Painting “Warfare” by Hendra Gunawan

For humans, wherever they live on earth, warfare constitutes a touching tragedy that should be avoided, if possible. Why? Because, the warfare itself bets both myriad materials and souls.

Painter (late) Hendra Gunawan was one of the foremost painters of Indonesia who innumerably immortalizes the warfare into the theme of his distinctive painting. On his canvas, he does not expose the boom of cannon or ammunition explosion. Neither do he express the panic and fearful ambience nor ill-fated faces of those who involved in the battle. Hendra Gunawan’s paintings tell more about serenity and cheerfulness of the war itself, instead.
Just have a look at his painting entitled ‘War Bride’ that depicts an Indonesian fighter (seen from their fashion) is pushing a bicycle by hand, while on the back seat is sitting a pretty young woman in bridal gown. They are accompanied by a flock of people and musical players. Some warriors looked to stand up at street side while gazing at the young couple relaxedly.
Another painting is “Refuge” that narrates some warriors who are taking a rest under a shady tree. Among them, there is one who is reading a piece of paper and others holding their weapons while smoking enjoyably. In that painting, Hendra Gunawan describes the fighters looking like one in relaxed posture. They even do not express anxious, fearful or even stressed faces.
These are certainly different from that of Dullah that intentionally paints about the warfare condition as it is. Straining faces are clearly seen and ammunition explosion, if possible, really described. Nevertheless, paintings by Hendra Gunawan stay to be felt as a painting that narrates the warfare. But, aspects presented are tactic of warfare. However, those that presented here is warfare in terms of its other side. Romanticism and relaxedness. (BTN/Gung Man)

The Art of Indonesian Batik

The art of batik represents the form of Indonesian fine art that is unparalleled all over the world. Its appearance almost goes the same as the art of painting namely in two dimensional image and make the lines, shape and colours the maker of its allurement. Yet, both have plain to see difference, namely in the case of its production. If the art of painting is right brushed on canvas, while the art of batik should pass through some stages of process in its production.
This art constitutes the native culture to Indonesian, however, many countries lately imitated it and even there have been countries claiming it as their property by means of registering to get its patent right. This matter is unquestionably a kind of crime but Indonesia itself cannot prosecute a criminal procedure because it has never declared it explicitly if the art of batik is a cultural heritage of Indonesian predecessors. It is reasonable because the art of batik for the Indonesian, especially the Javanese, serves as daily work performed through generations to meet their needs of clothing.
Encyclopaedia Indonesia mentions that prior to the arrival of Indian in Indonesia, the Indonesian has known batik. It is a piece of cloth containing certain ornament made through some stages of process. First of all, a piece of white cloth (mori) in which on one of its sides is given particular motifs by pencil. Afterwards, such sketch is covered with wax by a tool called canting or small dipper.
Next step is dyeing process by immersing the cloth that has been waxed into dying liquid. Having completed this process is continued with the uncovering of the wax so the enclosed surface is not reached by the colour, while other parts that are not enclosed will absorb colour.
At the present time, the art of Indonesian batik is predominantly produced in Java like in Northern and Southern Java. Areas in Northern Java comprehend Jakarta, Cirebon, Pekalongan, Semarang and Lasem, while in Southern Java consists of Tasikmalaya, Banyumas, Yogyakarta, Surakarta and Ponorogo.
In keeping with the progress of time, the technique of making complicated traditional batik can now be made easier. Its process resembles that of the art of painting where the artist’s inspiration can be freely expressed on the cloth and traditional tool is replaced with a brush. However, the process of dyeing is still maintained that follows the traditional one. This can be seen on every process of adding new colour that must be done through repeated process, namely the waxing applied to the intended surface that needs no colour. For instance, if the cloth’s surface has three different colours so the waxing and dyeing into the colour substance are done three times and goes on.
Fajar Sidik is one of the Indonesian painters who introduced such new technique. His batik paintings give expressive and colourful image. In addition, there are some other painters who take advantage the batik technique but none flourishes well as Fajar Sidik. (BTN/Gung Man)