Bab Iv

perpustakaan.uns.ac.id digilib.uns.ac.
id
CHAPTER IV
ANALYSES
A. The 19th century Pangeran Diponegoro Villain and Hero
1. The 19th century in Indonesia
The powerful Dutch East India Company (Dutch - Vereenigde Oost-Indische

Compagnie - VOC
Indonesian land from beginning of 17th century. For two centuries these mighty, the first
multinational company controlled and used different parts of Indonesian Archipelago and
seized power of local rulers. Due to corruption and debt, the company declared bankruptcy
and it was nationalised by Dutch republic as the Dutch East Indies. The exact date of
nationalisation of this company was January 1st 1800, so Indonesia entered into the 19th
century with an old new ruler. (Brown, 2003)
Between 1811 and 1816 some parts of the Dutch East Indies came under a short
period of British control due to some insurgencies in Europe. After that the Dutch fought
several wars to establish their full control over Archipelago. In West Sumatra between 1803
and 1827 there was the first civil war between two Muslim groups, and with the
intervention of the Dutch this war was over. Now it is called the Minangkabau (ethnics of
west Sumatra) or Padri War (that was the name of the faction that won). Between 1859 and
1863 there was also war in southeast Kalimantan. The result was the defeat of the
Banjarmasin sultan. Areas of Bali and Aceh were also rebellious and conflict there started
at the end of the 19th century and finished at the beginning of the 20th century with the
Dutch state becoming absolute ruler of all present areas of Indonesia. (Brown, 2003)
For this research one conflict is crucial. It is the Java War or Diponegoro War and it
was fought for five years between 1825 and 1830. This rebellious, guerrilla war took as
many as 500.000 Javanese lives and around 20.000 soldiers on the Dutch side both
Europeans and Belanda Hitam black warriors from the Dutch Gold Coast (today Ghana).
The war ended with the capture of the Javanese leader of war and his companions during
negotiations where the Dutch guaranteed him freedom and some rights, but instead they
tricked him, ending the war. Java was devastated, but soon with a new cultivation system
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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 Netherlands has been a kingdom ruled by the Oranje family), but
devastation, poverty, and death to many in the archipelago. But it also brought better
infrastructure and access to education, which later led to nationalistic movements and
finally the liberation of Indonesia. (Carey, 2008)
2. Art History of the 19th century
The 19th century was quite a dynamic period in Indonesian history; it brought a lot
of misery to the Archipelago, but also some innovations that soon helped facilitate
deliberation and the emancipation of the country. In the history of Europe and art history of
the West it was also a dynamic period which led to art as we know it today. With
revolutionary movements and the establishment of nations as we know them today, art
followed with the first movements in the 19th century being Neoclassicism and
Romanticism. (Hirsh, 2011)
The first one, Neoclassicism, derived influence from classics in European art
antique and renaissance. The second, Romanticism, was also called Neo-Baroque and it
was more dynamic and vivid than Neoclassicism. The key word with Romanticism was
escape: escape in nature, in glory past, in exotic places (Hirsh, 2011). The art of these
artists influenced the first Javanese who learned about painting. During the second half and
towards the end of the century, Realism, with its strong social critique, was born along with
Impressionism, which brought new challenges to art. These two movements did not have
any direct influence on Javanese (and Indonesian) art. Indirect influence was present with
questions about the meaning and position of art, but with some time delay.
3. Western Eyes: Nicolaas Pieneman

3.1. Biography of Nicolaas Pienemaan
lithographer Nicolaas Pieneman. He was born on 1st January 1800. His birth place is the
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city of Amersfoort in central Netherlands. He was the son of the famous Dutch artist Jan
Willem Pieneman. Jan Willem Pieneman was the director of the Koninklijke Académie voor
Schone Kunsten in Amsterdam since 1820 and finally was appointed director of the
Rijksmuseum Amsterdam in 1847. (Marius, 1909)
specialised in painting recent historical events. He was a friend of the Dutch king Willem II
and painted numerous portraits of members of the royal family. He was also member of
Natura Artis Magistra in Amsterdam from 1852 until his death on 30th December 1860.
His opus consists of mainly historical painting, followed by portraits and cityscapes.
Besides the Netherlands, he was also active in the United Kingdom, France, and Belgium.
In addition to his painting and lithography skills he entered the art history of Netherlands as
an art collector and teacher of many future painters, such as Johaness Arnoldus Boland,
Hendrick Hollander, Jan Frederick Tuck, and others. (Marius, 1909)
3.2. Submission of Diponegoro (1830-5): History and Signs
Diponegoro entered Javanese traditional art as a leader of the Javanese during the
Java War. His fights were subject of batik paintings as well as wayang kulit stories. In early
chronicles about his fight written in Javanese court houses, there were also depictions of
Diponegoro. These artworks will be mentioned more in Section 4, about Javanese paintings
of Diponegoro.
The first Westerner that made a depiction of Pangeran Diponegoro was Adrianus
Johaness Bick (1790-1872). He was baljuw (magistrate) of Batavia (today Jakarta) and
Hall today Jakarta
History Museum). Diponegoro was there between April 8 and May 3, 1830. Based on a
charcoal sketch of A. J. Bick, Carel Christiaan Anthony created a lithography. This portrait
was used to make the banknotes of 100 Indonesian rupiah from 1952. (Carey, 2008)
In these representations Pangeran Diponegoro was dressed in the garments which he
wore during the Java war, namely a turban, an open-necked kabaya (cotton shirt) and a
jubah (loose outer robe). A sash hangs over his right shoulder, and his pusaka kris
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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
(Source: Carey, 2008) (Source: Carey, 2008) (Source: the Internet21)
1. The First Western Look at Pangeran Diponegoro
Pieneman. His painting was done in the same period as the sketch and lithography around
1830 and 1835. General Hendrik Merkus de Kock, who arranged the arrest of Diponegoro,
returned to Holland in late 1830 and was received as a national hero. In order to celebrate
himself de Kock commissioned the best known (and economically most successful) portrait
painter, Cornelis Kruseman (the teacher of Raden Saleh) - to do his portrait. De Kock did
21
All sources of illustrations (specially one retrieved from the Internet) are listed in the end of this research
)
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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 Rijksmuseum in Amsterdam where it was listed in 1920 under
collection number 1874. The original (and full) title of the painting is The submission of
Diepo Negoro to Lieutenant-General Hendrick Merkus Baron de Kock, 28 March 1830,
which ended the Java War (1825 30). The title itself is already full of the meaning. The
author omits the title Pangeran (or Prince) in front of Diponegoro (this only appears in
Indonesian translations of the artwork where Diepo Negoro is Pangeran Diponegoro), while
de Kock is presented under his full name and title.
which ended the Java war
the painting is named with a shorter version like that in the title of this paragraph (and
generally used during the whole of this research) or with an extended name which includes
the two main characters. This ending is characteristic because it does not mention the
treachery of Dutch, or how the war and this meeting ended. It says that war ended with the
simple submission of Diponegoro, which is far from truth. It is obvious already that the
painting represents the Dutch as a supreme power with dominance over the Javanese. If we
examine the painting as system of signs we can see how specific elements support this
view.
Icon signs are signs where the signifier resembles the signified. In Nicolaas
Pieneman we can observe the depiction of many historical characters who were involved in
this historical drama. 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.
2. Nicolaas Pieneman Submission of Diponegoro (1830-1835)22
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 Manado 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 - Magelang 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 Dutch people 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 (Semarang, Central Java) in 1807 or 1814. , His family had ties with Suro
Adimenggolo, the regent of Semarang and Pekalongan. He had lived at the home of Baron
van der Capellen in Buitenzorg (present day Bogor, West Java), 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 Yogyakarta 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 gamelan. (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 colonialism 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 Javanese people
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 Islam. 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 white people (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 The Hague. 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 Indonesians had
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with Dutch, so they encouraged local art organizations and usage of Indonesian language.
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
17th, 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 Bandung, Yogyakarta, Surabaya, and Jakarta. The leader
of independent Indonesia for the first few years was Sukarno, 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 New Order 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 Majapahit 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 Thailand, 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 Suharto.
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 East
Java 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 Kisaran, 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 regency, 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
(Sumbawa 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.
Blangkons are believed to derive from turbans worn by Gujarati traders.31 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 Hong Kong

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 Malay language 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
Timor 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 Indo people 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 batak 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 Papua, 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 Banten 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
37
Tempo 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
40
(the Internet Source ) (the Internet Source 41)
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

43
Life Tin Tin like Diponegoro )
(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, Malang, Jakarta and Makassar 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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perpustakaan.uns.ac.id digilib.uns.ac.

A. The 19th century Pangeran Diponegoro Villain and Hero

1. The 19th century in Indonesia

The powerful Dutch East India Company (Dutch - Vereenigde Oost-Indische

2. Art History of the 19th century

3. Western Eyes: Nicolaas Pieneman

3.2. Submission of Diponegoro (1830-5): History and Signs

1.0. A. J. Bick, charcoal 1.1. A. C. Anthony, 1.2. Note of 100 Indonesian

- the highlight of his military career - by Nicolaas Pieneman. (Kraus, 2005)

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

Pieneman made Diponegoro look

2.5. People: More Middle Eastern than Javanese

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

likely European mountain, rather than some of the

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

2.7. (Un-existing) Symbol of Death -

there is no word about the strange

death and destruction of one colonial

4.1. Biography of Raden Saleh

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

3.2. Pangeran Diponegoro

3.4. & 3.5. Wayang Diponegoro

4.0. The first sketch for

1 Pangeran Diponegoro 10 Raden Ayu Retnaningsih, one of the

(Source for naming characters Carrey, 1986)

characters of this historical drama

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

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

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

ldlike, different; thus the

how primitive community is, it is against any type of oppression. If I were

nationness, and nation-

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

cers, angry face of Pangeran

B. Indonesian paintings (1950 1990): Depicting a National Hero

1. The 20th century in Indonesia: History of Nation and Art

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

2. Pangeran Diponegoro: National Hero in Art

Indonesian ideas two historical figures from Ja

5.1. Equestrian Statue of Diponegoro in Monas 5.2. Basuki Abdulah

and scholars, but an

definition, here. (Anderson, 1978)

6.1. Equestrian statue of 6.2. Sasana Wiratama 6.3. Equestrian statue of

Spirit of the Hero Pang

murder was organized by communist stand, in this same line

that time (Anderson, 1978).

3. Indonesian Eyes: S. Sudjojono

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

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

himself, despite so manifesting it into practice is possible. The stream (painting

Power). He is now 30 years old. (from Supangkat, J et al. 2013)

Sudjojono is a complex and a multidimensional individual as clearly shown through

3.2. Diponegoro(1979): History and Signs

In 1974 S. Sudjojono completed his masterpiece

7. S. Sudjojono Diponegoro (1979)

7.1.Photo of artwork from book

A. 2006) accessed from IVAA

The full title of this painting is Pangeran Diponegoro Menyaksikan Kemenangan