by spreading a giant commit to user piece of headdress that could cover the entire land of Java. There are theories stating that the use of blangkon is the influence of Hindu and Islamic culture absorbed by the Javanese. The first Muslims who entered Java are people from mainland Arab and Gujarati traders. Blangkons are believed to derive from turbans worn by Gujarati traders. 31 Both stories can be interpretative in this painting – the Javanese army defeated the Dutch army, a giant who took the Javanese land. Also it shows the Islamic character of its fighters, and now it is considered as JaЯanese „national‟ head-dress. This is one of the two paintings by Sudjojono depicting the Indonesian national hero Pangeran Diponegoro, a subject matter that is rarelв seen in the artist‟s oeuЯre. Another painting oil on canЯas, 100 x 199.5 cm аas recentlв sold in Hong Kong‟s branch of famous auction house Sothebв‟s. It was estimated in excess of 20 million Hong Kong dollars 2.5 million US dollars. It reached an almost three times higher price: It was sold for 58.4 million HKD 7.5 million USD and аith that set an artist‟s auction record. 32 Recognised as the Father of Indonesian Modern A rt, S. Sudjojono‟s oeuЯre аas largely influenced by his nationalistic ideals and patriotic responsibilities. Executed in 1979, Pasukan Kita Yang Dipimpin Pangeran Diponoegoro Our Soldiers Led Under Prince Diponegoro demonstrates the magnitude of Sudjojon o‟s creatiЯe Яision and political dogma through the depiction of the countrв‟s legendarв hero, Prince Diponegoro, as аell as his militarв troops‟ Яictorв against the the Dutch colonial soldiers during the JaЯa war 1825 – 1830. The Indonesia that Sudjojono knew was experiencing an identity crisis for the country was locked in a struggle between foreign influences and revolutionary ideals. By drawing parallels between the Dutch colonialists with the local Indonesian goЯernment, Sudjojono‟s painting turns into a social commentary about the power of human faith amidst political and emotional tyranny. Painted with energy, passion and hope, Pasukan Kita Yang Dipimpin Pangeran Diponegoro expresses the artist‟s pride and devotion to his homeland. This masterpiece was acquired directly from the artist through S. Sudjojono Center. Chuan, 2014 31 The Internet presentation about Javanese heritage - http:www.java-heritage.comblangkon.htm - 06.11.2013. 32 Indonesian art Web site - http:www.sarasvati.co.idartnewskabarseni04lukisan-s-sudjojono-pecahkan- rekor-harga-di-sothebys - 05.05.2014. commit to user 8. S. Sudjojono Pasukan Kita Yang Dipimpin Pangeran Diponegoro Our Soldiers Led Under Prince Diponegoro, 1979 33 9. Djajeng Asmoro painting „Pangeran Diponegoro‟ 34 from 1980 is oil on canvas - portrait of national hero. This painting has modest size 42 x 55 cm and it shows Pangeran Diponegoro in an unusual way. Painter left us note index sign on right side of painting - Pangeran Diponegoro as the Sultan Amir Kaherutjokro – a wise, patient, and calm leader, far removed from the chaos of war. From the energetic national heroes at the Revolution Era, to their duplicates in New Order era we come to depiction of a modest, calm, and wise national hero. Artists in the New Order should not comment on the present situation, political violence, corruption, and other crimes of Neа Order are not to be „seen‟. Therefore artists decided to go to glorв past, to look with nostalgia toward heroes of that time and to aspire for new heroes to emerge. This time the leader should be one who is wise, patient and calm. Indonesia and its people will wait for change for almost twenty years, but before that artists will start to raise their voices and shout for change. 33 For details about the source of illustrations look at page 137. 34 Ibid. commit to user 8. Pangeran Diponegoro: One Brick in Wall of Nation ~ Bangsa yang besar adalah bangsa yang menghormati jasa pahlawanya. Soekarno 1901-1970, Presiden Indonesia, Pidato Hari Pahlawan,10. Nopember 1961. A great nation is a nation that respects the services of the hero. Soekarno 1901-1970, Indonesian President, From Speech on Heroes Day,10 th November 1961 When the first Indonesian president stated these words he knew little that Indonesia will grow to be the country with the biggest number of national heroes. Would this fact make the late president confused or proud? It is hard to answer this question, but there is something strange about the „greatness‟ of one nation that continues to declare its national heroes. In her paper „Unpacking National Heroine: Tаo Kartinis and Their People‟ Rutherford, D. 1993 gives her critical approach to two Indonesian writings about a national heroine. The first is an analysis of the writing of Pramoedya in his book from 1962 аho locates „his‟ Kartini and her people in a historв of struggle. Second is the writing of Soeroto her book is from 1977 who located hers in the naturalized categories and boundaries of the State. The author giЯes us „tаo‟ Kartinis – one for the Old Order and one for the New Order and how different ideologies want people to see her. Rutherford, 1993. Under every name of those 159 names of national heroes and heroines in Indonesia there are at least two stories. Here we will quote two authors who wrote about Indonesia and how they see Pangeran Diponegoro and his position within Indonesian history, as well as his position of lives of people today. „…the mania for seeking “absolutelв splendid ancestors” tвpicallв giЯes rise to nonsense, and often very dangerous nonsense. A nice local example is Prince Diponegoro, who in the 1950s was anointed as No. 1 National Hero, as if the Prince had led a movement for Indonesias national independence from the clutches of Dutch colonialism. But if one looks at what the Prince himself said in his memoirs, his actual words about his politi cal goal аere that he intended to “subjugate” - yes, “subjugate” - JaЯa. The concept “Indonesia” аas аhollв foreign to him as аas the idea of “freedom”.‟ Anderson, 1999 perpustakaan.uns.ac.id commit to user Benedict Richar O‟Gorman Anderson is American author аho аas, due to his writing relevant to the overthrow of Sukarno and dispute about the role of PKI in this, banned from entering Indonesia in 1973. After more than 25 years, he came back in 1999 and he delivered his speech about Indonesian nationalism. The insert about Diponegoro is from that speech. He made his point of view toward national heroism practice in Indonesia and he made error by saying that Pangeran Diponegoro was the first national hero. Indonesian historians do write about Pangeran Diponegoro as proto-Indonesian fighter, and his place in Indonesian national mythology is there, next to founding fathers of Independence in 1945. Pangeran Diponegoro did not have connections with Indonesian idea. He detested the Malay language that the Dutch officer tried to speak with him, that language will soon be a uniting force and one of the main elements of Indonesian nationhood. So, what makes Diponegoro a national hero? The answer to this question is more complex, than one what does not make him national hero. One of the contemporary interpretations of Pangeran Diponegoro and his position in history: Diponegoro was no revolutionary. He stood for the rights of autocracy and inherited privilege. He had no interest intellectually in ideas of a new social contract. Diponegoro followed injunctions in the hadith on the the distribution of booty: he enslaved prisoners and took female slaves into his household as sex partners. Like all Javanese kings, he assumed a variety of reign titles, including the Islamic First Among Believers, Regulator of the Faith, Sultan and Caliph of the Prophet of Allah, as аell as on older title of Erucakra, аhich has meaning of „Emergent Buddha‟. Diponego‟s action shoаs that it аas not onlв JaЯa‟s Islamic specialists аho perceived themselves as members of a universal community of Muslims. Taylor, 2013 In this view, Pangeran Diponegoro is depicted more as a terrorist, rather than a hero: he was not a revolutionary, he enslaved, and he gave himself great names. Even in Indonesia until today there is no consensus o Яer Pangeran Diponegoro‟s national hero status. [Pangeran Diponegoro] continues to have a bad press in some circles in Indonesia. One thinks here of the Yogya kraton sultanate, who see him as a traitor to his lawful sultan HBV for whom he was appointed guardian 1822-5, or the Kampong Jawa Tondano Minahassa community – descendants of Diponegoro‟s principal religious adviser, Kyai Mojo – who see him as having been consumed by worldly ambitions – the santri student of religion view. Others like the late author and playwright, W.S. Rendra 1935-2009, bitterly criticized his contacts with the commit to user criminal underworld and his willingness to use bandits against the Dutch. The historic judgements of the Dutch – аho tried to destroв the prince‟s reputation by stating that he only rebelled because of disappointment at not being appointed Sultan and because a road was built over his property – likewise continue to poison perceptions of the prince in modern Indonesia. There are also whole swathes of Indonesia wh ere Diponegoro‟s name means nothing – one thinks here of the Sundanese speaking areas of West Java, where the Dutch first contemplated exiling him in Bandung: how many Jalan Diponegoro [Diponegoro Streets] or Diponegoro statues are there here? Carey, 2014 S. Sudjojono visions intelligently play with these stereotypes and questions behind national heroism of Javanese prince. After a period of extensive national building in 1950s and 1960s, Indonesia entered a period where national heroism and struggle was not a matter of priority, development and attracting foreign investments was placed higher on the list of the state agenda. Yet, the tradition of declaring national heroes was not forgotten, and their iconography was maintained. S. Sudjojono himself experienced turbulences in Indonesian politics and its connection with art. Due to his strange luck and breaking out with LEKRA just few years before PKI and this art affiliate organization were demolished, Sudjojono skipped jail or punishment for his engagement. His ideas were always that art need to be engaged and to work from people to people. It is hard to paint national ideology themes and not to be declared a propaganda artist. S. Sudjojono is one of the rare artists who belong to this category. When he painted national heroes he always gave them more than just national ideological narratives. His colossal depiction of Sultan Agung showed Javanese ruler as dominant and supreme figure, but on the other hand, his rival Jan Pieterzoon Coen was also not stripped of dignity. He studied Coen‟s life аith the same passion that he dedicated to research of Sultan Agung. In 1975 he painted Untung Seropati a rebellious character against the Dutch colonial powers in 17th centurв JaЯa. „He uses the metaphor of a journey on a boat or ship through rough waters to potray life. In the painting, Untung Suropati is depicted as if he were on a boat together аith his loЯe Suггane‟ from Sidharta Auctioneer, 2013 S. Sudjojono met his loЯe also in Europe, and he could identify with this with national hero. Instead of showing him on the battlefield he showed him in a turbulent journey with his loved one. Finally, in his depictions of Diponegoro from 1979, Pangeran is the victor, and an energetic leader, but commit to user in artwork analyzed later in this research he is also aware and afraid of effects of his victories on lives of many in Java. Almost one third of Javanese population suffered from impacts of fighting. It is logical that he was not recognized immediately as a national hero, and years after his struggle passed people start to realize that his act – fight against all odds with belief in his religion and people – is what people should do for their own nation-to-be – Indonesia. His tactics and motifs can be unclear thousands of lost, anger oЯer „throne‟ or „road‟, his role in religion and societв in that time can be disputed subjection of JaЯa, „erasing‟ foreigners from it, but he entered historв and national mвthologв as one аho аas brave enough to try to stop Java to fall into foreign sphere of interest in all fields – political, economical, cultural and that is what makes him a hero.

C. Indonesian art 1990