Hendra Gunawan

Acquired directly from the artist by the late Mr. Ali Sadikin
Private Collection, Indonesia

This work is in good overall condition as viewed. There is some light and stable craquelure at some areas, as well as some paint shrinkage at some areas of thick impasto, but these are consistent with the age of the work and only visible upon very close inspection. There are few, sporadic and tiny pin sized holes to the canvas. Examination under ultraviolet light reveals some tiny spots of restoration scattered at the surface and along the edges of the work, primarily at the black pigment on the seat of the kuda lumping, around the foot of the main figure and at bottom center. Framed.
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Modern art in Indonesia has undergone numerous evolutions since it emerged as a separate entity from the European Mooi Indies (Beautiful Indies) aesthetic that had a great influence upon the country’s artistic expression. In lieu of the foreign presence and their impact on the local culture and politics, it is no surprise that they would also dictate the direction of artworks being created within Indonesia during the early 20^th century. However once the Indonesians secured their independence from the Dutch and sought to reestablish themselves as a united country, modern art became seen as an extension of these nationalistic ideals and it was through the two-dimensional canvas that the message was communicated to a wider audience. From the forties and onwards it can be said that the artworks created were done so by the local population with personalized and cultural intents in mind.

Hendra Gunawan was one artist whose body of works can be read as a visual documentation of the country’s struggle to regain ownership of their country, as well as one man’s personal experience witnessing these changes take place. He followed in the footsteps of pioneering artists Affandi and S. Sudjojono, whose own paintings strived to portray the country and the population in a distinctly localized context. These two artists and their nationalistic aesthetics and political opinions ultimately usurped the popular Mooi Indies narratives, replacing them with artworks that celebrated the common man, rural existence, and the beauty of the archipelago. Hendra’s oeuvre continued in this vein, for his favorite subject matters revolved around women, the natural landscape, and village livelihoods.

The artist was known for painting figures in a rainbow of hues, paying special attention to their facial expressions that were depicted in shades of blues, greens, and pinks. He believed that a person’s subconscious had a direct correlation with how they engaged with others, their emotions influencing their external actions. Therefore the artist’s color scheme revealed the individuals’ true colors, rather than portraying them in a beautified manner. The present painting entitled Kuda Lumping follows in this vein to reveal the raw authenticity of village life that was oftentimes ignored in European paintings that favored idealized portrayals of Indonesia and the country’s inhabitants.

Kuda Lumping is a traditional Javanese dance performance that has animistic and political undertones, and dates back to the forties when Indonesia won their independence from Dutch colonialists. While Hendra painted a few versions of the Kuda Lumping during his lifetime, the present painting is one of the most elaborate and detailed renditions of the dance performance from the artist. It should be noted that it is the first time the painting has been shown publically to an audience, thereby further emphasizing the great rarity of the piece.

In the current painting the sheer energy and exuberance of the dance resonates with the audience, for they can feel the visceral emotions of the women as they perform in front of their village peers. Some parts of the Kuda Lumping are performed in a trance-like state where the dancers believe they are wild horses, and thereby begin to take on the characteristics of the animal. The presence of the horse puppet shown with the woman symbolizes this animalistic duality.

Kuda Lumping’s origins have been debated, however one theory is that the inspiration for the dance is the reenactment of Prince Diponegoro’s heroic role in the Java War (1825-1830) where he fought against the Dutch and strived to free Indonesia from their foreign rule. The Javanese prince’s bravery has established him as a legendary figure in the country’s history. Hendra’s choice to emphasize this particular dance performance is an eloquent pairing of his artistic and nationalistic ideologies in a creative framework.

Curiously the Kuda Lumping rarely featured female dancers, and only recently in a contemporary setting do women participate in the dance. However during the artist’s lifetime it was still men that dominated the dance. Women were a popular motif in Hendra’s paintings. He believed that they were an essential part of society, for they created life, while their feminine nature and maternal instincts complimented the patriarchal nature of Indonesian village communities. Hendra’s decision to feature women and highlight their importance is a revealing look into his own belief system. Other local artists chose to feature the topography and grassroots village culture as metaphors for the Everyman’s perseverance in the face of adversary. Hendra’s decision to feature women as a favorite motif throughout the paintings shows his respect for the role they held in Indonesian culture.

By altering the gender roles in the painting he is ultimately changing the tone of the overall narrative. There is still ferocity in the scene at hand, the women’s faces captured in mid-performance, their body movements frenzied and alert. But the act of having women perform the Kuda Lumping employs a certain understanding from the artist that a country is only unified when both men and women are treated equally. Therefore a country relies on the entire population to work harmoniously together for a better and brighter future. Hendra’s painting is a reflection of his personal values. By having this subject matter repeatedly featured in his oeuvre is a sign of the artist’s great optimism and hope for his homeland’s future.