Painting is a two-dimensional artwork made with painted media such as canvas, paper and so on, made with various tools such as pencils, watercolors, acrylic paints, brushes and other tools. Along with the development of the era, it turns out the painting is not only in the form of two-dimensional only but there is also a three-dimensional. With a high aesthetic value, the work of pure art in the form of this painting can be very expensive, especially if the work of a maestro. Not infrequently the collectors are willing to spend a lot of money for the work.
The development of Indonesian art especially painting is not much known. That's because the paper that discusses art parjalanan still little and limited to the academic community. However, lately many artists who explore and write about art and art in Indonesia, especially about painting. Broadly speaking, the development of Indonesian art includes prehistoric art, history of Indonesian-Hindu art, Indonesian-Islamic art, and Modern Indonesian art.
Prehistoric Painting Indonesia.
In prehistoric times, painting plays an important role because every painting has a certain meaning and purpose. In those days paintings were made on the walls of caves and corals. One of the techniques used by the cave people to paint on the walls of the cave is by putting a hand on the cave wall, then sprayed with chewed leaves or colored minerals. This spraying technique is known as aerograph. Another medium used to make paintings is clay. The dyes used are derived from natural ingredients such as minerals and animal fats. In general, the goals and themes chosen to create the paintings are magical.
Examples of paintings produced in prehistoric times can be seen at Leang Pattakere Cave in Maros, South Sulawesi. The painting depicts scenes of hunting. In addition, there are also paintings on the walls of the cave on the southern coast of Irian Jaya (Papua). The paintings contained in the place depict the ancestors. The thing that draws attention to the paintings scattered over such a vast area is the silhouette of the hand contained in manamana. This hand stamp is also present in South Sulawesi, on painting on a rock cliff in the bay of Sulaeman Seram, in the bay of Berau Papua, and on the island of Arguni and in the Kei archipelago. In addition to shadow motifs, the motifs in many places are human figures, boats, sun, moon, birds, fish, turtles, humans, lizards, legs and pigs of deer.
Classical Hindu Painting Indonesia.
After the prehistoric era ended, the nation of Indonesia already has various skills such as making big stone pyramid-shaped staircase, metal casting art, agriculture and equipment, sculpture, and batik development developed with the addition of new elements at the time of entry of Hindu influences. This era is a new phase in the periodization of culture in Indonesia and can be regarded as a historical age because at this time has been found relics of writing. This occurs because of cultural contact with India around the 5th century AD
Common themes used in a work of art at this time include religious themes, mythology, legends, and historical stories. For example Balinese paintings Classic containing the story of Ramayana and Mahabharata. The style used in the sculpture of the temple wall of the Majapahit era is the wayang style with the composition of horizontal plane which is solid and loaded with stilation. The designation of wayang style here shows the sign of equation in the stylization of wayang kulit puppet figures and classical Balinese painting. The color of the painting is limited to the colors that natural materials can attain such as bark, leaves, soil, and soot. The painting is made on an elongated fabric without being mounted on the span frame so that the result resembles a rolled painting. As well as carvings of temple walls and lontar images, the function of the classical Balinese painting is as a medium of education in accordance with the teachings of religion or philosophy of life in the Hindu era.
Painting in Bali began when the Hindu culture of East Java was driven by Islamic culture. The existence of painting that integrates and berakulturasi with Hindu culture became distinctive and known by various countries until now. The development of Hindu-Balinese painting can be described in three parts, namely Kamasan painting, Pita Maha painting, and Artist painting of Young Artists.
Islamic Painting Indonesia.
As in the Hindu period, Islamic art in Indonesia was centered in the palace. An artist's job is not merely to create works of art, but he is also an expert in various sciences and philosophy, in addition to know other branches of art. In Islamic art, there is a prohibition to describe the motives of living things in a realistic form. Artists make compromise with previous cultures.
New Indonesian painting developed in Indonesia as well as art in general can not be fully understood without placing it within the overall framework of Indonesian society and culture. The development of Indonesian paintings is strongly influenced by the power of history. New Indonesian painting developed after the period of Islamic art. and painting in this period has developed very rapidly in line with the development of Indonesian art where the characters such as Raden Saleh, Affandi, Basuki Abdullah and friends I've ever posted before and can you read here.
The Development of New Indonesian Painting.
Modern Indonesian painting began with the entry of Dutch colonialism in Indonesia. The tendency of western European art at that time to the flow of romance made many Indonesian painters participate in developing this flow.
Raden Saleh Syarif Bustaman is one of the lucky assistants who can learn European style painting practiced by Dutch painters. Raden Saleh then continued to study painting to the Netherlands, so managed to become a respected Indonesian painter and a palace painter in several European countries. However, Indonesian painting does not go through the same development as European renaissance, so its development does not go through the same stages. The era of revolution in Indonesia made many Indonesian painters shift from romantic themes to tend towards "populist". Objects associated with the natural beauty of Indonesia is considered as a theme that betrays the nation, because it is considered a lick to the capitalists who became enemies of popular communism ideology at that time. In addition, painting tools such as paint and canvas are becoming increasingly difficult to obtain making Indonesian paintings tend to be simpler forms, giving birth to abstractions.
The Cultural Manifesto movement aimed at resisting the imposition of communist ideology made painters in the 1950s prefer to free their artwork from certain political interests, so that the era of expressionism began. Painting is no longer considered a messenger and propaganda tool. Travel of Indonesian painting since pioneering R. Saleh until the beginning of XXI century, was still oscillated by the various conception of impact.
The stability of Indonesian painting that has not reached the level of success has been ravaged by the idea of modernism that led to alternative art or contemporary art, with the emergence of conceptual art: "Installation Art", and "Performance Art", which once mushroomed on campus arts college around 1993-1996. Then came various alternatives such as "collaboration" as a mode of 1996/1997. Together with conventional painting with a variety of styles adorn galleries, which is no longer as a form of appreciation of the community, but is an alternative investment business.
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