阿古斯·迪亞雅·蘇敏塔

Gifted from the artist to the late Mr. Ali Sadikin
Private Collection, Indonesia

There is evidence of light wear along the edges of the work. There is craquelure at the surface of the painting, consistent with the age of the work. This work could benefit from a light cleaning. Framed.
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Once Indonesia achieved independence from Dutch rule there was a surge in nationalistic paintings that represented the change in mentality amongst the populace. The Persatoean Ahli-ahli Gambar Indonesia (PERSAGI, Union of Indonesian Painters) established in 1937 was one collective that had a defining influence upon local artistic expression from this period. Agus Djaja was a founding member of PERSAGI, and from 1938 to 1942 was one of the key leaders who influenced the creative direction of the group. They wanted to show a unified portrayal of Indonesian art that conveyed the mindset of local artists.

There were many ways of expressing patriotism. Some artists chose to embrace the flavor of rural life, embracing realist aesthetics and motifs in the works. Agus chose to communicate his nationalism differently, instead finding similarities with Indonesian mythology to celebrate the country and the strength of its people. Inspired by tales of legendary heroes and spiritual deities, the artist created paintings celebrate the local culture and people in monumental settings. The artist served in the Indonesian army as a colonel during the war for independence from 1945 to 1949. The experience of being in battle would stay with him and color his paintings from that period onwards.

Kereta Kuda (Horse Carriage) is a classic piece from his collection of paintings, for within the work there are all the hallmarks of the artist’s favored themes. Notably the eternal battle between good versus evil, how this existentialistic struggle can be found within all aspects of daily life, and one that Agus strived to accurately portray in the paintings. In the present piece the dramatic exchange between the men and their horses is reminiscent of The Ramayana. The facial expressions of the figures meanwhile allude to Wayang traditional shadow puppets, another cultural motif that frequented Agus’ paintings. The artist was also fascinated by the carved reliefs found at the Borobudur and Prambanan temples in Central Java, and the stylized depictions of figures continuously appeared throughout his paintings.

For the artist it was the past that defined the present. Kereta Kuda (Horse Carriage) uses the power of myth to inspire patriotic feelings from the audience. He is ultimately finding a voice in history and mythology, universal symbols from Indonesia’s heritage. By acting leader of the PERSAGI for six years, Agus understood the importance of having a unified vocabulary that brought people together artistically. The present painting is reflective of this creative philosophy.