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perpustakaan.uns.ac.id digilib.uns.ac.id CHAPTER V A. Conclusion Semiotic signs and Postcolonial theory view toward paintings with Pangeran Diponegoro reveal a lot how the concept of heroism in Indonesia changed during the time. In 19th century just after the Java War was over and Pangeran Diponegoro captured, the political situation in the Netherlands and its major colony the East Indies was settling. In the painting of Pieneman we see that glory of establishing old-new order in Java. The Dutch VOC (East Indies Company) was replaced by the Dutch state. -5) shows that. The Dutch state with its waving flag and coat of arms is above everyone in that picture. The hero is not Pangeran Diponegoro the hero is the man who captured him and the one who ordered this artwork General Baron de Kock. The west is dominant in this painting, figures of the Dutch army and their supporters are encircling the Javanese figures. The figures the head of the Dutch men are all above Diponegoro vision can be a perfect illustration for Edward Said and his concept of Orientalization. But, it also show us flaws in the Dutch vision of their subordinates were depicted more as people from the Middle East, rather than Java, and it seems that landscape represents hills in Central Europe, rather than volcano mountains in Central Java. vision (1857). In his painting the absence of signs tells more than their presence. There are this painting is proto-Indonesian, but it is a clear artistic answer to injustice that Pieneman painted. The most famous feature of Raden Saleh vision of capturing Diponegoro are the big heads of the Dutch main officers. They symbolize arrogance and the absence of balance from Western people in contrast to Javanese. More than one hundred years later, the great Indonesian artist S. Sudjojono painted Diponegoro. In the beginning of the 20th century he was shaping Indonesian painting by asking questions about where art and painting should be in lives of Indonesian. S. 103 commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 104 extensive period of nation building in 1950s and 1960s, S. Sudjojono painted his Diponegoro in 1979. He painted him after battle. His painting is full of index signs, in paintings icon signs. These index signs (smoke, fire, traces) are there to warn us about the destructiveness of war and violence. The portraits of the three main characters in this painting have the pride and dignity of victorious Javanese, but they also do not have pathetic, ideological faces, rather they are painted in a more human approach, with concerns and worries reflected in their gazes. Interesting is that in this vision the Indonesian crawling down from the center of the painting. There are discussions and interpretations (and re-interpretations) of Pangeran Diponegoro and his role in Indonesian history. For one he is a revolutionary character who wanted changes in Java, for others he is not a revolutionary character he is a keeper of the old order in Java and he only wanted control and power on his side, rather than on the side of foreign invaders. Almost every person from the list of national heroes in Indonesia is controversial. Nation did not decide to declare and promote this people with their lives to build and to maintain the Indonesian nation. That was the meaning and message of the state declaring national heroes which can help partially in understanding S. Sudjojono vision. Nevertheless this vision is much more complex and like it calls for debate. After the New Order regime, Indonesia entered Reformation era. In 1994 the New Order was still in power, but changes were visible. Artists and their expression became more direct and provoking. One of the most interesting artists in this period is Agung Kurniwan who created his homage to Prince Diponegoro. In this painting Diponegoro from -make of that scene in a sci-fi setting. Figures are or Dutch people. This message is strong an artist who is famous for his action and engagement ask his audience for the same amount of action and engagement. commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 105 Indonesian politics. 150 years after Saleh painted the arrest of Diponegoro, Dono sets him free and place him on the roof from where he observes this wayang like scene of false capturing of Suharto. Art theoretician in the 2000s and beginning of the 2010s see Indonesian art and artists like motor of change of society. Their visions are bold and direct. One of the first and most constant motifs in Indonesian painting is the depiction of Indonesian artist. It shows bravery, visionary and intelligence of an artist that many followed. And many will continue to do that, because that is the role of heroes in art. B. Recommendations s and is also a limit of this research, but hopefully it will be an open-call for more writings about Pangeran Diponegoro as motif in Indonesian art. Here only relevant paintings were examined, but Pangeran Diponegoro has also entered literature, graphic novels, theatres etc. Also, there is room for an examination of other national heroes and their connection with Indonesian art and culture. Even if the tradition of declaring new heroes stops today, there are almost 160 names on this list. Behind their names and merits to nation, there are their stories that inspired artists and people this connection is yet to be discovered. commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 106 SUMMARY The concept of heroes is too broad: it is used to describe many deeds many people. we are surrounded (and guarded) by heroes. This research took the state definition of national heroes of Indonesia and tried to examine how the status of hero has changed over see that saying illustrated very well in the case of heroes. In the 19th century Java became the prime colony of the Netherlands. At the beginning of that century, however one man tried to stop that. He led Javanese people to war against the foreign invader and its habits and culture. His motifs are questionable, but what is not questionable is that he saw injustice and change and he wanted to stop it. His name was Diponegoro, and in Java they call war that he led the Diponegoro War, elsewhere it is remembered as the Java War. His fight ended with his capturing. The general-governor in charge for doing this was Hendrick M de Kock. In that time he was celebrated as a hero and peace and prosperity maker. This was shown in the first painting analysed in this research Nicolaas Pieneman, n the depiction of Diponegoro, yet this painting is always looked upon like an expression of dominance and arrogance of the foreign invader towards the local population of Java. Signs used in this painting prove its Orientalisation intention. Historical paintings in Europe were made in same pattern the main character is victorious and proud, the defeated side is ashamed and subordinate. The appearance of another painting in same time contributes to this discussion. Raden Saleh was the first Javanese who was educated in Europe about painting. He painted same scene as Pieneman, but he tried to give Javanese people their dignity back: he named without a title or history. Painting the Dutch heads slightly out of proportion and making them too big he sent a clear message of injustice and arrogance of Hollanders. He even difficulties in Indonesia, so nu whom he sent this piece. When it was brought back to Indonesia it raised a lot of nationalistic interpretations. Indonesia gained its independence in 1945, but it was in 1950 when The Netherlands officially recognized this fact that Indonesia achieved self-determination. Sukarno was the prime man of that time, and with first few years of full democracy, he took all power in his hand and the country entered in the period called Guided Democracy. It was a period of consolidation and extensive national-building. In 1959 state apparatus also started to declare national heroes. In 1965 there was a controversial killing of generals in Indonesian Army, and Suharto rose to be the new national leader. Between 1966 and 1998 he ruled Indonesia and this period was called the New Order (as contrast to the old order of in Indonesia, but also by numerous human rights abuse. These turbulences in Indonesian politics were accompanied commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 107 by events in the art world. The New Order regime continued to declare National Heroes, but with a less energetic pace. In 1973 Pangeran Diponegoro was elevated to this status. In 1979 the famous Indonesian painter S. Sudjojono painted Diponegoro. He was one of the most influential Indonesian artists due to his constant revising and questioning of the position of art and its role in one society. In his vision Diponegoro is on the battlefield, he has the Indonesian flag, he is victorious and proud. There is no doubt that his message is patriotic, Diponegoro is proto-Indonesian, and the values of freedom and dignity of the Javanese people (Indonesian people) are values above any other. Nevertheless S. Sudjojono would not be one of the greatest artist in Indonesia (he would be one of the greatest propaganda-artist) if he had not left any other message in his work. In one analysed in this research there are signs of the brutality of war and violence and Pyrrhic victory of Diponegoro. S. Sudjojono painted numerous national heroes (most famous is his depiction of Sultan Agung), and he followed national narrative and did not make mockery of national ideology, but he always sent intelligent and humanistic messages through his artwork.

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