ART- PACIFIC :GUIDE TO ARTIFACTS

Javanese Folk Art Paintings and Figures, Indonesia

There is a small, but lively tradition of painting and figures on Java, even though the tropical climate in Indonesia is not favorable for European-style easel painting on canvas or paper. We've collected Javanese folk art paintings and figures in three forms: screens, reverse paintings on glass and paired figures.

Figure 1: Two of the Punakawans: On the right is Gareng with his drooping nose who is the butt of jokes and tricks played by Petruk on the left.

Dealers in small towns in Indonesia collect pieces from the surrounding area to sell to bigger dealers in Jakarta or overseas. These businesses are usually in the owner's home on a back street and include a workshop to repair pieces before they are sold. In the early 1980's we bought window shutters set into beautifully carved frames and a few years later, mirrors in the same type of frame, often with shutters opening out to reveal the mirror.

Figure 2: Joko Tarub and Dewi Nawang Wulan with their child. Painting on metal panel.

It wasn't until later that we realized that these frames were originally freestanding room dividers in sets of two or three with paintings filling the space where there was now shutters or mirrors. Screens are used in tropical Indonesia to divide rooms into public and private spaces while still allowing breezes to circulate freely throughout the house.

Apparently, screens weren't selling well to overseas cliental, so the paintings were knocked out, the bracing feet knocked off and the enterprising dealers turned them into something else. New shutter and mirror combinations are now produced in all sizes and colors for the export market.

Unfortunately, a lot of interesting artwork was lost this way. After we realized there were paintings, we started asking for them. Some dealers thought it was funny that we wanted this old, unfashionable artwork. Screen paintings are usually done on a thin sheet of metal or less often on wood, often painted on both sides. One side, or set of sides, might have scenes from the Ramayana or other classical epic, while the opposite side might have a more contemporary story from the original owner's life or town.

We first noticed paintings on glass for sale in central Java around Semarang. Paint is applied in a thin layer to the back of the glass and the finished work is viewed from the front. Oil and more recently acrylic paints are used along with metallic leaf. Typically, the figures are outlined, interior finer details are added, and finally the brighter fill colors put down over these.(www.art-pacific.com)

Figure 3: Three sisters in colonial dress, probably Dutch. Reverse painting on glass.

Glass painting probably derived from European colonial influences and declined after the 1930's until a recent revival. Originally, the artists were itinerant painters who went from village to village, but today's painters are studio artists in the city workshops of Çirebon, Yogyakarta and Solo (Surakarta).

Subjects include stylized portraits recalling the European colonial era. There were about a dozen paintings of the three sisters in colonial dress in one shop, so someone has a studio that turns out multiple copies of popular themes. There are also erotic paintings, usually set in one of the Indian epic sagas.

Figure 4: Dewi Sri in contemporary Javanese dress.

Joseph Fisher's The Folk Art of Java in our booklist has an excellent discussion of the history of glass paintings, contemporary artists working on glass, and the numerous traditional characters used in Javanese folk art. Fisher writes that the Jesuits brought glass painting to Guangzhou (Canton) and that Chinese painters probably worked in the courts of India in the 18th century. Later, Indian painters painted both Hindu and Islamic stories for their cliental. The Javanese painters also work with this combination of themes and Çirebon painters use Chinese style motifs in their landscapes.

Free-standing "marriage figures" are placed in the bedroom of the husband and wife or on either side of the entry way to the home. The loro blonyo (inseparable couple) are Dewi Sri, Hindu goddess of agricultural fertility and her consort, Sadono. The traditional Javanese wedding is considered to be a re-enactment of the birth of the universe. Figures of this pair are placed in front of the canopied marriage bed and as the ceremony begins, they are replaced by the bride and groom. Happiness, children and prosperity are secured when they are in the home. They may be represented in traditional or contemporary Javanese dress. Although the loro blonyo are most common, we have also collected other pairs, like the clown-servants, Gareng and Petruk.

Figure 5: Graceful figure of Arjuna, one of the five Pandewa brothers depicted in the style of the wayang kulit puppets in this glass painting.

Figures and scenes come from the many rich story-telling traditions of Javanese culture. The Indonesian versions of the Indian Hindu epics, the Ramayana and the Mahabharata are loved throughout Java. Many of the paintings depict scenes from these two classics, often portrayed in the flat, elaborately detailed style of the wayang kulit shadow puppets.

Figure 6: Dewi Sri, the rice goddess, and Sadono as a pair of decorative holders to tie back the mosquito nets on a canopy bed.

The Ramayana tells of the long contest between the hero, Rama, and his half-brother, Bharata, for their father's throne. The most popular part is when Sita, Rama's bride, is captured by Rawana, the evil king of Ceylon. She is finally rescued with the help of Hanuman, the white monkey soldier and Rawana is killed. Although she is banished when she returns to the court, Rama finally succeeds in both defeating his rival and restoring Sita's good name and making her his queen.

The Mahabharata tells of the conflict between the Pandewa brothers and their jealous cousins, the Kurewas, who drive them away from the kingdom to wander in the wilderness. There the Pandewa build the kingdom of Amarta. Their popular clown-servants are the Punakawans. One of them, Semar the wise, is thought to descend from an pre-Hindu Javanese god. Although the clowns are funny, they are also philosophical and often represent the point of view of the ordinary villager.

In the glass paintings, the Punakawans sometimes appear in contemporary dress in a variety of humourous situations: driving trucks, taxis or motorbikes, getting chased by traffic policeman against a backdrop of city streets and high-rises. These scenes are painted in a bold, brightly colored, 2-dimensional style.

Figure 7: Detail of Joko Tarub and Dewi Nawang Wulan with baby.

Another source is indigenous folklore. A popular story is that of Joko Tarub, the farmer who stole the shawl (selendang) of the goddess, Dewi Nawang Wulan, when she flew down with her friends to bathe in a spring near his fields. He hid her shawl under the rice in the bottom of his granary. Without it, she could not fly back.

She agreed to stay with him and they had a child. Her only condition was that he not watch her preparing rice. Because she was a goddess, she made their meals using only a single grain, so the rice in his granary never went down. Joko was curious about this and one day he peeked in the rice pot. Immediately, she lost her magical power and had to begin using the rice from the granary for their meals. When she got to the bottom of the granary, she found her shawl and flew back to heaven.

Figure 8: Probably a scene from the adventures of Muhammand's uncle. Painting on metal panel.

More recent stories come from an Islamic story cycle ( who is involved in all sorts of adventures in exotic places to promote good against evil and protect the weak from the strong. Also from Islam comes the graceful script of Arabic calligraphy with sayings from the Koran and other religious texts and symbols such as the crescent and star.

If a man makes the pilgrimage to Mecca and Medina on the hadj, he may commission a screen showing one of the famous mosques. Local mosques and the pendopo, the village audience hall for secular ceremonies and government meetings, are also illustrated.

Figure 9: Entrance to a pendopo. Painting on metal panel.

Sometimes there is a contemporary, perhaps personal story. For example, a three panel wood divider from Madura Island shows scenes from a war, probably WWII or the following war for independence from the Dutch. The center panel is topped with a carved man on horseback accompanied by two dogs, below that is a mirror.

Under the mirror is a panel showing sailing ships and planes dropping bombs into the harbor. The two lower panels on the adjacent sides each depict a tiger in the countryside. The top left panel shows a soldier dressed in khaki and a helmet firing into the distance. The top right panel shows a loaded military-style truck going up a hill, two soldiers or police on a motorbike have stopped and are talking to a white figure farther up the hill. The inscription reads "Supormin - RB, AD 24 - 12 - 1960"

Figure painting is not historically important in Indonesia compared to other art forms, but it reflects the multiple cultural influences that have arrived in Java and been transformed by the Javanese into art that is distinctly their own.

Batik painters on Java and Bali use some of these same themes and styles. There is also a Balinese school of easel painting dating from before WWII, as well as contemporary modern painters in major cities like Yogyakarta and Jakarta.

PURO PAKUALAMAN

The magnificent, well preserved Pakualaman Palace or locally known as Puro Pakualaman, located 2 km east of the city main Post office at Sultan Agung street. This palace is belonged to Pakualaman principality (Kadipaten). Its story dated back to March 17, 1813 when Prince Notokusumo, the son of Sultan Hamengku Buwono I with Princess Srenggorowati was throned by the British Lieutenant Governor General Sir Thomas Raffles as Kanjeng Gusti Pangeran Adipati Arya (K.G.P.A.A.) Paku Alam I. This brilliant Prince was coronated as 'Pangeran Merdiko' (Free Prince) on June 1812 as proposed by Sultan Hamengku Buwono II.

This principality was given its own territory, consisting of 4.000 cacah at Pajang, Bagelan, westward of Yogya and an area located between rivers Progo and Bogowonto, in Adikarto Region, western Yogya.

The 5,4238 ha palace compound reflects a strong center of Javanese culture. The architect of this Puro was K.G.P.A.A. Paku Alam I himself, who was an expert in culture and literature.

Before entering the palace, one should cross the square, by passing :
The main 'Wiworo Kusumo' gate (1), here stands elegantly the Joglo style of Pakualaman mansion (the complete words are "Wiworo Kusumo Winayang Reko" means safety, justice and freedom). In the front part is a 'kuncungan' (canopy) then the front hall called Pendopo (2) or Bangsal Utomo 'Sewotomo' with its four main pillars in the center. These pillars are from special jati/teak wood from the village of Karang Asem, Paliyan, Gunung Kidul, south of Yogya. These jati woods are also used for the Ndalem (main house) as well as for the king's throne consists of two beautiful carved chairs and a large round table.

In the front corner of the Pendopo, slendro and pelog sets of gamelan (Javanese music instrument) by the name of Kyai Kebogiro (3) is being played for Uyon-uyon (symphony) at every Sunday Pon (one in every 35 days). The name of the Uyon-uyon is Murio Raras, meaning in search of harmonious life. On Monday and Thursday court dance training is practiced.

All pillars in the pendopo are beautifully carved and painted. Huge crystal lamps are hanging on the ceiling.

In the corner of the Pendopo is a room called 'Chinese Room' (4), where collections of Chinese antique wares are stored. In the left corner is the king's office, is called the 'Srikaya room' (5). The space between these two rooms nicely decorated and furnished matching with glorious circumstances at the palace.

Further inside in the large main house Dalem Ageng Proboyekso (6). The most important part of this building is the Pasren (7), complete with its accessories and two statues of Loro Blonyo (man and woman) stand in front of the Pasren room, and the Pusaka (heirlooms) room. This place symbolizing the holy and well prosperous life of Pakualaman principality.

In the left side is dressing room (8) and the right side is the bedroom (9). Flanked the dalem Proboyekso is Gondok Wetan (10) (east pavilions) and Gondok Kulon (11) (west pavilions), where some families live.

The Seworenggo hall (12) is in the back of the dalem. It's a waiting hall and a place for gathering. The heirlooms cleansing took place also in this hall.

Further north, there is the Maerakaca building (13) (glass walled building). It is a place of pleasure, the favorite site of the late K.G.P.A.A. Paku Alam VII and his wife.

A Gandaria tree (14) stands right in the middle of the spacious backyard. It is a place for doing meditation. Separated by a wall fence, it was the back castle. In the old days was the office of Pakualaman army (15) (legionaries). There are two gates here, namely the west gate and the north gate (now it is closed). In this back section there are schools; a kindergarten and two Elementary Schools.

The museum (16)
Now, one should return to front yard in front of the pendopo. In the right side is the museum, where important things connected with the history of this palace are exhibited.

The first room displays among other :

1. The family tree, showing K.G.P.A.A. Paku Alam I, as the son of Sultan Hamengku Buwono I and the descendant of king Brawijaya V of Majapahit Kingdom, and his mother Princess Srenggorowati was also a descendant of King Brawijaya V.
2. There are pictures of Sri Paku Alam II to VIII, some snapshots of the present king's activities.

3. Political agreements with British and Dutch rulers to mark the establishment of Pakualaman Principality.
4. The king attributes :
   • Umbrella Tlacap, symbolizing the great king - the ruler.
   • Rebab/violin by the name of Kyai Tandhasih, a gift from Sri Mangkunegoro VII, Symbolizing the beginning and end of life.
   
   The throne attributes :
   • Two sets of chairs and one round table.
   • One sets of Cepuri (cups for betel leaves), used to welcome guests by offering betel leaves and its ingredients.
   • Two pieces of Kecohan (jug for saliva spitting betel chewing), means a king should keep his promise and friendship is based upon mutual respect.
   • Umbrella "bhavad', symbolizing the king as the center of power and wisdom.
   • Umbrella 'Tunggul naga', the three - tiered - umbrella, symbolizing the perfect life of king to protect his people with knowledge, wisdom and justice.
   • The spears of Trisula, Jebeng and Cis Trisula : the philosophical culture of a state should be :
     The people are having good conduct, polite and soft-spoken, the king rules justly and wisely. A warrior should not only be brave in battlefield, but should know also a good war strategy. The dragon design of the spear means prosperity and welfare with power to resist black magic.
   • The second room display among other:
     Old weapons during Dutch colonial time, keris and spears, swords, court-dresses, etc.
   • The third room exhibits Pakualaman court carriages, such as Kyai Manik Kumolo, a gift from Thomas Raffles. Kyai Roro Kumenyar, a gift from Sri Paku Buwono X, etc. The museum is opened to public on Tuesday and Thursday from 09.00 t0 12.00 am.
   • The mosque (17)
     It was built during the reign of Sri Paku Alam II, as shown by the stone inscriptions in Javanese and Arabic.
   • The Purworetno Building (18).
     A beautiful pavillion, located in the right side of the pendopo, it is a gift from Sri Paku Buwono X of Surakarta to his son in law, Sri Paku Alam VII. Sri Paku Buwono X stayed here when he visited Yogyakarta.

     

   • The Library (19)
     To the west of Pendopo is the court library with precious collection of Javanese classical books including the popular book, Serat Dharma Wirayat' a masterpiece of Sri Paku Alam III. The library is opened to public on Monday and Thursday, from 09.00 to 12.00 am.

The Traditional Events
The Puro held regularly the important traditional events, such as;

• The Garebeg Ceremony.
  Click here to see the article of Garebeg Procession!
• Offering Ceremony on Glagah Beach, West of Yogya.
• Heirlooms/pusaka cleansing in the Javanese month of Suro.
• The birthday of Sri Paku Alam VIII on the 29th of Javanese Maulud.
• The joint exhibition of Karaton's ancient heirlooms in Karaton of Yogyakarta, at every Sekaten Fairs.
  Except those above regular events, the Puro sometime performs other events, such as;
  • Rajawedha (king's offering) to the South Sea, Merapi Mountain, Lawu Mountain, Pangrango Mountain (west Java).
  • Javanese Traditional fashion shows, etc.

K.G.P.A.A. Paku Alam IX

The Puro Pakualaman remains faithful to the holy ancestor's culture, tradition, and way of life and thinking of Mataram Kingdom. Although there are four kingdoms in Yogya and Solo nowadays, but they have one same root - Mataram.
The philosophical principles govern the Puro is the philosophy of Sastro Gending (sastro means knowledge, gending is gamelan's melody) created by Sultan Agung Hanyokrokusumo. In short, Sastro Gending teaches people to conduct properly, has to walk in the right path. It is the basic law of life and state, the great tradition that protects people in its way to carry out the essence of life.

Arjuna Wiwaha
The wayang (leather puppet) story of Arjuna Wiwaha is very popular also in Puro Pakualaman, as it contains the philosophical lesson of Pasopati (Arjuna, after doing a strong meditation received a sacred powerful arrow heirloom - the Pasopati, from God Guru). With this arrow, he could kill the ogre giant king, Niwatakawaca (nir : none, watak : behavior or mind, kawaca : could be read). Symbolically it means 'there is no human mind which could not be read by pasopati. A leader should posses the ability of Pasopati to build a good in orderly society.

The present leader of Puro Pakualaman is the 90 (ninety) years old K.G.P.A.A. Paku Alam VIII, fighter of the Indonesia independence, holder of several medals of merit. At the same time, he is the Acting Governor of Yogyakarta Special Region.

Arts, Cultures, Rituals and Other Information of Puro Pakualaman

The Coronation of K.G.P.A.A. Paku Alam IX

(Suryo S. Negoro)

Source: http://www.joglosemar.co.id