Painting
See also: List of Indonesian painters
What Indonesian painting before the 19th century are mostly
restricted to the decorative arts, considered to be a religious and
spiritual activity, comparable to the pre-1400 European art. Artists
name are anonymous, since the individual human creator was seen as far
less important than their creation to honor the deities or spirits. Some
examples are the Kenyah
decorative art, based on endemic natural motifs such as ferns and
hornbills, found decorating the walls of Kenyah long houses. Other
notable traditional art is the geometric Toraja wood carvings.
Balinese painting are initially the narative images to depict scenes of
Balinese legends and religious scripts. The classical Balinese
paintings are often decorating the lontar manuscripts and also the ceilings of temples pavilion.
Under the influence of the Dutch colonial power, a trend toward
Western-style painting emerged in the 19th century. In the Netherlands,
the term "Indonesian Painting" is applied to the paintings produced by
Dutch or other foreign artists who lived and worked in the former Netherlands-Indies. The most famous indigenous 19th century Indonesian painter is Raden Saleh (1807–1877), the first indigenous artist to study in Europe. His art is heavily influenced by Romanticism.[4] In 1920's Walter Spies
began to settled in Bali, he is often credited with attracting the
attention of Western cultural figures to Balinese culture and art. His
works has somehow influenced Balinese artists and painters. Today Bali
has one of the most vivid and richest painting tradition in Indonesia.
The 1920s to 1940s were a time of growing nationalism in Indonesia.
The previous period of romanticism movement was not seen as a purely
Indonesian movement and did not developed. Painters began to see the
natural world for inspiration. Some examples of Indonesian painter
during this period are the Balinese Ida Bagus Made and the realist Basuki Abdullah. The Indonesian Painters Association (Persatuan Ahli-Ahli Gambar Indonesia
or PERSAGI, 1938–1942) was formed during this period. PERSAGI
established a contemporary art philosophy that saw art works as
reflections of the artist’s individual or personal view as well as an
expression of national cultural thoughts.
From the 1940s on, artists started to mix Western techniques with
Southeast Asian imagery and content. Painters that rooted in the
revolutionary movement of the World War and the post-World War period
started to appear during this period, such as Sudjojono, Affandi, and Hendra.[5]
During the 1960s, new elements were added when abstract expressionism and Islamic art
began to be absorbed by the art community. Also during this period,
group of painters that are more concerned about the reality of
Indonesian society began to appear, taking inspiration from the social
problem such as division between the rich and the poor, pollution, and
deforestation. The national identity of Indonesia was stressed by these
painters through the use of a realistic, documentary style. During the
Sukarno period this socially-engaged art was officially promoted, but
after 1965 it lost popularity due to its presumed communist tendencies.[6]
Three art academies offer extensive formal training in visual art: Bandung Institute of Technology founded in 1947; the Akademi Seni Rupa Indonesia (Indonesian Fine Arts Academy) or ASRI, now known as ISI, in Yogyakarta was inaugurated in 1950; and the Institut Kesenian Jakarta (Jakarta Arts Institute) or IKJ, was opened in 1970.
Sculpture
Indonesia has a long history of stone, bronze and iron ages arts. The
megalithic sculptures can be found in numerous archaeological sites in
Sumatra, Java to Sulawesi. The native Indonesians
tribes have their own distinct tribal sculpture styles, usually created
to depict ancestors, deities and animals. The pre-Hindu-Budhist and
pre-Islamic sculptures can be traced in the artworks of indigenous
Indonesian tribes. The most notable sculptures are those of Asmat wooden sculpture of Papua, the Dayak wooden mask and sculpture, the ancestral wooden statue of Toraja, also the totem-like sculpture of Batak and Nias tribe.
The stone sculpture artform particularly flourished in
8th-to-10th-century Java and Bali, which demonstrate the influences of
Hindu-Buddhist culture, both as stand-alone works of art and also
incorporated into temples. Most notable sculpture of classical
Hindu-Buddhist era of Indonesia are the hundreds of meters of relief and
hundreds of stone buddhas at the temple of Borobudur in central Java. Approximately two miles of exquisite relief sculpture tell the story of the life of Buddha
and illustrate his teachings. The temple was originally home to 504
statues of the seated Buddha. This site, as with others in central Java,
show a clear Indian influence. The examples of notable Indonesian
Hindu-Buddhist sculptures are; the statues of Hindu deities; Shiva,
Vishnu, Brahma, Durga, Ganesha and Agastya enthroned in rooms of Prambanan temples, the Vishnu mounting Garuda statue of king Airlangga, the exquisite statue of Eastern Javanese Prajnaparamita and 3.7 meters tall Dvarapala dated from Singhasari period, and also the grand statue of Bhairava Adityawarman discovered in Sumatra. Today, the Hindu-Buddhist style stone sculptures are reproduced in villages in Muntilan near Borobudur also in Bali, and sold as garden or pool ornament statues for homes, offices and hotels.
Today in Indonesia, the richest, most elaborate and vivid wooden sculpture and wood carving traditions can be found in Bali and Jepara,
Central Java. Balinese handicrafts such as sculptures, masks, and other
carving artworks are popular souvenir for tourist that have visited
Indonesia. On the other hand the Jepara wood carving are famous for its
elaborately carved wooden furnitures, folding screens also pelaminan gebyok (wedding throne with carved background).
Architecture
Main article: Indonesian architecture
For centuries, the Indonesian vernacular architecture has shaped
settlements in Indonesia which commonly took form of timber structures
built on stilts dominated by large roof. The most dominant foreign
influences on Indonesian architecture were Indian,
although European influences have been particularly strong since the
19th century and modern architecture in Indonesia is international in
scope.
As in much of South East Asia,
traditional vernacular architecture in Indonesia are built on stilts,
with the significant exceptions of Java and Bali. Notable stilt houses are those of the Dayak people in Borneo, the Rumah Gadang of the Minangkabau people in western Sumatra, the Batak people in northern Sumatra, and the Tongkonan of the Toraja people in Sulawesi. Oversized saddle roofs with large eaves, such as the homes of the Batak and the tongkonan
of Toraja, are often bigger than the house they shelter. The fronts of
Torajan houses are frequently decorated with buffalo horns, stacked one
above another, as an indication of status. The outside walls also
frequently feature decorative reliefs.
The 8th-century Borobudur temple near Yogyakarta
is the largest Buddhist temple in the world, and is notable for
incorporating about 2,672 relief panels and 504 Buddha statues into its
structure, telling the story of the life of the Buddha. As the visitor
ascends through the eight levels of the temple, the story unfolds, the
final three levels simply containing stupas
and statues of the Buddha. The building is said to incorporate a map of
the Buddhist cosmos and is a masterful fusion of the didactic narrative
relief, spiritual symbolism, monumental design and the serene
meditative environs. The whole monument itself resembles a giant stupa,
but seen from above it forms a mandala.[7]
The nearby 9th-century temple complex at Prambanan contains some of the best preserved examples of Hindu temple architecture
in Java. The temple complex comprises eight main shrines, surrounded by
224 smaller shrines. The Indian influence on the site is clear, not
only in the style of the monument, but also in the reliefs featuring
scenes from the Ramayana which adorn the outer walls of the main temples, and in the votive statuary found within.
Crafts
.
Several Indonesian islands are famous for their batik, ikat and songket cloth. Once on the brink of disappearing, batik and later ikat found a new lease of life when former President Suharto
promoted wearing batik shirts on official occasions. In addition to the
traditional patterns with their special meanings, used for particular
occasions, batik designs have become creative and diverse over the last
few years.
Other worldwide famous Indonesian crafts are Jepara wood carving[8] and Kris. In 2005, UNESCO recognized Kris as one of Masterpiece of the Oral and Intangible Heritage of Humanity from Indonesia.[9]
Literature
Main article: Indonesian literature
Pramoedya Ananta Toer was Indonesia's most internationally celebrated author, having won the Magsaysay Award as well as being considered for the Nobel Prize in Literature. Other important figures include the late Chairil Anwar, a poet and member of the "Generation 45" group of authors who were active in the Indonesian independence movement. Tight information controls during Suharto's presidency suppressed new writing, especially because of its ability to agitate for social reform.
In the book Max Havelaar, Dutch author Multatuli criticised the Dutch treatment of the Indonesians, which gained him international attention.
Modern Indonesian authors include Seno Gumira Adjidarma, Andrea Hirata, Habiburrahman El Shirazy, Ayu Utami, Gus tf Sakai, Eka Kurniawan, Ratih Kumala, Dee, Oka Rusmini. Some of their works have translated into other languages.
Poetry
There is a long tradition in Indonesia, particularly among ethnically Malay populations, of extemporary, interactive, oral composition of poetry. These poems are referred to as pantun. Contemporary Indonesian poets include among others, Sutardji Calzoum Bachri, Rendra, Taufiq Ismail, Afrizal Malna,[10] Binhad Nurrohmat, Joko Pinurbo, Sapardi Djoko Damono
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