perpustakaan.uns.ac.id digilib.uns.ac.id CHAPTER IV ANALYSES A. The 19th century Pangeran Diponegoro Villain and Hero 1. The 19th century in Indonesia The powerful Dutch East India Company (Dutch - Vereenigde Oost-Indische Compagnie - VOC Indonesian land from beginning of 17th century. For two centuries these mighty, the first multinational company controlled and used different parts of Indonesian Archipelago and seized power of local rulers. Due to corruption and debt, the company declared bankruptcy and it was nationalised by Dutch republic as the Dutch East Indies. The exact date of nationalisation of this company was January 1st 1800, so Indonesia entered into the 19th century with an old new ruler. (Brown, 2003) Between 1811 and 1816 some parts of the Dutch East Indies came under a short period of British control due to some insurgencies in Europe. After that the Dutch fought several wars to establish their full control over Archipelago. In West Sumatra between 1803 and 1827 there was the first civil war between two Muslim groups, and with the intervention of the Dutch this war was over. Now it is called the Minangkabau (ethnics of west Sumatra) or Padri War (that was the name of the faction that won). Between 1859 and 1863 there was also war in southeast Kalimantan. The result was the defeat of the Banjarmasin sultan. Areas of Bali and Aceh were also rebellious and conflict there started at the end of the 19th century and finished at the beginning of the 20th century with the Dutch state becoming absolute ruler of all present areas of Indonesia. (Brown, 2003) For this research one conflict is crucial. It is the Java War or Diponegoro War and it was fought for five years between 1825 and 1830. This rebellious, guerrilla war took as many as 500.000 Javanese lives and around 20.000 soldiers on the Dutch side both Europeans and Belanda Hitam black warriors from the Dutch Gold Coast (today Ghana). The war ended with the capture of the Javanese leader of war and his companions during negotiations where the Dutch guaranteed him freedom and some rights, but instead they tricked him, ending the war. Java was devastated, but soon with a new cultivation system commit40 to user perpustakaan.uns.ac.id digilib.uns.ac.id 41 the Javanese and Dutch elites were pleased. Java and Indonesia, with the end of this war, entered a high point of colonization which brought wealth to the Dutch Kingdom (from 1815 until today the Netherlands has been a kingdom ruled by the Oranje family), but devastation, poverty, and death to many in the archipelago. But it also brought better infrastructure and access to education, which later led to nationalistic movements and finally the liberation of Indonesia. (Carey, 2008) 2. Art History of the 19th century The 19th century was quite a dynamic period in Indonesian history; it brought a lot of misery to the Archipelago, but also some innovations that soon helped facilitate deliberation and the emancipation of the country. In the history of Europe and art history of the West it was also a dynamic period which led to art as we know it today. With revolutionary movements and the establishment of nations as we know them today, art followed with the first movements in the 19th century being Neoclassicism and Romanticism. (Hirsh, 2011) The first one, Neoclassicism, derived influence from classics in European art antique and renaissance. The second, Romanticism, was also called Neo-Baroque and it was more dynamic and vivid than Neoclassicism. The key word with Romanticism was escape: escape in nature, in glory past, in exotic places (Hirsh, 2011). The art of these artists influenced the first Javanese who learned about painting. During the second half and towards the end of the century, Realism, with its strong social critique, was born along with Impressionism, which brought new challenges to art. These two movements did not have any direct influence on Javanese (and Indonesian) art. Indirect influence was present with questions about the meaning and position of art, but with some time delay. 3. Western Eyes: Nicolaas Pieneman 3.1. Biography of Nicolaas Pienemaan lithographer Nicolaas Pieneman. He was born on 1st January 1800. His birth place is the commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 42 city of Amersfoort in central Netherlands. He was the son of the famous Dutch artist Jan Willem Pieneman. Jan Willem Pieneman was the director of the Koninklijke Académie voor Schone Kunsten in Amsterdam since 1820 and finally was appointed director of the Rijksmuseum Amsterdam in 1847. (Marius, 1909) specialised in painting recent historical events. He was a friend of the Dutch king Willem II and painted numerous portraits of members of the royal family. He was also member of Natura Artis Magistra in Amsterdam from 1852 until his death on 30th December 1860. His opus consists of mainly historical painting, followed by portraits and cityscapes. Besides the Netherlands, he was also active in the United Kingdom, France, and Belgium. In addition to his painting and lithography skills he entered the art history of Netherlands as an art collector and teacher of many future painters, such as Johaness Arnoldus Boland, Hendrick Hollander, Jan Frederick Tuck, and others. (Marius, 1909) 3.2. Submission of Diponegoro (1830-5): History and Signs Diponegoro entered Javanese traditional art as a leader of the Javanese during the Java War. His fights were subject of batik paintings as well as wayang kulit stories. In early chronicles about his fight written in Javanese court houses, there were also depictions of Diponegoro. These artworks will be mentioned more in Section 4, about Javanese paintings of Diponegoro. The first Westerner that made a depiction of Pangeran Diponegoro was Adrianus Johaness Bick (1790-1872). He was baljuw (magistrate) of Batavia (today Jakarta) and Hall today Jakarta History Museum). Diponegoro was there between April 8 and May 3, 1830. Based on a charcoal sketch of A. J. Bick, Carel Christiaan Anthony created a lithography. This portrait was used to make the banknotes of 100 Indonesian rupiah from 1952. (Carey, 2008) In these representations Pangeran Diponegoro was dressed in the garments which he wore during the Java war, namely a turban, an open-necked kabaya (cotton shirt) and a jubah (loose outer robe). A sash hangs over his right shoulder, and his pusaka kris commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 43 (heirloom dagger), Kangjeng Kyai Bandayuda, is stuck in his flowered silk waist band. The successive bouts of malaria from which he had been suffering since his wandering in the jungles of Bagelen at the end of the war (Carey, 2008). These representations are rarely seen, because they represent Pangeran Diponegoro as a sick prisoner. It is far away from Pangeran Diponegoro - the warrior, just king, leader, hero... Nevertheless, these pictures can also have nationalistic connotations; they show a warrior in the robe that he wore during battles. His face is pale and expresses sickness, but his eyes are proud and bright. His posture is one of the royals, full of dignity and calmness. This is the light that will shine on the nation several years after his exile and death. 1.0. A. J. Bick, charcoal 1.1. A. C. Anthony, 1.2. Note of 100 Indonesian sketch, 1830 lithography, 1830 rupiah from 1952 21 (Source: Carey, 2008) (Source: Carey, 2008) (Source: the Internet ) 1. The First Western Look at Pangeran Diponegoro Pieneman. His painting was done in the same period as the sketch and lithography around 1830 and 1835. General Hendrik Merkus de Kock, who arranged the arrest of Diponegoro, returned to Holland in late 1830 and was received as a national hero. In order to celebrate himself de Kock commissioned the best known (and economically most successful) portrait painter, Cornelis Kruseman (the teacher of Raden Saleh) - to do his portrait. De Kock did 21 All sources of illustrations (specially one retrieved from the Internet) are listed in the end of this research ) commit to user perpustakaan.uns.ac.id digilib.uns.ac.id 44 - the highlight of his military career - by Nicolaas Pieneman. (Kraus, 2005) This oil on canvas was originally in the de Kock family collection until 1907 when it was handed over to Rijksmuseum in Amsterdam where it was listed in 1920 under collection number 1874. The original (and full) title of the painting is The submission of Diepo Negoro to Lieutenant-General Hendrick Merkus Baron de Kock, 28 March 1830, which ended the Java War (1825 30). The title itself is already full of the meaning. The author omits the title Pangeran (or Prince) in front of Diponegoro (this only appears in Indonesian translations of the artwork where Diepo Negoro is Pangeran Diponegoro), while de Kock is presented under his full name and title. which ended the Java war the painting is named with a shorter version like that in the title of this paragraph (and generally used during the whole of this research) or with an extended name which includes the two main characters. This ending is characteristic because it does not mention the treachery of Dutch, or how the war and this meeting ended. It says that war ended with the simple submission of Diponegoro, which is far from truth. It is obvious already that the painting represents the Dutch as a supreme power with dominance over the Javanese. If we examine the painting as system of signs we can see how specific elements support this view. Icon signs are signs where the signifier resembles the signified. In Nicolaas Pieneman we can observe the depiction of many historical characters who were involved in this historical drama.