Indonesian art

CONTEMPORARY INDONESIAN ART
Development of Painting in Indonesia
Indonesian art offers a broad variety in the visual as well as in the performing arts. While the performing arts have always been conditioned by specific socio-political situations, the visual arts offer a wide range of forms and expressive ideas, often focusing on spiritual elements. Kalimantan (Borneo) dances refer to fertility rites and homage to primeval ancestors, thus reflecting indigenous Indonesian society free of outside influences. Prehistoric cave paintings from 5,000 to 8,000 years ago remind of a time void of foreign influences. However, this situation changed. A variety of foreign cultures entered the archipelago (e.g., Indian, Chinese, Arabic, European). Both, the visual as well as the performing Indonesian arts absorbed these influences over the centuries, and --adhering to the principle of "unity in diversity"-- created their own unified Indonesian interpretation.12

Comparable to the medieval tradition in Europe before 1400, Indonesian painting before the 19th century was considered a religious, spiritual activity. The names of the artists are anonymous since the individual human creator was seen as far less important than their creation to honor the deities or spirits. Under the influence of the Dutch colonial power, a trend toward Western-style painting emerged in the 19th century. The most famous 19th century Indonesian painter, Raden Saleh (1807-1877), was the first indigenous artist to study in Europe. He studied and lived in Europe from 1829 to 1851 receiving numerous honors at Dutch, German and French courts. Following the examples of his French contemporaries, Eugène Delacroix (1798-1863) and Théodore Géricault (1791-1824), his art bears testimony to European Romanticism and became the stepping stone for future Western influences which continued throughout the 20th century. 13

The 1920s to 1940s were a time of growing nationalism in Indonesia. Several art associations developed which all helped Indonesian artists to find new paths toward a truly Indonesian art. The Indonesian Painters Association (Persatuan Ahli-Ahli Gambar Indonesia or PERSAGI, 1938-1942) played a major role in laying the groundwork for modern Indonesian art. PERSAGI established a contemporary art philosophy that saw art works as reflections of the artist’s individual or personal view as well as an expression of national cultural thoughts. From the 1940's on, artists mixed Western techniques with Southeast Asian imagery and content.14 New elements were added in the 1960's, when abstract and Islamic art began to be absorbed by the art community. The themes had changed from Romantic European to Indonesian topics.

A mixture of Eastern and Western elements is what you still see today. In some cases it is Western technique and Indonesian imagery as in Sukanto’s Pamer Istri (2000, oil on canvas). In other cases, artists mix Western and Eastern imagery, such in Fendi’s Stone temple dancers on Harley (2001, oil on canvas), or they employ Western styles to depict Eastern imagery, as in Toto Duko’s Cubist Jamu Seller (2000, oil on canvas). Some critics see Indonesian painting "still in its infancy"15 but advancing fast. Three outstanding art academies offer extensive and excellent formal training: (1) the Institut Teknologi Bandung (Bandung Institute of Technology or ITB) was founded in 1947; (2) the Akademi Seni Rupa Indonesia (Indonesian Fine Arts Academy or ASRI, now known as ISI) in Yogyakarta was inaugurated in 1950; and (3) the Institut Kesenian Jakarta (Jakarta Arts Institute or IKJ) was opened in 1970. On one hand, Indonesian artists tend to look toward Western traditions since there are fewer Indonesian masters for them to consult. On the other hand, Indonesian artists are not as isolated from their environment, their traditions, their culture and religion as their Western counterparts tend to be today. Their lives and art are still determined by these elements of life. The art works created appear more spiritual than Western art works which tend to be more intellectual. The Indonesian works are created in harmony with the ancient diversified cultures and beliefs, yet reflecting the unifying element of the Indonesian culture, thus resounding the national motto of "unity in diversity." 16

12

Edi Sedyawati, ed. Indonesian Heritage: Performing Arts. Singapore: Didier Millet, 1998: p. 6-9. Hilda Soemantri, ed. Indonesian Heritage: Visual Art. Singapore: Editions Didier Millet, 1998: p. 6-19.
13 Hilda Soemantri, ed. Indonesian Heritage: Visual Art. Singapore: Didier Millet, 1998: p. 45-49.
14 Ibid., p. 50-59.
15 Esmeralda and Marc Bollansee. Masterpieces of Contemporary Indonesian Painters. Singapore: Times Editions, 1997: p. 11.
16 Ibid., p.11-29.