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Cultivated Tastes Colonial Art, Nature and Landscape in The F Cultivated Tastes G Colonial Art, Nature and Landscape in the Netherlands Indies A Doctoral Dissertation by Susie Protschky PhD Candidate School of History University of New South Wales Sydney, Australia Contents Acknowledgments …………………………………………………………….. iii List of Abbreviations ………………………………………………………….. v List of Plates …………………………………………………………………… vi F G Introduction ……………………………………………………………………. 1 Part I — Two Journeys Chapter 1: Landscape in Indonesian Art ……………………………………….. 36 Chapter 2: Dutch Views of Indies Landscapes …………………………………. 77 Part II — Ideals Chapter 3: Order ………………………………………………………………. 119 Chapter 4: Peace ………………………………………………………………. 162 Chapter 5: Sacred Landscapes ………………………………………………… 201 Part III — Anxieties Chapter 6: Seductions …………………………………………………………. 228 Chapter 7: Identity – Being Dutch in the Tropics …………………………….. 252 Conclusion …………………………………………………………………….. 293 F G Glossary ……………………………………………………………………….. 319 Bibliography …………………………………………………………………... 322 ii Acknowledgments First, I would like to express my gratitude to the Faculty of Arts and Social Sciences at the University of New South Wales for granting me an Australian Postgraduate Award between 2001 and 2005. The same Faculty funded two research trips abroad, one to the Netherlands in 2004 and another to Indonesia in 2005. Without these sources of funding this thesis would not have possible. In the Netherlands, I must thank Pim Westerkamp at the Museum Nusantara, Delft, for taking me on a tour through the collection and making archival materials available to me. Thanks also to Marie-Odette Scalliet at the University of Leiden, for directing me toward more of her research and for showing me some of the university library’s Southeast Asia collection. I also appreciate the generosity of Peter Boomgaard, of the KITLV in Leiden, for discussing aspects of my research with me. Thanks to the staff at the KIT Fotobureau in Amsterdam, who responded admirably to my vague request for ‘landscape’ photographs from the Netherlands Indies. I am grateful to my fellow postgraduate Iskandar Nugroho for introducing me to his sister Lina in Indonesia, who kindly extended her hospitality to me in 2005. In Sydney, I would like to thank Adrian Vickers for assisting with some tricky questions on Nusa Penida; Peter Worsley, for sharing his views on landscape in classical Javanese poetry (and generously providing me with a then-unpublished paper on the topic); and particularly Robert Aldrich, with whom I have had the pleasure of an association since my undergraduate days at Sydney University, and who has always been generous with advice and encouragement. Thanks to Jacqui Verbeek, my best friend and a formatting genius, for helping me so much with the plates. Thanks also to my comrades in the School of History, Sally Cove, Nevenko Bartulin and Matt Fitzpatrick, who have been good friends and formidable postgraduate colleagues. iii Special thanks to Jean Gelman Taylor, whose expertise, guidance and example have left a deep impression upon me. I have been most fortunate to learn from her, Thank you finally to my wonderful parents, Robert and Gabriele Protschky, for their love and support, and to Tyrone Berger, who lived this experience with me and to whom I would like to dedicate this thesis. iv List of Abbreviations KITLV (Koninklijk Instituut Voor Taal-, Land- en Volkenkunde) = Royal Netherlands Institute of Southeast Asian and Caribbean Studies KIT = (Koninklijk Instituut voor de Tropen) Royal Tropical Institute KNIL (Koninklijk Nederlands Indisch Leger) = Royal Netherlands Indies Army KPM (Koninklijke Paketvaart Maatschappij) = Royal Packet Voyage Company Persagi (Persatuan Ahli-Ahli Gambar Indonesia) = Union of Indonesian Artists VOC (Verenigde Oost-Indische Compagnie) = United East Indies Company WIC (West Indische Compagnie) = West India Company v List of Plates (Appearing at the end of each Chapter) (There are no plates for Chapter 7) Introduction Map: The Indonesian Archipelago [Source: MC Ricklefs (2001) A History of Modern Indonesia Since c 1200 (3rd Ed). Palgrave, Basingstoke: p 471]. Chapter 1 Plate 1: The Pool at Taman Sari, Yogyakarta (Java), Viewed Through the Bars of the Sultan’s Watch Tower [Source: Author’s own photograph, 2005]. Plate 2: Ida Bagus Made Togog, Anoman, Rama and Laksmana in the Midst of the Nandaka Forest (1932) [Source: Jean Couteau (1999) Museum Puri Lukisan. Ratna Wartha Foundation, Ubud: p 51]. Plate 3: Theo Meier, Purification by the Sea (1979) [Source: Garrett Kam (1993) Perceptions of Paradise: Images of Bali in the Arts. Yayasan Dharma Seni, Ubud: p 102]. Plate 4: Bas Relief, Borobudur [Source: Author’s own photograph, 2005]. vi Plate 5: Gunungan Wayang Puppet, West Java (19th Century) [Source: Helen Ibbitson Jessup (1992) Court Arts of Indonesia. The Asia Society Galleries, New York: figure 37]. Chapter 2 Plate 1: Anonymous, The Battle of Bantam (1601) [Source: George S Keyes (ed) (1990) Mirror of Empire: Dutch Marine Art of the Seventeenth Century. Cambridge University Press, Cambridge: p 327]. Plate 2: Antoine Payen, The Coast of Ambon from Batu Merah (1824) [Source: Marie-Odette Scalliet (1995) Antoine Payen: Peintre des Indes Orientales. University of Leiden, Leiden: plate 42]. Plate 3: Woodbury and Page, Kota Ambon from Batu Merah (1868) [Source: Steve Wachlin (1994) Woodbury & Page, Photographers: Java. KITLV Press, Leiden: p 139]. Plate 4: Woodbury and Page, Gang Scott, Batavia (1863) [Source: Scott Merrillees (2000) Batavia in Nineteenth Century Photographs. Curzon, Surrey: plate 83]. Plate 5: Kampung Batu Gantung [Source: HJ de Graaf (1972) Ambon in Oude Ansichten. Europese Bibliotheek, Zaltbommel: plate 62]. Plate 6: Trestling & Co (after FC Wilsen), Mt Ophir on Sumatra’s West Coast (1865-76) [Source: John Bastin and Bea Brommer (1979) Nineteenth Century Prints and Illustrated Books of Indonesia. Spectrum, Utrecht: p 83]. vii Plate 7: Mt Kelud After its Eruption (1902) [Source: Rob Nieuwenhuys (1982) Komen en Blijven. Querido, Amsterdam: p 73]. Plate 8: Abraham Salm, Wild Landscape (undated) [Source: Richard Hamblyn and Yu-Chee Chong (1991) Java. Naar Schilderijen en Tekeningen van A Salm. Gallery Editions, Singapore: p 59]. Chapter 3 Plate 1: Woodbury and Page, Still Life with Tropical Fruits (1879) [Source: Peter Boomgaard and Janneke van Dijk (2001) Het Indië Boek. Waanders Uitgevers, Zwolle: p 112]. Plate 2: Colonial Interior with Shells [Source: Rob Nieuwenhuys (1998) [First published 1981] Baren en Oudgasten. Querido, Amsterdam: p 157]. Plate 3: Attributed to David de Meyne, Bird’s-Eye View of Ambon (c 1617) [Source: Marie-Odette Scalliet, Koos van Brakel, David van Duuren and Jeannette ten Kate (1991) Pictures from the Tropics. KIT, Amsterdam: p 21]. Plate 4: Joseph Poelinck, King Willem I (1819) [Source: Kees Zandvliet (2002) The Dutch Encounter with Asia 1600–1950. Rijksmuseum Amsterdam, Amsterdam: p 290]. Plate 5: Raden Sjarief Bustaman Saleh, Herman Willem Daendels (1838) [Source: Kees Zandvliet (2002) The Dutch Encounter with Asia 1600–1950. Rijksmuseum Amsterdam, Amsterdam: p 86]. viii Plate 6: JWB Wardenaar, The Regency of Probolinggo (c 1800) [Source: Leo Haks and Guus Maris (1995) Lexicon of Foreign Artists who Visualised Indonesia (1600–1950). Gert Jan Bestebreurtje, Utrecht: plate C37]. Plate 7: Abraham Salm, In the Tengger Ranges (undated) [Source: Richard Hamblyn and Yu-Chee Chong (1991) Java. Naar Schilderijen en Tekeningen van A Salm. Gallery Editions, Singapore: plate 7]. Plate 8: P Lauters (after AJ Bik), Nova Curia Bogoriensis (1835–49) [Source: John Bastin and Bea Brommer (1979) Nineteenth Century Prints and Illustrated Books of Indonesia. Spectrum, Utrecht: plate 64]. Plate 9: WJ Gordon (after Th Reijgers), Vue de Palais de Buitenzorg (1842) [Source: John Bastin and Bea Brommer (1979) Nineteenth Century Prints and Illustrated Books of Indonesia. Spectrum, Utrecht: plate 20]. Plate 10: A Dutchman with his Pot Plants, Surabaya (Java) [Source: Rob Nieuwenhuys (1998) [First published 1981] Baren en Oudgasten. Querido, Amsterdam: p 169]. Plate 11: Attributed to C van de Koppel, Cleared Land, South Sulawesi (1923) [Source: Peter Boomgaard and Janneke van Dijk (2001) Het Indië Boek. Waanders Uitgevers, Zwolle: p 422]. Plate 12: J Jongejans, Devil’s Bridge, West Coast of Sumatra (c 1915) [Source: Peter Boomgaard and Janneke van Dijk (2001) Het Indië Boek. Waanders Uitgevers, Zwolle: p 258]. Plate 13: Netherlands Indies Army (Aviation Division), Aerial View of Railroad and Ricefields, Priangan (Java) (c 1935) ix [Source: Peter Boomgaard and Janneke van Dijk (2001) Het Indië Boek. Waanders Uitgevers, Zwolle: p 99]. Chapter 4 Plate 1: Abraham Salm, The Countryside of Citrap [Source: Richard Hamblyn and Yu-Chee Chong (1991) Java. Naar Schilderijen en Tekeningen van A Salm. Gallery Editions, Singapore: p 21]. Plate 2: W van Groenewoud (after FVHA de Stuers), Vue de Magellang (1833) [Source: John Bastin and Bea Brommer (1979) Nineteenth Century Prints and Illustrated Books of Indonesia. Spectrum, Utrecht: plate 66]. Plate 3: Willem von Geusau, Banda Neira and the Volcano (Gunung Api) (undated) [Source: Yu-Chee Chong and Richard Hamblyn (199?) [Exact publication date unavailable] Views of Indonesia (1848–1857) by Willem von Geusau (1814–1872). Gallery Editions, Singapore: p 69]. Plate 4: Willem von Geusau, The Sun Gap (undated) [Source: Yu-Chee Chong and Richard Hamblyn (199?) [Exact publication date unavailable] Views of Indonesia (1848–1857) by Willem von Geusau (1814–1872). Gallery Editions, Singapore: p 73].
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