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CHAPTER IV

ANALYSES

A. The 19th century Pangeran Villain and Hero

1. The 19th century in

The powerful (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 as the . 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 . After that the Dutch fought several wars to establish their full control over Archipelago. In West 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 ) or (that was the name of the faction that won). Between 1859 and

1863 there was also war in southeast . The result was the defeat of the

Banjarmasin sultan. Areas of and 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 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 black warriors from the (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

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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 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:

3.1. Biography of Nicolaas Pienemaan

lithographer Nicolaas Pieneman. He was born on 1st January 1800. His birth place is the

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city of Amersfoort in central Netherlands. He was the son of the famous Dutch artist Jan

Willem Pieneman. was the director of the Koninklijke Académie voor

Schone Kunsten in 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 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 ) 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

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(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 , who arranged the arrest of Diponegoro, returned to 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, (the teacher of ) - 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 )

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- 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 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. The Dutch are positioned in the upper level of the composition, they

are active and energetic. One is shown ordering something, another is ready to obey these

orders, their posture is vertical everyone is either standing or riding a horse and therefore dominates the picture. Their uniforms are neat and dominated by the colour black (shirts,

boots, and hats) which also gives a strong sense of power. Black is the colour that usually

symbolises death, but it also represents dominance and full control. Black itself is all

colours in one, but also the absence of light. On the other hand, the followers of

Diponegoro are somehow subordinate; they are sitting, kneeling, or standing. But the

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standing figures also lack energy and everyone is somehow surprised and hurt by the news

that their leader is telling them.

22 2. Nicolaas Pieneman Submission of Diponegoro (1830-1835)

2.1. Icon signs Portraits of some of the historical figures involved in this scene:

1. Pangeran Diponego 2. Hendrick Merkus de Kock 3. Du Perron 4. Michiels 5. Tololiu HW Dotulong 6. Benjamin Th. Sigar 7. Hendrik Werias Supit 8. Pasukan Tulungan 9. Johanis Inkiriwarig

Pieneman made Diponegoro look submissive (he is put one step below De Kock), his retainers and followers as well. Everyone pictured seems to understand

that de Kock's stern action is for the best of the Javanese, and that poor General de Kock had no choice but to send Pangeran Diponegoro away, just like a loving father

has to send a misguided son away in order to teach him a valuable lesson. After all de Kock was not a monstrous colonizer, but an educated and civilized gentleman,

respected leader of the freemasons in the

2.2. Pangeran 2.3. General De Indies (Kraus, 2005).

Diponegoro Kock

22 Pieneman painting was easy to access in every format from Web page of Rijksmuseum (https://www.rijksmuseum.nl/en/collection/SK-A-2238 - Retrieved in 5. May 2013.) All details, cropped version of painting are from that source

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Index signs are those where signifier is not arbitrary, rather it has a direct

connection to signified. Classic Index signs in paintings (and other visual media) are for

example smoke that indicates fire, writings on painting, that point to what is written, traces

of movements (footprints, traces of car). But in general art history has developed an

extensive lexicon of indexical signs in paintings: there are repoussoir figures, figures in

ctures who mime some functions of the external beholder, mirrors and surrogates and objects of reciprocal gazes (in Elkins, 2013). Repoussoir figures are those who make the border of the picture, they introduce us to the space. They were introduced by Dutch landscape painters in the 17th century. A memento of this in this composition is the depiction of a tree that leads our view toward the mountains. Also in this painting there is one figure on the right on the horse, in a red suit; it closes composition on that side with the banner of the flag of the Netherlands which will soon be analyzed. The pointing figure in this composition is De Kock who probably points and indicates that soon a carriage will come and take prisoner to his future destination. De Kock of the other Dutch are toward De Kock and support him in his action. Other Dutch figures look on the scene with Diponegoro but with calm and indifference. Diponegoro does not

look in any general direction, but toward his followers, and his body language somehow

suggests that he realizes that he is guilty, and the only thing that he can do is to surrender.

His followers look at him with surprise and shock, but the scene is not too dramatic, facial

expressions are mild, so like they also realize necessity of this action. All participants seem

relaxed (even the crying ones), there is no resistance. (Kraus, 2005)

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Symbol signs

A painting is usually full of symbols. Symbols are signs where the signifier does not

look like the signified. It is fully arbitrary, needs to be learned, and it is a matter of

convention. Symbols can include objects, but also they are in gestures, body language,

animals and plants that have strong symbolic potential, and so on.

2.4 Marks of Nation: Central Dutch flag, flag on the right side, and coat of arm

By looking at the painting we can say that the figure of Diponegoro and two crying and kneeling figures are the central ones. They are in a central position, but, above them, on the roof of the Residence, is the Dutch flag. It is the dominant figure in this painting. It is a strong symbol of who is above everything the rebellious prince, the loyal general, armies from both sides servitude to Kingdom of the Netherlands is their summit. The flag on the roof is the highest peak of the painting; even the tree and mountain are below its level. The

flag also appears on the right side and the figure in red almost closes that side of the

composition. Among the masses of Dutch soldiers there is also a small trace of the orange

flag the banner of royal family from Kingdom of the Netherlands established from 1815. The coat of arms is not so visible, but it is the dominant relief over the entrance to the

Residence which clearly indicates that the resident is there to obey European center of

power symbolized by its heraldic.

Spears - There are two groups of spears, those on the back are up, and in front panel

are the ones which are laid down. Those that are up belong to the Pasungan Tulungan

(mentioned above in icon signs under number 8). The Pasungan Tulungan were brought

from Fort Amsterdam in and they consisted of 1500 Minahasa people. They were

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one of the key elements of Dutch victory. In contrast to them are the spears of the defeated

Javanese.

2.5. People: More Middle Eastern than Javanese

Nicolaas Pieneman had never been to Java and the Javanese in his painting look more like people from the Middle East. (Kraus, 2005) It is a p concept of Orientalisation. The West won a war, the rebellious were Muslims, and the nearest concept to the Western closed mind are Muslims from Middle East who were for

of Diponegoro wear turban-like cloths on their head, and their robes are like those of Turks, or Lebanese, rather than Javanese with their batik clothes. Even their faces, moustaches, and expressions also reveal this Middle-Easterncity rather than Javanicity or Indonesiacity.

(New words coined from Barthesian concept of Italianicity

2.6. Geography: Landscape - is surrounded by five volcano mountains:

Merapi, Merbabu, Sindoro, Sumbing, and Slamet.

likely European mountain, rather than some of the

Volcano Mountain in Java with its conical shape.

Also the Dutchman Pieneman introduced a rather sharp

wind from the west (common in Holland) that gives the

Dutch flag a very dynamic appearance (Kraus, 2005).

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The painting of Nicolaas Pieneman is not there to be realistic and accurate, it is

there to serve its purpose which is the demonstration of Dutch supremacy and great victory.

It may be followed by the usage of a great amount of prejudice and ignorance, but is not

paintings that helped to construct an image and the idea of the Netherland

East Indies. It is an idea of the Other, rebellion, one that needs to be controlled and subordinate, the one who needs European gentlemen, who will bring dynamic changes in this part of world, many good ones, but also many followed by death and despair.

2.7. (Un-existing) Symbol of Death -

there is no word about the strange figure of carriage driver. His

death and destruction of one colonial

rule. The majority of faces that we saw in direct gaze in this painting have the features of one face nose, eyes, or mouth, in some we can see it more clearly, like De Kock or Diponegoro and in some just in traces, but the driver of the carriage has a strangely dark

and morbid appearance. In Western painting there is a frequent motif in paintings called

memento mori - usually depicted by skulls which serve to remind a viewer of transience of

it can mean that the painter

wanted to say

because Javanese resistance was silenced with the end of this war only briefly, and it took the Javanese more than one hundred years to resist and to set free and to create a new

homeland Indonesia.

4.

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4.1. Biography of Raden Saleh

The first Javanese who gained formal education in painting in west was Raden

Saleh. His full name is Raden Saleh Sjarief Boestaman. He was born in a wealthy Javanese

family in Tebaya (, ) in 1807 or 1814. , His family had ties with Suro

Adimenggolo, the regent of Semarang and . He had lived at the home of Baron van der Capellen in Buitenzorg (present day , ), where he had an opportunity to study painting from Caspar Reinward (1773-1854) and Belgian artist A. A. J. Payen (1792- h the support of Prof. Reinward, a painter and botanical blue-print maker of Kebun Raya Bogor (the Botanical Garden of Bogor) and the Dutch governor General van der Capellen, A. A. Payen sends him to the Netherlands to study painting in 1830. The willingness of Dutch colonial government to send and educate Raden Saleh abroad had at its core political design, namely so that the young man would be prevented from being influenced by his uncle, who was leaning toward aristocrat independence leader Pangeran Diponegoro prior to the outbreak of the struggle for freedom in the Java War (1825-1830) (Kraus and Vogelsang, 2012) He studied landscape painting from Andreas Schelfhout and portrait painting from Cornelius Kruseman. From 1839 the artist lived in Dresden and he became a celebrity in several courts there. In 1844 Raden Saleh visited France, and later journeyed to Italy and

Austria. Upon his return to Holland, he was given the title of Royal Painter by King Willem

II. He also visited Algiers during this time. His work is strongly influenced by work of

Romanticism masters, in the first place Théodore Géricault (1791-1824) and Eugène

Delacroix (1798 1863) Raden Saleh was after all the Javanese of his time most exposed to

nters are not especially good in creating animal

(Kraus, 2005)

After more than 20 years living abroad he returned to Java in 1852. For a short while he became a painter in the courts of and Mangkunegara (Solo). Finally

he settled in Batavia (Jakarta), only to move to Bogor in 1879, a year before his death. The

artist passed away on 23 April 1880 in Bogor. In 1969 he was awarded Amugerah Seni art

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award from Indonesian government. The artistic and existential struggle of Raden Saleh

could be a turning point for mapping and discussing how Indonesian fine art grew,

developed, and then came into contact with modernity. His art work representing the East

Image through Romanticism made him made him charismatic figure among the artists and

European noblemen. This achievement made him professional laureate painter, and get the

various honours. He had the capacity to absorb West culture, yet, he had strong ties to his native socio-cultural context. He became an inspiration for Indonesian painters and nationalists during the growth of national movement in the first half of 20th century. (Kraus and Vogelsang, 2012)

4.2. Arrest of Diponegoro (1857): History and Signs

Raden Saleh was not the first Javanese to paint Pangeran Diponegoro. Charcoal sketch of Diponegoro as a young man was probably made by a Yogyakarta kraton artist. It

known sketch of the Pangeran which shows him dressed in Javanese kraton style in a surjan and blangkon (Carey, 2008). He also entered the babad traditional Javanese chronicles. He is a subject in four babad: one written by himself with the assistance of his family, one written by the order of his opponent Bupati Purwarejo, and those written in courts of Yogyakarta and Surakarta. Diponegoro also had remarkable knowledge about

wayang and . (Sumarsam, 2013) He will also enter these stories. Wayang Diponegoro was created in the 20th century to spread a story about famous Pameran and

his glory resistance.

Indonesia is, there is also a long tradition of depicting stories about him in traditional

genres illustrations in babad chronicles, as motif in batik painting, and telling the stories

and carving his leather puppet for wayang kulit performance. One of the main goals of this

research is also to demonstrate how local wisdom and specific Indonesian socio-cultural

environment can blend and enrich painting in Indonesia and general.

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3.2. Pangeran Diponegoro giving instructions to his

two followers, Kyai Jayamustapa and Kyai Mopid, before they set out

on their pilgrimage (ziarah) to Nusakambangan. Diponegoro is sitting under kemuning tree (wit kemuning) on his 3.1. Batik Perang meditation stone (séla Diponegoro gilang) at his retreat of Sélareja, north-east of Tegalreja. From Buku Kedung Kebo. (Source of illustration and text: Carrey, collection) 2007)

3.4. & 3.5. Wayang Diponegoro unknown local keraton artist (Source: Carrey, 2007) (Source of photos the Internet23)

3. Javanese Look at Pangeran Diponegoro

It is interesting to notice that almost all traditional Javanese art forms that was

depicted in illustration box above appear later. Initially Pangeran Diponegoro was not hero,

he brought chaos and destruction to a lot of parts of Java. His battle was forceful and brutal.

Only later, his rebellious act was recognized as proto-nationalistic one. Wayang

Diponegoro appeared after Indonesian Independence. Batik Diponegoro was actual batik,

but it was done with design of Dutch ladies who were worried about this conflict. It is

presented in batik belanda section of Danar Hadi Batik Museum in Surakarta. This is an

interesting influence of Javanese art form to creations of Westerners.

23 For more details about source, look at Source of Illustrations on page 137.

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One of the best examples of blending of Western and Indonesian art and

hybridization The Arrest of Pangeran Diponegoro illustrates

(Kraus, 2005). In Europe he

did not feel comfortable to paint historical scenes. Those scenes in Western art included

representations of contemporary historical events and glorification of rulers in the first

place, but also knowledge and usage of historical scenes and battles from European history. Also, in this group big scenes from the Bible as well as narratives from Ancient mythology were included. Not just Ancient Roman and Greece, but also stories from German, Anglo- Saxon, and other mythologies. Historical painting, which carried strong nationalistic undertones, developed into a major instrument for glorification of the state and/or nation building. (Kraus, 2005) All these concepts were unfamiliar to Saleh, so he did not paint in

The visual hegemony was already established. (Kraus, 2005) Pieneman already finished his version, that Saleh must have seen in the Netherlands and he probably made first sketches based on this painting. From later in 1857 Raden Saleh mentioned that he produced one painting which includes Diponegoro and he painted

The Raden Saleh family, because of connections with Diponegoro lost privileges and some of his family members were also exiled. Raden Saleh never met Diponegoro, but

he met Kyai Naga Siloeman, the kris of Pangeran Diponegoro - Kyai Naga Siloeman had

been taken from Diponegoro by the Dutch when they arrested him in Magelang. It was also

interesting to mention that in a short note in the Kunstkronijk (1844-45) Raden Saleh was

called neefvan Diepo Negoro, nephew of Diponegoro. Regardless of these obvious and

strong connections with Raden Saleh and Diponegoro professor Harsja Bachtiar, an American trained Indonesian historian, who belonged to the first generation of intellectuals

in independent Indonesia, disqualified the painting as 'un-nationalistic'. He wrote:

Diponegoro's death inspired Saleh, who had seen many paintings of historical scenes when he was in Europe, to paint what he called a historisches Tableau, die

Gefangennahmen des Javanischen Hauptling Diepo Negoro, painted, characteristically, for the King of the Netherlands, a very un-nationalistic gesture, but very much in accord with the relationship of a grateful artist and his aristocratic patron, the relationship of a courtier and his King. (Bachtiar, 1976in Kraus, 2005)

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but there are already some signs that are different. Also the figures are all proportional

which is also important to mention for analyses of actual painting.

4.0. The first sketch for Arrest of Pangeran Diponegoro, 1856

In the final painting Raden Saleh used Western Renaissance linear perspective.

Raden Saleh's 1850s depiction of The Capture of Prince Diponegoro by General de Kock after the Java War of 1825- in

swer, and visual battle so to

speak.

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24

4.1. Icon signs Portraits of some of historical figures involved in this scene:

1 Pangeran Diponegoro 10 Raden Ayu Retnaningsih, one of the 2 - Hendrik Merkus de Kock wives 3 Louis de Perron 11 Jayasurata (Rata), one of the abdi 4 W. A. Roest dalam (servant) 5 Francois Victor Henri Antoine Ridder 12 Pangeran Diponegoro Muda, the de Stuers second son, born ca. 1809 6 9 13 Franciscus Gerardus Valck them either 6 or/and 7 is Raden Saleh 14 Johan Jacob Parié 15 Johan Jacob Roeps

collaborators: military commanders (Ali Basah, AB), male children (Raden Mas, RM)

and religious clerics. Here there is depiction of AB Ngabdulkamil Mértanégara, AB Ngadulmahmud Gandakusuma, AB Suryawinata, AB Imam Musbah, RM Joned (born ca. 1815) , RM Raib (born ca. 1816), Kyai Ngisa and Haji Badarudin. There are also

(Source for naming characters Carrey, 1986)

24 The Arrest of Diponegoro does not have available reproduction in high resolution, so for this analyses reproduction were accessed from several sources, for details look at Source of Illustration page 137

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Icon signs

This was the first time for Raden Saleh to

paint more than 40 figures in one

composition. Carey (1986) identifies more

than historical figures in this painting. A

characters of this historical drama Pangeran Diponegoro and General de Kock. 4.2. Pangeran Diponegoro Muda, Pangeran Diponegoro and General de The arrest of Diponegoro shows a different Kock composition and emotional quality altogether. An angry Diponegoro is the acting figure in the center of the painting. He struggles to keep his feelings - in true Javanese fashion - under control. His look is provocative and challenging, while the Dutch officers are frozen in static gazes that do not meet anybody's eyes. Saleh brings the Javanese onto the same level. In relationship to de Kock, Diponegoro stands on the right side, the Dutch Commander-in-Chief on the left, which, within the Javanese system of spatial order is understood as the female side. That again relegates the Dutch officer to the second in importance. Index signs

In

version Diponegoro is not pointed out of his country, but is invited by a somewhat helpless

de Kock to enter a waiting coach. Gazes of people are calm, Dutch people look confused

and lost, and among followers of Diponegoro only two figures look more up to the scene,

while others look down and overall spread atmosphere of sadness and despair. The only figure who has more vivid facial expression is Pangeran Diponegoro who looks angry; his

posture shows that he is ready for some action.

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Symbol signs

4.3. Geography -

volcanic mountains that can be seen from Magelang. The

Dutchman Pieneman introduced a rather sharp wind from the

west (common in Holland) that gives the Dutch flag a very

dynamic appearance. In Raden Saleh's work the atmosphere is absolutely quiet. The universe holds its breath, no leaf and certainly no flag is moving. (Kraus, 2005) wn of a new day: not only the dawn of a new colonial era, but also one which would herald the collapse of that order. (Carrey, 2007) (Non-existent) Marks of Nation - Raden Saleh has 'forgotten' the Dutch tricolor altogether. Also there is no coat of arms engraved in the wall of the building. While this painting can be addressed to the king (who was not really art lover) it is cleared message from absence of signs: you do not belong here. After this war Java entered the period of high and land was dived to various local rulers. Divide et impera was Dutch as well for short time British motto in Java. That is why there are no alternate signs, the ideas of nationhood will be developed later, at the beginning of the 20th century, and this painting will be one of the symbols for artists who wished to say something about national issue.

4.4. People in Raden Saleh are rich in clothes, gestures, emotions

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the heads of the major Dutch officers are slightly out of proportion, a little bit too big. This

'error' is not found in the earlier drawing, nor are the heads of the Javanese on the painting out of proportion. This is because the 'error' is not an error but a message: the heads of the

Dutch officers are the heads of raksasas, of monsters. Dutch audience could not recognize

beautiful. The heads are a little too big and the arrest of the prince did not happen on the in Kraus, 2005) In Raden Saleh vision vision. He uses for them not only turbans, which here are symbol signs for supporters of Diponegoro. From the earliest depiction Diponegoro is with turban, and those who follow him, wear the same. But in this depiction Javanese do wear batik and its parang decoration. is attempting to restore Javanese dignity. Tasbih - One of the symbol signs that are present in both versions of painting is Tasbih (in Arabic ) is a form of dhikr that involves the repetitive utterances of short sentences glorifying God, in . To keep track of counting either the phalanges of the right hand or a misbaha is used. (Glassé, 2002) In

pray.

Batik - Parang design is a motif of slanted lines. The term Parang derives from

A. Loeber, this design comes from bird of Irian called Alberartas. In the Javanese history, it

is said that king Sultan Agung Hanyokurokusumo III created Parang from the form of the

wave of the southern coast. He considered that even large rocks can be destroyed by strong

waves and therefore, he prohibited this design to the masses and only permitted to be worn

by someone with a quick mind who is active and is able to solve political problems.

However inside a family, Parang can be destructive (meaning war) and is considered

negatively. Therefore, this design is prohibited to be worn in weddings and is worn in royal

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ceremonial occasions such as traditional ceremonies, royal meetings, and receptions of

guests. When wearing Parang, there is a regulation that the size of Parang patterns differs

class cannot wear large

Parang patterns (Sentalu in Tozu, 2007)

Raden Saleh painting did not notice and it is remarkable how symbolic this batik is and how its story goes well with the story about capturing of Pangeran Diponegoro. Yet, some

proto-nationalist sign, but it can be just coincidence. But it is not coincidence that Diponegoro was painted without his keris. In the moment of his capturing it was Idul Fitri a great Islamic day, and we cannot tell what Diponegoro was expecting from this meeting, but it is clear that he did not expect that he will be tricked and captured. The absence of the keris symbolizes that. According to Bruijn and Pattopang (2008), this painting could be a symbol of

maestro, namely Raden Saleh. Second, the subject of the painting is a hero of the nation, namely Prince Diponegoro. Third, this painting has a highly aesthetic value. More than that, this painting depicts a historic event that is very important for Indonesia. To end discussion one can start from the beginning the name of the painting.

believed that Pangeran Diponegoro was tricked and he expressed that it in a title. He did

he was his Pangeran as well as he was to thousands of

Javanese who follow him in his resistance. That is why he also depicts himself among the

Did Raden Saleh really want to send message that Dutch who colonized his land our

raksasa or monsters or was it just a mistake? Not all figures of Dutch people in his painting

are out of proportion, only those in charge. They even have a bigger amount of light on

their faces (logically because heads are bigger), so it is arguable that Saleh wanted to send

message of disapproval to those. One can say that the Arrest of Pangeran Diponegoro is a

caricature, a bitter comment on Dutch colonial rule. Others can say that it is the piece of a

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r essay about

-

Is Raden Saleh a londo (Javanese term for (and/or foreigners) that

comes from name for Dutch people) or hybrid (Javanese educated and grow in West) or

Javanese/Indonesian proto-nationalist? The answer is all and none of the above. The answer

can be summarized by pointing main ideas from analyzes of this painting: - Evolution of an idea ion with different emotion. The more closed composition with many figures looks intense and treating. - The position of Dutch and Javanese figures notable main characters Diponegoro and de Kock who are on the same level and Diponegoro looks angry and de Kock confused

was pro-Diponegoro, he could not go to see and to make scene from battle, but he did visit Magelang where one of his family members was in charge. - The destiny of the painting itself it was it in his palace in . Later it was sent to The trofeengalerij van het Koninklijk Koloniaal Militair Invalidenhuis Bronbeek (gallery of trophies of the Royal Colonial Military Veterans Home Bronbeek). In 1978 the Oranje Nassau Foundation returned the painting, as a present to the Indonesian people, to Jakarta. It was kept in Presidental Palace Museum and until

recently it was in bad shape. It was restored in 2013.

To conclude Raden Saleh is one complete master piece of his time, it shows how he

blends and uses knowledge that he gets from West to send a message of disappointment

and protest to ones who were ruling his country. It was not nationalistic scream (the idea of

Javanese/Indonesian nation did not exist) it was powerful expression that when we decode it tells us a lot about life on an artist, life of Pangeran Diponegoro and injustice of colonial

rule. That is what makes this painting remarkable

anonymity to proc

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5. Pangeran Diponegoro: Villain, Rebellion, or Hero?

The Dutch flag waving dominantly above all characters in the painting, the

determined face of General De Kock, the obedient face of Pangeran Diponegoro, the Dutch

officials and their supporters are surrounding supporters of arrested (or in this case

ldlike, different; thus the European is rational, virtuos, mature, normal these on his canvas Pangeran Diponegoro is fallen figure, like a lost child, irrational, and with his exotic costume different. General De Kock on the other hand is father-like figure, rational, virtuos, and in his elegant European military custom normal. Western societies developed preconceived notion on East despite never been there. Nicolaas Pieneman never visited Java, and he painted its people in Middle Eastern manner, and its nature like West as arrogant, ignorant, and limited- Orientalism, it is still well made histrocial scene. It is preserved in Rijksmuseum in Amsterdam and it is easy accessible on the Internet. Dutch colonial era in Indonesia has finished more than sixty years ago, but Dutch (and within Western) point of view toward the Java War and Pangeran Diponegoro are still dominant one.

Suwardi Surjaningrat (Ki Hadjar Diwantoro) wrote a newspaper article about him

being Dutch for one day and that day was Day of the Netherlands Independence. Here is

what is he asking himself in that article:

Or do we perhaps feel that because of our soul-destroying policy we regard all

how primitive community is, it is against any type of oppression. If I were Dutchman, I would not organize an independence celebration in a country where the independence of the people has been stolen (from Anderson, 1996).

By putting himself in place of Dutch he managed to put Dutch readers (article was written in Dutch) into place of Javanese and to explain them Javanese (and all other

Indonesians) point toward colonization. It is sad that the Internet viewers cannot do that

with looking at different view toward Pangeran Diponegoro and the Java War. (Small

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research about the Internet visibility of these two paintings is attached as appendix at the

1996). In this research it is showed that not just language in its printed and spoken form has

power to do that, but it is also visual language in form of painting can do that as well.

nationness, and nation- (Anderson, 1996). Raden Saleh was one of the first Indonesian men who had access to Western education, space, people, and ideas. He could speak several European languages, but for this painting. Arrest of Pangeran Diponegoro is the first historical painting in this part of world (South-East Asia) and it is also the first one done completely by local artist. Role models for this painting were European historical paintings (which were popular genre while Raden Saleh was in Europe) and paintings from high renaissance which are regard as classical. between the rational

Raden Saleh himself embraced idea of his Asianicity and he was really proud that with that he can compete with European artists in that time. He painted lions, buffalos, Arab men, horses, and place them in settings and situations not known to Europeans. He

did not also come from a place on Earth where these scenes are inserts from everyday life,

but he used his knowledge and experience from Java to make these beautiful worlds. He

explained that he see himself superior in this accept, because of his experience as a man

who comes from Asia. Even today these scenes are considered as his best artworks. After

spending almost twenty years in Europe (West) he went back to Java (East). In one of his letters he wrote:

in his concept of hybridization. Hybridity is a metonymy of presence. Hybridity opens up a

space, figuratively speaking, where the construction of a political object that is new, neither

the colonizer nor the Other, properly defies political expectations. Hybridity is a doubling,

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dissembling image of being in at least two places at once. This turn in the effect of

hybridity makes the presence of colonist authority no longer immediately visible. Hybridity

can unsettle the narcissist demands of colonial power, but reforms its identifications in

strategies of subversion that turn the gaze of the discriminated back upon the colonist.

(Bhabha, 1994) Raden Saleh in one letter explains his hybrid identity:

... Even though I'm aware that I have to be thankful to the Dutch government for my education, especially the King, and I never will forget this, you still have to excuse me that I thoroughly deplore the low level of culture my people have to live on and I very much deplore their subjugation.(Raden Saleh inKraus, 2005)

cers, angry face of Pangeran

do not see heroism both in Pangeran Diponegoro or artist himself. We see protest and raised voices. Pangeran Diponegoro was also not acknowledged as a hero soon after the Java War was over, he left Java in a horrible condition, with thousands dead by military actions, others dead because of hunger, and ultimately he lost his fight he was arrested and exiled. Nevertheless his bravery to fight against all chances is a heroic act, and a heroic

2005). Raden Saleh was the first educated painter in Java (and in Indonesia). He brought Western knowledge and influences about painting to Javanese cultural land, which was already in that time flourished with traditional (and court sponsored) art, such are dances,

wayang performances, production of batik clothes, etc. n Javanese (and Indonesian) art. Soon,

Javanese (followed by Balinese) artist will master this art and show to their fellow

countrymen that they can compete in this field with dominant Western powers. Yet, until

the same time attacking these notions about Orientalisation and hybridization.

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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

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

modest political reforms (Brown, 2003). In 1902 Bataviasche Kunstkring

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

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 had

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with Dutch, so they encouraged local art organizations and usage of .

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 th 17 , 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 , Yogyakarta, , and Jakarta. The leader of independent Indonesia for the first few years was , first with liberal democracy period (1950 - (1957 1965). This is a period of intensive and frequently disoriented nation building.

fine art. Manifes Kebudajaan (Cultural Manifesto) group was in conflict with Lembaga

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 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

ternational 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

2. Pangeran Diponegoro: National Hero in Art

After the Java War and its artistic counterpart (Pieneman/Saleh dispute) it looked that there was no interest in Pangeran Diponego and his fight. With rise of national, pro-

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Indonesian ideas two historical figures from Ja

Mada and Pangeran Diponegoro. Gadjah Mada was a prominent politician from the mighty

Javanese 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 5.2. Basuki Abdulah (Monumen Nasional National Monument), Jakarta. Work of Italian sculptor Cobertaldo (Source: the -1960) Internet25) (Source: IVAA26)

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

and scholars, but an

new-found self-

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.

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approach was purely diagnostic. (Benedict, 1978) Rarely investigators have asked what and

why

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 presents 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 it27. These dynamic movements in the nation building process are followed by painting

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 , where he served as palace painter, and was awarded the

27 Accessed from http://www.jakarta.go.id/eng/encyclopedia/detail/436 - 10.01.2014.

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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 . 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 199328. tted, 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 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 did that to the Dutch colonial powers,

which he convinced with beautiful ladies in Mooi Indië style, then in his painting of

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.id/index.php/web/home- accessed 18.02.2014.

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Order? Especially what was art and the depiction of nationalism and national heroism in the

era of the New Order?

essence and continuity rather than to record existence and change. There is no need to

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

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 6.2. Sasana Wiratama 6.3. Equestrian statue of Pangeran Diponegoro in (Pangeran Diponegro Pangeran Diponegoro in

main square (alun-alun) in Museum Complex) in front of gate of Universitas Magelang Tegalrejo, Jogjakarta 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

Museum Monumen Pangeran Diponegoro (Diponegoro Museum-Monument) or just the

Tegalrejo complex. The site is believed to have been that of Pangeran Diponegoro puri

(palace/quarters) during the Java War though all that survives seems to be a blasted

29 All photos -1998) are accessed from the Internet, details about their source is giv page 137

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mangosteen tree. Inaugurated by General Surono in August 1969 and financed by the

Rumpun Diponegoro (

monument consists of a large 150-by-60-meter fenced-in compound around a large

pendapa

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

Spirit of the Hero Pang The New Order tries to maintain national ideology through Javanese eyes; mighty empires (Sriwijaya and especially Majapahit) were promoted as proto-Indonesian. In monuments were built to remember this glorious past. made on the struggle of 1945-50, while the New Order regime has its own heroes. Achmad

murder was organized by communist stand, in this same line

that time (Anderson, 1978).

3. Indonesian Eyes: S. Sudjojono 3.1. Biography of S. Sudjojono

Sindudarsono Sudjojono (1913-1986) is undoubtedly one of the most important

literature, and in this research we will address him only as S. Sudjojono. He said to people

complicated life story (Supangkat, J et al 2013).

He was born on 14 December 1913 in , 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).

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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.

iggest 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,

heaven, fully pleasant, calm and tranquil. These paintings contain nothing but one message: Mooi- er 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 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.

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

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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

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 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

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.

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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

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 the Menoreh Hills that stretch across the north-western sideof Kulon Progo , the east of Purworedjo and part of Magelang. These hills used to be one of Pangeran ojono 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.

- et al., 2013)

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7. S. Sudjojono Diponegoro (1979)

7.1.Photo of artwork from book - 20 et al., 2013)

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 exhibition(Supangkat, 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

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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. 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 -bred horse ( 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 Jogjakarta.

Index signs

Writing -

month of July 1826 was

to the outskirts of Surakarta (Carey, 2008).Sudjojono wanted to say with this writing that

treachery of the Dutch not on the battlefield.

30 From Web presentation of Diponegoro descendents - http://www.ikpd.org/ 12.12.2013.

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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

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

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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,

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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 -

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 kat 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

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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. 31 Blangkons are believed to derive from turbans worn by Gujarati traders. 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 -dress. This is one of the two paintings by Sudjojono depicting the Indonesian national hero

It was estimated in excess of 20 million dollars (2.5 million US dollars). It reached an almost three times higher price: It was sold

record.32Recognised as the Father of Indonesian Modern A 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

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

to 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

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.com/blangkon.htm -

06.11.2013. 32 Indonesian art Web site - http://www.sarasvati.co.id/artnewskabarseni/04/lukisan-s-sudjojono-pecahkan- rekor-harga-di-sothebys/ - 05.05.2014.

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8. S. Sudjojono Pasukan Kita Yang Dipimpin Pangeran Diponegoro (Our Soldiers Led Under Prince Diponegoro), 197933 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

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.

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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,10th 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

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 nd is the writing of Soeroto (her book is from 1977) who located hers in the naturalized categories 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.

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 Indonesia's 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 - yes, -

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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 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,

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

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 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

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criminal underworld and his willingness to use bandits against the Dutch. The historic judgements of the Dutch y

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

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

1975 he painted Untung Seropati a rebellious character against the Dutch colonial powers

ey 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

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 depiction(s) of Diponegoro from 1979, Pangeran is the victor, and an energetic leader, but

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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 los

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 today): Nation in need of (super) Hero

1. Art and Life of Indonesia Today

If we look at the history of art in Indonesia we will always see: dynamism, reaction and contra-reaction. This is illustrated well with Pangeran Diponegoro as example in these narratives the Dutch established visual supremacy; they were the ones who brought painting as we know it today to Indonesia. Soon local artists started to reply to the Dutch visual representation of Indonesia. The first one was Raden Saleh with his depiction of the

arrested Pangeran Diponegoro, later S. Sudjojonowith his writing and formulation of Mooi

Indie Beautiful Indies where the Dutch painters together with local ones depicted

years after gaining Independence, art entered a debate divided in two camps: those who

support the universality of art, and those who pushed for alignment of art towards the

In 1974 a group of rebellious young artist sent a bouquet of flowers with writing

in the Grand Exhibition of Indonesian Painting in the end of year in Jakarta. For some art

critiques that was the time when Indonesian art entered the post-modern arena. Entering

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1990s in Yogyakarta four genres were really popular realism, surrealism, abstract and

decorativism. These genres and artistic climate in Yogyakarta paved the way to new art

form that is more engaging installation art, performance art, happening art, site-specific

projects and so on. Art explorations were also done within group of artist/informal groups

Kelompok Apotik Komik and Kelompok Jendela are among the most famous ones (Siregar,

2013a). The end of the 1990s marked big changes in Indonesia and region of South-East Asia. This region was hit by big financial and economic crisis, which effects were felt in Indonesia as well. Simultaneously Indonesian people were trying to dismiss the New Order regime which had Indonesia under its control for more than 30 years. Popular protests were also followed by unrest and violence throughout Indonesia in 1998/1999. In 2002 East declared independence and Bali suffered terrorist attacks. In 2004 Indonesia got its first democratically chosen president and in the same year a peace agreement was signed with pro-Independent province Aceh. Indonesia still has a lot of problems, but it enters the second decade of the 21st century with great ambitions and potentials. Art is following this optimism. New interest in art in Reformation era emerged and it is followed by excitement in exploring discourses that steam from post-modern thought.

explain the most current art practice. Many young artists used art as an instrument for social

change and emancipation.

It is difficult to interpret living artists, as their artwork is also living and changing

and the history of art will show how influential and impressive their works were. Two

artists chosen for this research are the ones who established themselves as one of the main

figures in contemporary Indonesian art scene. Also their work is courageous experiment in involvement of art in politics and vice versa.

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2. Contemporary Indonesian Eyes Look Toward Pangeran Diponegoro

2.1.1. Biography of Agung Kurniawan

Agung Kurniawan was born in Jember, East Java, on March 14 1968. In

Yogyakarta, he once studied archaeology at Universitas Gadjah Mada (UGM, Gajah Mada

University), and then went into graphic art in the Faculty of Fine Arts and Design at ISI Yogyakarta, but he did not finish this program as well. He is owner and curator of Kedai Kebun Forum for contemporary art in Yogyakarta (http://kedaikebun.com/), where he now lives and works. The artist is very critical about situations and conditions around him. Agung tends to criticise whatever moves him, and pays attention to events that take place. One of the most important topics in his work is politics, and he exploits political issues in his works to make strong statements. He actively presents works of government in political and the economic issues by denouncing their irregularities. While other artists have fully made use of such themes, many art critics consider Agung one of the foremost movers during the 1990s when Indonesian contemporary art experienced an outburst of creativity and individual criticism about politics (Karnadi, 2006) Agung works with etching, woodblock printing, pencil, pastel, sculpture, installation and animation. His skills lie in the energetic use of materials and dramatic

illustrations. The lines and smudges in his works are strong and important signs. He takes

interest in stories, narratives and current events by showing them in charcoal and pastel on

canvas or paper.

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2.1.2. Homage to Prince Diponegoro (1994) History and Signs

Illustration 10. This artwork was accessed through IVAA slides archives

This mix-media painting (pastel, paper, conte, collage) is executed in 1994. In that

artists were brave enough to show that. One of the example of this pre-Reformation strength and bravery is this artwork (dimension of it are 90 x 100 cm). The author named this painting in English so Pangeran Diponegoro becomes Prince and the author wants to pay homage to him. As we saw before Pangeran Diponegoro is a complex historical figure so the main question is to which Prince Diponegoro artist is paying homage? Index signs

Pangeran Diponegoro and his proud and angry face that he shows to his opponent General

De Kock. It looks like the painting is piece of ripped canvas that floats in the air between these futuristic visions.

Gazes do not exist because figures are faceless. Nevertheless they wear similar

uniform to the Dutch militia that we saw in Raden Saleh painting. We are witnessing again

a scene of someone being arrested military figures look like they are laughing, while there

are also women like figures that look like they are grieving over destiny of our main

(super)hero.

Icon signs

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We recognize three figures inside Raden Saleh painting Pangeran Diponegoro,

General De Kock, and De Stuers. Painting itself is an icon sign; it is cropped to show

depiction with

angry Diponegoro and confused de Kock, but it is same as rest of artwork done in black and

white.

Symbol signs Other figures in this artwork are sharing same position and posture like those in Raden Saleh painting. Their iconicity is questionable because they do not look like historical characters that Raden Saleh (and other artist before Agung) depicted. They are icons of past masterpiece, but how they look and the setting where they are depicted is different and with that these figures carry strong symbolic messages.

10.1. Cropped detail of 10.2. Kesatria Baja Hitam Pangeran Diponegoro-like figure (Kamen Rider Black), Japanese superhero (Source: IVAA) (Source: the Internet35)

Main hero of artwork national hero or superhero?

The Pangeran Diponegoro posture figure looks like Japanese TV series superhero

Kamen Rider Black (Kesatria Baja Hitam) who was popular in Indonesia at the end of

1980s and beginning of 1990s. The author wants to say that heroes are dead now is time

for superheroes. But they are also not stronger than forces of power. We are witnessing

35 Details on page 137 Source of the illustrations

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their arrest also. Agung Kurniawan always questions the ideas about Indonesian identity. In

one of his projects he investigated an idea of in Indonesian society and their

treatment by established Indonesian state. They soon become enemies of the state, but

today they are dominant figures in television and film industry. A similar position is

occupied by superheroes in a country that still produces national heroes and builds nation

they are seen as foreign influence, something that corrupts and misleads youth, nevertheless they are popular in Indonesia as they are popular in other countries. Faceless men-like figures wear uniforms who look like one the Dutch were wearing in time of capturing Diponegoro. These uniforms represent power and oppression. Their

painting the Dutch faces were full of surprise and they looked disoriented. In Kurniawan vision power again has control and that is why faces that do not have eyes nor nose are and

reserved for Western over non-Westerns. Kurniawan present colonial power as universal power, and what was once colonial violence and injustice is now (or it will be) violence and injustice of others who have power. Faceless women-like figures wear decorative skirts, but their faces are hidden

w themselves, but rather choose to be hidden by dominant

man

-like figures are anonymous.

There is also a bird-like creature which looks like duck or penguin. Penguins and

ducks are the most frequent birds used in cartoons. Donald Duck is the most famous animated duck unlike Mickey Mouse (his fellow) Donald Duck is aggressive, angry,

stubborn, active and emotional. Also ducks are among rare beings on Earth that can fly,

walk on the earth, and swim and dive into the water. Those attributes are responsible for

them being connected with the ideas of freedom and independence. The duck-like figure

looks funny and like a caricature perhaps it is a mockery of freedom that the Indonesian

people gained which was short lived and suppressed by New Order.

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Turbans and blangkon were replaced by strange looking hats that power structures

are wearing they look like police hats, while figures in front (who can resemble like

were connected with Islam, while the blangkon is a mark of Javanisity, and the absence of

these elements, or their distortion means absence of identity or its distortion.

Raden Saleh painting itself is also icon sign here with strong symbolic meaning. It is brought and torn apart for us from past and now it is levitating in the middle of painting as a reminder, warning and also homage to work of art and person whose life scene is captured there. Therefore this homage is not to Prince Diponegoro only, it is homage to Raden Saleh and how he saw the figure of Diponegoro, as a symbol of resistance, freedom and fighting against oppression. It is an homage to Indonesia that never existed and to an Indonesia that people never created. As a result, the whole painting is a critique of Indonesia in 1994, but it is also a call for people to take action in their own hand and to change it. Heroes are arrested, national heroes are for history, and superheroes are also under attack. Only here, in this seemingly hopeless situation, does one need to find out that the hero lies inside him (or her). It looks simple and it is simple. This artwork was also done only with usage of two colours black and white. With this simplicity the artist sent a simple, yet strong message: life, politics, - between black and

white. Yet, basically the contrast between good, the one who suffers from violence (white)

and bad, the violent one (black) is universal.

2.2.1. Biography of Heri Dono

Heri Dono was born in Jakarta on 12. June 1960. He studied art at Faculty of Fine

Art and Design at ISI Yogyakarta from 1980 to 1987 and became familiar with the unique

wayang kulit (leather puppets) made by Sukasman from 1987 to 1988. He now lives and

works in Yogyakarta (Karnadi, 2006).

The artist has participated in Asia-Pacific Triennial Contemporary Art in 1993 and

2002. Shanghai Biennale in China in 2000, Yokohama Triennale in Japan in 2001, and Venice Biennale in Italy in 2003. Heri also held solo exhibitions at the Japan Foundation

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Forum in Tokyo in 2000 and at Galeri Nasional Indonesia in 1998. He received the Prince

Klaus Award in 1998; UNESCO prize in the International Biennale in Shanghai, China, in

2000; and an award in the 2nd Annual Enku Grand Awards in Gifu, Japan, in 2002

(Karnadi, 2006).

Heri has developed a kind of narrative by drawing upon local messages and

contexts which he has experienced. He works in painting, art installation and performance art. His visual language draws upon puppetry and cartoon figures. They show a tendency towards being decorative but take into account such ideas as stupidity, irrelevance, prejudice, superstition and ideology. According to the artist, the lower level of society has its own narrative that is not recognised by dominant cultural mainstream. Through various forms of humour, the lower ranks strive to survive.

2.2.2. Salah Tangkap Pangeran Diponegoro (2007): History and Signs

Illustration 11. - Reproduction was accessed from IVAA archives

Salah Tangkap Pangeran Diponegoro

exhi

August 9. September 2007. Heri Dono made an improvement on it for exhibition in Nadi

Gallery in Jakarta in 2008. Other names for this painting (150 x 200 cm) appeared Tanah

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Harapan Land of Hope, which has an optimistic, rather than critical message, that was

carried by with the first title. The name of exhibition is also symbolic the first name was

g of exhibition (27.1.2008.) the

1857. But while Agung Kurniawan with his mimicry is sending a message with call of change and giving homage to Raden Saleh (and Pangeran Diponegoro) Heri Dono made strong and politically engaged satirical piece where he makes a mockery of almost everybody, including himself. This can be easily seen when we analyze the visual semiotic signs in this work. Index signs Smoke is visible from volcanic mountains. It indicates change, and danger. In the time of Raden Saleh Merapi Mountain was also quite active and he documented that in several of his paintings. Some of these paintings also have a hidden political agenda. In

change. In the painting no one is shocked and worried about this index sign, so it is

A white horse with wings turned his back toward us and looks like he is flying

toward the smoky mountain. As we saw before, Diponegoro entered the folk legends with

his two horses as well. There was one black and one white that were always depicted with

him in his battles. They represent dynamism, but also show uniqueness of this supreme

Javanese leader. Pangeran Diponegoro a national hero, call for change, energetic and

charismatic leader was always depicted on his horse. Now, the horse is flying away. In

zone, the volcano. It looks like

everything is better than to witness the main scene.

Gazes are toward scene of arresting, people react differently toward the scene of

arresting. The arrested one (Suharno) does not look worried and he even looks like he is

smiling. Same goes to one who is arresting him. Others look slightly worried or just

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indifferent. Pangeran Diponegoro has his gaze directly toward us and he is laughing. He

realized how this scene is comical and he wants to share that with us.

Icon signs

The painting is one big caricature where artist is presenting us numerous political

figures of Indonesia. Susilo Bamabang Yudhono (Indonesian president in two terms, from

by Suharto, holding him and grieving is Bacharrudin Jusuf Habibie, who was president shortly after Suharto resigned. There are also depictions of Amin Rais Reformasi, Abdurrahman Wahid Gus Dur, president after Habibie. The painter also put himself into this scene as contemporary to present political situation in Indonesia.Artist said - yang bisa tangkap Suharto saat ia masih hidup? Yang bisa menangkap ya hanya lukisan. Jadi kapan harus membuat lukisan juga harus disesuaikan dengan idenya. (Dono, 2007) Who can capture Suharto while he is still alive? The artist can make a painting, and he used the previous painting as role model. He used ideas of capturing, ideas of villain and hero, to send his unique message. That is why he also painted himself in this scene he is on the balcony, a character with glasses, but he looks confused and lost. Pangeran Diponegoro is on the roof and he is laughing at us and at scene of wrong arrest. The only thing that we recognize from previous depictions of Diponegoro is his turban. His face is more like a clownish one and a caricature than one that belongs to stoic

hero figure. His horse is flying away toward the smoky mountains, and he is mentioned in

Index signs.

Symbol signs

In Heri Dono vision only flag that is visible is banner of Golkar. Golkar stands for

Golongan Karya which is translated into English as Functional Groups. Party of Functional Groups was in power in New Order regime between 1966 and 1999, shortly after that

during presidency of B. J. Habibie. Later, from 2004 until now, it has been part of the

coalition around President Susilo Bambang Yudhoyono (SBY). We saw the Dutch flag (in

painting there was an Indonesian flag it was a mark of victory on the battlefield that the

scene was depicting, but also to mark the victory of Indonesia after WWII. In this painting

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the banner is in the hand of a supporter, it does not mark any dominant power, or victory, it

is just sign of political support. It is carried by one panakawan like figure which usually

serves in wayang performance to entertain but also question the audience. The flag carried

by this figure has the same meaning; it is here to entertain and to question authorities and

the loyalty of Indonesian people toward this political structure.

First aid box and figure of first aid medical is also supported by a Semar-like figure. Semar is a supreme panakawan figure and here he supports medical stuff. The person with the box looks like he (or she) is kneeling next to the central figures of Suharto and SBY. It

of painting in Reformasi era. Indonesia needs to be are constant threat to Indonesia, but it looks that no one is brave enough to do this. Semar is considered as one of the wisest characters in wayang stories, and he is supporting medical stuff to help and to advance to main stage, but he (or she) is questioning its role and overall looks more like beggar and one that requests and receives help rather than one who is giving help. Beside the medical person, as we mentioned above there is figure that looks like Semar. Semar is the central panakawan

Semar there are also three figures one which is carrying a Golkar banner that we already

mentioned. One is looking as Teletubbies character. This controversial TV series was also

broadcasted in Indonesia. Controversy relating to homosexuality was made over one

character. The show was also famous for its approach to audience to toddlers of two year

old and younger. This was also cause for controversy, as many saw in Teletubbies a threat

to future generations. (Kraidy, 2005) Next to this is a strange looking character that is carrying a bird in his arms.

The bird and character have a long nose and beak. One of the sons of Semar

Petruk is the slimmest one and he has the longest nose. The bird is just behind Golkar

banner and it can be seen as a symbol of the mythological bird Garuda which is on the coat

of arms of Indonesia. In this vision the Garuda has lost its strength and pride, but it is still

lifted as sign of protest and warning for new/and old government. Panakawan characters

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are there to entertain wayang kulit audience, but also to give artistic freedom to dalang,

because in this part he can express his criticism. Heri Dono was dalang in this performance

and his critic is really strong.

Heri Dono is Javanese and he was educated by famous dalang about wayang

stories, therefore he implemented this experience in his painting. Yet, he is strongly

opposed to Javanisation as (un)official policy of Indonesia. We can see that in the way he dressed his figures. One man next to grieving figure is in Javanese lurik shirt. Suharto was key leader of Javanisation policy. The Javanese figure does not look sad, his posture is up toward the scene and he is holding a cigarette in his hand. He looks worried or indifferent. Other ethnographic details include traditional hat and sarung in what looks like Amien Rais. This is also one of the jokes of Heri Dono, because Amien Rais is

nobility, nor look different that robes that panakawan figures or other common people wear in this painting. Uniforms of the central figures look more official and they have marks on them medals, badges, and other titular marks. The majority of figures wear brownish like clothes, but there are some figures that look from shadow that wear green, blue, black, one of these figures looks like a monkey, one as a Catholic bishop, one as a white person, they can symbolize variety in Indonesian society and those one interested in it. One of the interesting figures in this painting also is carriage driver who has

slightly different attires. He is also in brown suit, but his strange looking hat is red cylinder

top hat. This hat is usually connected with industrials and bankers of the 19th and the 20th

century. It is black and elegant. Here it is bloody red. Drivers carries with him jar full of

gold in back seat. His horse is also more like a wolf head creature than horse. His hooves

are also blood red which is unusual. This figure symbolizes a lot of elements of New Order regime ruthless development, corruption and abusing of human rights which also

including killing people from Aceh to , via a bloody mark left on today independent

East Timor.

The scene took place in dark, sky is black and ground is brownish, but figures are

bright and easily recognized, which creates an atmosphere of theatre of the absurd or

reverse wayang kulit. Political situation in Indonesia is equal to theatre of the absurd,

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everything looks transparent and clear, but actually everything is distorted and confusing,

that even national heroes are laughing and are ready to leave this scene.

12. Heri Dono. 2002. Raden Saleh Jadi Londo (from Kraus, 2005)

13. Heri Dono. 2009.

(Source: the Internet36)

In 2002 Heri Dono painted Raden Saleh as londo (Javanese term for the Dutchman and all foreigners), in this artwork he acknowledged and made a joke of his hybridity. It is also a statement about the hybridity of Indonesian painting as Raden Saleh is considered the ture of the wrongful arrest of Pangeran Diponegoro and in 2009 he painted the same painting in a realistic

manner. This was the first painting that he did in this way, and by showing clearly

Indonesian politics he avoids accusations that his work is just simple caricature and not

on his painting, and now he put himself in the first line, giving with that move more

responsibility to himself as citizen of Indonesia and as artist in this country.

is the name of this artwork and with it there

painting from 1830-1835 and ending almost two hundred years later with a painting by one Pada Salah

36 Source of Illustrations page 137

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Tangkap Diponegoro, Heri Dono menyaksikan penangkapan Diponegoro itu dari jauh.

Adapun pada The Error of Pieneman's Perspective, Heri Dono hadir di lokasi

penangkapan- this is the main difference between artwork (Heri Dono in the first raw,

while in 2007 he was far away) that was examined previously and this one, by the

explanation of curator of this exhibition. Mikke Susanto was the curator of an exhibition

called Heri Donology presented in Jogjakarta in July 200937. In the same exhibition he again makes a mockery of Raden Saleh with his sculpture, together with Anwar (famous Indonesian poet) and Affandi (probably the most well-known Indonesian artist outside Indonesia) and 17 others figures that he called Agents of Change II. By using fibreglass he made this sculpture around 30 cm high and placed them in squatting position and they look like they are defecating, complete with a piece of faeces underneath them. This is the critique of demand for artist to create their artworks and to change the world. Sedangkan posisi jongkok pada Agent of Change II, menurut Heri Dono, sebagai gerak simbolik saat para seniman sedang merenung untuk menghasilkan karya untuk mengubah dunia, meski yang tampak adalah luncuran tinja (Dono, 2007).

3. Who Are the Heroes Now and Do We Need Them? ~ I think a hero is any person really intent on making this a better place for allpeople

Maya Angelou (1928-2014), American poet Contemporary art scene in Indonesia contributes to discussion about (national)

heroism as we show above. Agung Kurniawan together with Agus Suwage, Maryanto and

Lian Sahar made an exhibition and project Sukro Dimejo: Pahlwan atau Jahanam?

Sukrodimejo was a historical figure from 19th century and he fought against the

Dutch, nevertheless he is not recognized as a national hero. In this artproject artists were exploring what is that that makes one a national hero while another still stays in a sphere of

38 Agung Kurniawan is always posing these

37Tempo online edition - http://www.tempo.co/read/news/2009/07/22/114188358/Respons-Terhadap-

Kengawuran - 10.04.2014. 38 Cemeti Art-house archive http://archive.cemetiarthouse.com/id/exhibition/2006/museum-sukrodimejo 10.03.2014.

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provocative questions in his work questions about (national) identity, unity, mythology

ry authority.

These artists are artists of era called Reformation and they want to give their contribution in

reforming Indonesian identity by questioning it and challenging their audience to think

about numerous questions.

While living its reformation/reformulation era Indonesia is also widely open to world, its rules of markets and economies, but also it receives influences from different cultures. Indonesia is one of the rare countries in the world that one can read this news: Swedish-Lebanese pro-Islamic singer Maher Zain will give his signatures to his fans in super-fancy Kuningan City mall in Jakarta.39 The next day he will perform in a free concert organized by one presidential candidate as one of the strategy for winning battle in upcoming president elections. Pop culture, Islam, Orientalization vs Occidentalisation, Consumerism culture, Politics, Power those are all terms one can read from this news. New views of Pangeran Diponegoro are illustrated in pictures below.

14. 1. Diponegoro meets General De Kock 14. 2. Landung Simatupang - Dramatic from Opera Diponegoro reading about Diponegoro (the Internet Source40) (the Internet Source41)

39 http://www.republika.co.id/berita/pemilu/menuju-ri-1/14/06/30/n7zozr-prabowohatta-undang-masyarakat-

hadiri-konser-maher-zain-gratis 01.07.2014. 40 For details Source of illustrations page 137 41 Ibid.

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14.3. Indiegerillas 2012 This Hegemony 14.4. Manga Diponegoro Life Tin Tin like Diponegoro 43) (the Internet Source42) 14. Contemporary Look at Pangeran Diponegoro

Pangeran Diponegoro as motif moved from traditional performing arts of Java (and Indonesia) such as wayang and entered contemporary traditional art forms. In November 2011 choreographer Sardono W. Kusumo together with musician Iwan Fals presented Java War! Opera Diponegoro (1825-0000) in Taman Ismail Marzuki in Jakarta. Landung Simatupang is a famous Indonesian actor who directed a stage reading about Diponegro in Yogyakarta, , Jakarta and in 2013/2014. There were plans to make the first Indonesian 3D animation depicting fight of Diponegoro. Yet, he entered manga like comics, video games; his face (or his figure riding horse) is motif in t-shirts.

Diponegoro takes on a new significance in the twenty-first century. His ideology is

a clear indication of the deep roots of those Islamic organizations in Indonesia today that reject pluralism and campaign (in word and suicide-killings) for the removal of non-Muslim foreigners from the country. (Taylor, 2013)

Diponegoro indeed takes on a new significance in the twenty-first century, but it is

hard to believe that this significance is only connected with radical Islamic groups. This writing can also be looked at in a Postcolonial manner, where the West is still producing

the East, and now the East is almost entirely identified with the Islamic world, which is

again identified with terrorism and fundamentalism. Indonesia, as the country with the

biggest Muslim population shows different. Indonesians, with their creativity can create

42 For details about source of illustration look page 137. 43 Ibid.

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operas, theatre plays, comic books, animations with the same skills like everywhere else in

the world. Art and artist of Indonesia embrace this global hybridity and with bravery

challenge and change society.

casting the ideas of freedom, independence, creativity, discussion, growth, and not the ideas

of xenophobia and exclusion. That is why he is a national hero. That is why the nation needs to realize that by sharing and accepting values of knowledge and ideals of freedom, a nation soon will not need national heroes any more - it will be a nation of heroes, where heroes are like the one mentioned in motto for this subchapter one who tries their best to make this place (kampung, city, province, country, world) a better place for all people.

D. Depicting Pangeran Diponegoro from 19th until today

From the first portrait made when Diponegoro was around 16 years old to modern visions of Diponegoro in manga comic books, visual depiction of Pangeran Diponegoro have moved significantly. Depiction of one historical figure varies from time, ideology, author and other concepts. Depictions of Pangeran Dipone He lived in that century and he could witness his own depiction(s). In the first painting made by a local (unknown) artist from Yogyakarta Kraton Diponegoro is shown in his

Javanese attire. That was the first and the last depiction in this sense. Later he will be

shown in his Turkish (and pan-Islamic) attire. Nicolaas Pieneman made his depiction just

after the Java War was over. This war attracted attention in the cities of the Netherlands,

but also the Dutch people who lived in the East Indies were occupied and worried. Interesting hybrid form of culture was made from those concerns: Batik Perang

Diponegoro. This batik motif is designed by the Dutch, crafted by locals, with primitive

and simple depictions of Diponegoro and his forceful soldiers. Pieneman made his painting

like a homage to his glorious nation and their honourable protectors. Diponegoro is

submissive, but with dignity. He is the central figure of the painting, together with grieving

figures. General De Kock is placed slightly above him, but above all are signs of the

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Netherlands the flag and coat of arms. The same reality was interpreted twenty years after

in a different manner. The Javanese artist Raden Saleh chose to depict the same scene, but

he gave it different signs: oversized heads for the main the Dutch officials, absence of signs

of the Dutch nation, the Javanese with nice batik and dignity. It was a comment from one

man who owes his life to the West (he was an educated painter with great experience in

Europe), but he also had roots in Java and its higher society. It was the boldest message that one local artist could produce in that time.

the depiction of several historical figures from that time, rather than to comment on reality. They both depict the same scene the submission or arrest of Diponegoro. With these differences they show how the concept of heroism is time-bound and culture-bound (Zimbardo, 2011). In that time and from the Dutch point of view, Diponegoro was a villain submitted to the heroic De Kock. From the Javanese (and later Indonesian) point of view things are put the other way around. Recognition of the heroism of Diponegoro came later

Later his fight became a symbol of resistance and implacability with injustice and colonization. It was after WWII that these ideas appeared most strongly in Indonesia. With the

end of war Indonesia still had to fight for its independence. The first years (even decades)

of Indonesian independence were turbulent. At the end of the 1950s the state started to

declare national heroes, a title to remember great men and women who had built a narrative

show battles, fire, smoke, heroes who are riding horses, heroes who are in action. The New Order regime was different than the previous one in many cases, but the practice of

declaring new heroes continued. Some heroes who were close to the ideas of the PKI were

erased (Bagus, I. M. in Rao, U. and Hutnyk, J. 2006), but fallen generals in 1965 were

immediately to step in their place. Cultural memory of that time keeps the practice of

depicting heroes in action: equestrian sculptures of Diponegoro were made for different

places.

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nting of Diponegoro from 1979 was analyzed here as depiction

from New Order period, but not as New Order depiction of national hero. This artwork is

is also writing that said that Diponegoro forces never lost a battle. It has even an Indonesian

flag! Artist decided to remember even something that was not there, and with that he senta

message: state ideology (with its declaration of heroes) is remembering something that was not there. The fights, resistance, and power of people of past when Indonesia did not exist are made for shaping a memory of Indonesia (and its people) today.

44. and again after being embedded in evil- ian artists. One, Agung Kurniawan made his artwork and homage to Diponegoro in interesting artwork: the scene is futuristic and full of robotic and faceless figure, yet their postures are

caricatures of Raden Saleh, great names in the history of art (both Indonesian and Western) and concept of heroism is not left behind. Both artists choose to reply to Raden Saleh vision of Diponegoro and his arrest. After more than 150 years after the actual event happened,

contemporary artists are sending a strong message that history can be glorious, but it is also

full of contradictions, heroes a

lives will be the people themselves. Are people in Java and Indonesia ready for that

responsibility? That is another question.

44 This concept is used by Hannah Arendt, Jewish German-American political theoretician who witnessed trial of Nazi SS officers and one of the organizers of the Holocaust

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