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拍品專文
"Art must be dedicated to the people; be inspired by them and also be understandable to them." (Claire Holt, Art In Indonesia - Continuities and Change, London, 1967). This was the aim of the people's painters, which at that time was the most active and numerous group in Yogjakarta. This group included several respected artists like Hendra Gunawan who believed in the organisation's slogan of 'Art for the People' and its philosophy that encouraged communal living and cooperative work. The People's Painters never strongly advocated the use of social realism, which was influencing other painters not in the group. Hendra Gunawan stressed 'folk art' such as Kuda Kepang Ketoprak, then a new form of street-theatre. Hendra had said that he thought that he had become too westernised as an artist and that he deplored imitations. He encouraged his students not to depend on the principles of Western art and to crystallise their own characters and have confidence in their own personalities.
Kuda Kepang is a trance-dance where the male performer dances with the hobby-horse made of plaited blades of grass. Kuda Lumping is a variation of this dance but the hobby-horse is made of leather. Hendra's depiction of the Kuda Lumping is a painting with a fiery zeal of movement and action. On the right is a dancer with a white mask who is seen in a state of dance flirtation. The dancer's outstretched arms denote her state of being in movement and her position of her arms journey the eye of the viewer to the heights of the mountain and to the head of the horse, with the other arm. Again, Hendra plays with the curvilinear and the eye is led from the left hand of the dancer through to the horse's head and than all the way down the curve of its body towards its snaking tail.
Though rendered in profile, the horseman, does not remain static to the eye but races forward towards the dancer with the viewer kept in suspense as to the next dance movements. The attention of the viewer is kept from wandering into the horizon by means of the careful placement of the crowds that have come to be spectators to this event just as we have. Therefore the effect that is achieved is that we are part of a ring of festive onlookers who have gathered in anticipation.
Hendra's bold usage of colour is again dramatised here and the sense of festivity and folklore is made to come alive through the swirling and cloud-like rendering of paint on this large canvas and imbues the painting with an almost ethereal quality.
Kuda Kepang is a trance-dance where the male performer dances with the hobby-horse made of plaited blades of grass. Kuda Lumping is a variation of this dance but the hobby-horse is made of leather. Hendra's depiction of the Kuda Lumping is a painting with a fiery zeal of movement and action. On the right is a dancer with a white mask who is seen in a state of dance flirtation. The dancer's outstretched arms denote her state of being in movement and her position of her arms journey the eye of the viewer to the heights of the mountain and to the head of the horse, with the other arm. Again, Hendra plays with the curvilinear and the eye is led from the left hand of the dancer through to the horse's head and than all the way down the curve of its body towards its snaking tail.
Though rendered in profile, the horseman, does not remain static to the eye but races forward towards the dancer with the viewer kept in suspense as to the next dance movements. The attention of the viewer is kept from wandering into the horizon by means of the careful placement of the crowds that have come to be spectators to this event just as we have. Therefore the effect that is achieved is that we are part of a ring of festive onlookers who have gathered in anticipation.
Hendra's bold usage of colour is again dramatised here and the sense of festivity and folklore is made to come alive through the swirling and cloud-like rendering of paint on this large canvas and imbues the painting with an almost ethereal quality.