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Fotografi Di Hindia Belanda 121 Daniek Intan | Fotografi di Hindia Belanda 121 Fotografi di Hindia Belanda Daniek Intan Mahasiswa S1 Jurusan Sejarah Universitas Gadjah Mada Abstract This research analyses photography in the Netherlands Indies since the mid-19th century and its development until the early 20th century. The rise of photography in the Netherlands Indies as part of its modernization, is not merely the development of the arts, but photography was also used to explore the colonial territory of the colonial government. European photographers were sent to document archeological artefacts in various expeditions in several places in the archipelago. Photography also began to be commercialized. European, Chinese and even indigenous photographers arose with their photo studios. They have produced a natural and anthropological landscape of the Netherlands Indies, from Europeans and indigenous people living there. The commercialization of photography expanded with a variety of photo subjects, sold to other parts of the world in the form of albums, souvenirs or postcards. This answered the curiosity of the outside world on the Netherlands Indies as a colonial area. Key words: photography, Netherlands Indies, photographer, exploration, commercial, photo studio, landscape and portrait. Abstrak Penelitian ini mengulas mengenai fotografi di Hindia Belanda sejak medio abad ke-19, sampai perkembangannya hingga awal abad ke-20. Kehadiran fotografi di Hindia Belanda sebagai bagian dari modernitas, tidak hanya menggambarkan seni semata, namun fotografi juga digunakan untuk eksplorasi daerah koloni oleh pemerintah kolonial. Datanglah para fotografer Eropa yang diperintahkan untuk mendokumentasikan benda-benda arkeologis, maupun ikut serta dalam ekspedisi di beberapa tempat di Nusantara. Tidak hanya itu, fotografi selanjutnya berkembang ke arah komersial. Mulai bermunculan fotografer-fotografer dari Eropa, Tionghoa atau bahkan pribumi, yang mencoba peruntungan mereka dengan mebuka studio foto. Mereka menghasilkan lanskap alam maupun potret dari penduduk di Hindia Belanda, baik Eropa maupun pribumi. Komersialisasi fotografi semakin berkembang luas, dengan menyasar berbagai subjek foto, yang kemudian mereka jual ke belahan dunia lain dalam bentuk album, suvenir atau kartu pos. Dengan begitu, keingintahuan 122 Jurnal Lembaran Sejarah, Vol. 11, No. 2, Oktober 2014 orang-orang luar akan Hindia Belanda sebagai daerah koloni dapat terjawab dengan adanya fotografi . Kata kunci: fotografi , Hindia Belanda, fotografer, eksplorasi, komersial, studio foto, lanskap dan potret. Sepanjang abad ke-17 sampai abad ke- ke dalam catatan maupun lukisan (Heijboer, 18, sebelum fotografi lahir, banyak penjela- 1980: 28). jah Eropa yang merekam perjalanan mereka Untuk memenuhi hasrat itu, para penje- ke Hindia Belanda dengan tulisan. Tidak se- lajah Eropa, para orientalis, mulai memakai dikit dari mereka yang memiliki kemampuan cara baru untuk merekam eksotisme Nusan- melukis menambahkan catatannya tersebut tara dengan cara yang baru lahir: fotografi . dengan gambar. Setelah itu seni menggam- Ketimbang sketsa dan lukisan, teknologi bar lantas kian digandrungi dengan tujuan yang dapat merekam lanskap dan gambar agar lebih memperjelas daerah-daerah yang manusia ke dalam kertas putih dengan me- baru saja mereka datangi, termasuk lans- manfaatkan cahaya matahari ini dirasa cu- kap dan manusianya. Itu bisa dilihat dari kup efi sien untuk merekam perjalanan para karya-karya para penjelajah-perupa-peneliti penjelajah. Menurut Henry P. Robinson foto- Eropa, seperti Isaac Groeneman, Franz Wil- grafi lebih mendekati realitas sebenarnya helm Junghuhn, dan C.W. Mieling. Nuansa dibandingkan dengan gambaran tangan. “kekaguman” atas Hindia Belanda mereka Melalui fotografi , para penjelajah lebih jelas gambarkan dengan apik sekaligus jelas me- menjabarkan pandangan mereka mengenai lalui catatan dan sketsa-sketsa mereka (Bas- Nusantara (Robinson, 1966: 88). tin dan Brommer, 1979: 2). Tulisan ini akan membahas perkembang- Oleh sebab itu, para penjelajah setelah an fotografi di Hindia Belanda. Termasuk mereka pun mengikuti gaya iluminasi pemahaman ihwal ide-ide fotografi , sudut – catatan disandingkan dengan gambar – pandang penjelajah yang menggunakan foto- yang mereka mulai. Gaya ini terus berlang- grafi sebagai media catatan mereka, serta re- sung sampai medio ke-19, saat para pemikir alitas yang mereka tangkap melalui foto. Eropa mulai gencar menarasikan ide-ide aufklarung. Namun, gerakan seni rupa para Para Fotografer Awal penjelajah juga mulai bergerak ke semangat “estetika” saja, tanpa ada tujuan ilmiah se- Keberadaan fotografi di Hindia Belanda dikitpun. mulai berkembang sejak pemerintah kolo- nial menyadari pentingnya foto dalam upaya Lambat laun, Hindia Belanda bukan lagi perekaman dan eksplorasi daerah koloni. daerah yang “asing”, yang tidak lagi misteri. Jurrian Munnich, petugas kesehatan dari Rekaman mengenai daerah yang juga dikenal Belanda, yang pertama kali membawa foto- dengan sebutan Nusantara ini sudah banyak grafi ke Hindia Belanda pada medio abad ke- diterbitkan dalam catatan-catatan para pen- 19. Dutch Ministry of Colonies memerintah- jelajah. Banyak dari mereka yang merasa kannya untuk melakukan ekspedisi ke Pulau bahwa bangunan pemerintahan, istana, Jawa sebagai fotografer. Salah satu ekspe- sosiologi masyarakat pribumi, lanskap alam, disinya tersebut berjudul Verslag over de maupun hasil peradaban Hindu-Buddha photographie gedurende het tweede gedeelte seperti candi, tidak cukup sekadar direkam mijner reis over Java. Laporan tersebut kini Daniek Intan | Fotografi di Hindia Belanda 123 tersimpan dalam Arsip Nasional Republik Isidore van Kinsbergen, tiba di Batavia pada Indonesia dengan nama penulis laporan S. tanggal 26 Agustus. Ia ditugaskan Batavian Munusche. Society of Arts and Sciences untuk mendo- kumentasikan benda-benda peninggalan Dalam laporannya Munnich berkisah peradaban Hindu-Buddha. Kinsbergen tidak mengenai uji coba fotografi pertamanya un- menyia-nyiakan kesempatan itu. Ketelitian- tuk mengabadikan Candi Prambanan, Boro- nya itu menghasilkan sejumlah karya yang budur dan Kompleks Candi Dieng, Jawa kemudian dipamerkan di beberapa negara Tengah. Dalam bahasa Belanda ia menu- Eropa sepanjang 1873. lis, bahwa uji coba pertama ini cukup sulit, terutama memperoleh kalibrasi yang tepat Karir Kinsbergen sebagai fotografer di (ANRI, Inventaris Konninklijk Bataviache Hindia Belanda dimulai pada era Guber- Genootschap, Laporan Perjalanan S. Munus- nur Jenderal Baron Sloet van de Beele yang che). Dalam bukunya Batavia in Nineteenth memerintah pada 1861-1866. Ia diundang un- Century Photograph, Scott Merrillees (2000: tuk mengikuti perjalanan ke Siam, Thailand, 254) berpendapat kesulitan mencari ketepa- pada 1862. Dalam perjalanannya itu ia harus tan kalibrasi itu membuktikan iklim tropis mengikuti pola dan jadwal yang telah ditetap- di Hindia Belanda mempengaruhi hasil foto- kan. Kinsbergen mengunjungi setiap kota be- grafi , sehingga sebagian besar foto Munnich sar, instansi militer, dan kabupaten terpencil cukup mengecewakan. yang membuatnya akrab dengan kehidupan di daerah (Boer dan Asser, 2005: 30). Lantar- Pada 1844, seorang fotografer Jerman an misi tersebut Kinsbergen juga memiliki yang memiliki studio foto di Den Haag, Be- kontak yang cukup dekat dengan pemerin- landa, bernama Adolph Schaefer, mendapat- tah kolonial. kan izin untuk melakukan ekspedisi ke Hindia Belanda sebagai imbalan atas karya- Pasca-sukses dengan foto benda-benda karya fotografi nya. Sesampainya di Batavia, arkeologis, Kinsbergen kemudian mulai ber- ia lantas mendirikan studio foto yang bisa minat terhadap gaya fotografi potret – aliran dibilang sebagai studio foto pertama di Bata- fotografi yang merekam manusia. Dari gaya via. Setahun kemudian Schaefer menyang- baru yang didalaminya ini ia menyelesaikan gupi permintaan pemerintah kolonial untuk 4.145 foto orang Eropa yang tinggal di mendokumentasikan relief-relief di Candi Batavia (Dijk, 2014: 17-18). Sebelum men- Borobudur. Namun, saat itu ia terpaksa jadi fotografer, Kinsbergen dikenal sebagai untuk bekerja dengan peralatan seadanya pelukis dan litografer – perupa yang melukis sekaligus langsung di bawah terik matahari di atas bidang logam. Ia mempelajari foto- dan iklim yang cukup lembap. Meski begitu, grafi pada 1855 dan menjadi fotografer per- Schaefer berhasil membuat 58 foto, yang be- tama keturunan Belanda di Batavia. lakangan menjadi media pendukung peneli- Seorang fotografer amatir bernama tian arkeologi.1 Franz Wilhelm Junghuhn berkebangsaan Setelah Schaefer, pemerintah Hindia Be- Jerman yang lahir pada 1809 mengikuti landa pernah berhenti memanfaatkan foto- jejak Kinsbergen di Hindia Belanda dengan grafi untuk tujuan eksplorasi mereka. Foto memulai gaya foto lanskap alam. Karir baru mulai dipakai kembali pada 1851, saat fotografi Junghuhn bermula saat pertama 1 Lihat Geheugen van Nederland, http://www.geheugenvannederland.nl /?/en/collecties/pioniersfotografi e_ uit_nederlands-indie/adolf_schaefer. Diakses pada 17 Februari 2015. 124 Jurnal Lembaran Sejarah, Vol. 11, No. 2, Oktober 2014 kali ia bertemu dengan E.A. Fritze, seorang yang menerangkan keberadaannya. Pada dokter militer Hindia Belanda. Fritze me- pertengahan 1857, ia mulai aktif beriklan mintanya untuk melakukan studi ilmiah kembali dan membuka studio barunya tentang alam (Nieuwenhuys dan Jaquet, bernama Nieuwe Photographiche Galerij di 1980: 7). Rob Nieuwenhuys dan Baren en Batavia. Oudgasten, dua sejarawan asal Belanda, Fotografer keliling yang menetap cukup menyebut Junghuhn sebagai peneliti dan
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