papatiko for visual arts education

Transformasi Wujud Rupa Pada Ilustrasi Indonesia Periode 1920-1960

2012-01-19T12:55:00.000-08:00

Transformasi Wujud Rupa Pada Ilustrasi Indonesia Periode 1920-1960 (Upaya Memperkaya Seni Rupa Ilustrasi Indonesia Masa kini dan Masa Depan)
Peneliti :
Priyanto Sunarto, Dr.
Nuning Damayanti Adisasmito, Dra. Dipl. Art
Haryadi Suadi, Drs
T Sutanto, Drs.
Ayuningsih, MSn, SSn
Citra Remi SSn.
KK Desain Komunikasi Visual dan Multi Media dengan KK Seni Rupa serta KK Estetika dan Ilmu-ilmu Seni, Fakultas Seni Rupa dan Desain, Institut Teknologi Bandung
Abstrak
Penelitian ini membahas tentang wujud rupa ilustrasi Indonesia, sebagai upaya menelusuri perkembangan salah satu wujud seni rupa Indonesia. Wilayah dan kajian adalah Ilustrasi Indonesia periode tahun 1920-1960. Adapun fokus permasalahan yang diteliti adalah Transformasi Wujud Rupa Pada Ilustrasi Indonesia Periode 1920-1960 (Upaya Memperkaya Seni Rupa Ilustrasi Indonesia Masa kini dan Masa Depan). Hasil analisis menunjukkan bahwa wujud visual Ilustrasi pada masa ini mengalami proses pembentukan dan pengembangan, sehingga terjadi perubahan wujud visual dan perubahan penggayaan. Atas dasar pemikiran tersebut perubahan pada wujud visual gambar ilustrasi, diduga menyangkut penafsiran terhadap gejala kebudayaan tertentu, meskipun bersumber pada nilai yang sama, namun didalam perwujudannya bisa berbeda disesuaikan dengan semangat zaman ( Zeitgeist ) pada masanya. Wujud rupa Ilustrasi Indonesia periode 1920-1960 merefleksikan berbagai situasi dan kondisi pada periode itu yaitu masa transisi kolonialis Belanda kemasa penjajahan Jepang dan ke masa kemerdekaan terbentuknya negara kesatuan Indonesia. Faktor-faktor enkulturasi dari budaya asing (Barat:Belanda ) sangat mempengaruhi wujud rupa ilustrasi dan turut
memberikan ciri-ciri visual khusus terhadap wujud rupa Ilustrasi pada periode ini, baik dilihat dari persamaannya maupun perbedaannya.

Transformation of Arts in Illustration Indonesia Existence Period 1920-1960 (Efforts to Enrich Arts Illustration Indonesia The present and Future)
Researcher:
Priyanto Sunarto, Dr.
Damayanti Nuning Adisasmito, Dra. Dipl. Art
Haryadi Suadi, Drs
T Sutanto, Drs.
Ayuningsih, MSN, SSN
Remi image SSN.
KK Visual Communication Design and Multi Media Arts with KK and KK Aesthetics and Art Sciences, Faculty of Art and Design, Bandung Institute of Technology
abstract
This study discusses the way a form of illustration Indonesia, as an effort to trace the development of one form of Indonesian art. Region and the study is the period of 1920-1960 Illustration Indonesia. The focus of the problem under study is the realization of Arts in Illustration Transformation Indonesia Period 1920-1960 (Efforts to Enrich Arts Illustration Indonesia The present and Future). The analysis showed that the form of a visual illustration of this experience during the process of formation and development, resulting in changes in visual form and change penggayaan. On the basis of this conceptual change in the form of visual illustrations, allegedly involving the interpretation of a particular cultural phenomenon, although rooted in the same values, but different in its manifestations can be adjusted with the spirit of the age (Zeitgeist) of its time. Being a way Illustrations Indonesia 1920-1960 period reflects a variety of situations and conditions in this period of transition kemasa Dutch colonialists and Japanese occupation to the formation of the unitary state of Indonesia's independence. Enculturation factors of a foreign culture (the West: The Netherlands) greatly affect the way the illustrations and helped form
provide special visual characteristics of being a way Illustrations in this period, regarding both the similarities and differences.

Berbagi di Google+ - Album Web Picasa dan Google+

2012-01-12T14:43:00.000-08:00

Berbagi di Google+ - Album Web Picasa dan Google+

MULTICULTURAL EDUCATION

2011-12-02T11:44:00.000-08:00

MULTICULTURAL EDUCATION:
An Initial Thought
Muhammad

Abstract

A multicultural country merupakan sebutan yang sangat cocok untuk Indonesia. Betapa tidak, keragaman agama dan kepercayaan, suku yang terpencar di lebih dari 17.000 pulau, keunikan bahasa daerah yang menempati jumlah terbanyak di dunia (lebih dari 500 bahasa daerah) dan sejumlah keragaman lain adalah potensi dan keunikan yang dimiliki oleh bangsa Indonesia sebagai bangsa yang besar. Akan tetapi keragaman dan keunikan tersebut selama ini tidak mendapatkan tempat dalam proses pembangunan bangsa, terutama dalam dunia pendidikan. Paradigma pembangunan pendidikan kita yang sangat sentralistik telah melupakan keragaman yang sekaligus kekayaan dan potensi yang dimiliki oleh bangsa ini. Perkelahian, kerusahan, permusuhan, munculnya kelompok yang memiliki perasaan bahwa hanya budayanyalah yang lebih baik dari budaya lain adalah buah dari pengabaian keragaman tersebut dalam dunia pendidikan kita. Dalam tulisan yang merupakan sebuah pemikiran awal tentang multicultural education ini, penulis menguraikan berbagai pandangan tentang apa sebenarnya pendidikan multikultural itu, sejarah, tujuan, serta prinsip-prinsip kunci pendidikan multikultural.

Key Words: multicultural education, diversity, plurality, society, social justice, equity.

I. Introduction

Students of many religions, races, cultures and languages, ethnic backgrounds, and economic situations fill today's schools. Gollnick and Chinn (1994) stated that a multicultural society comprises class (structure, stratification and socioeconomic status), ethnicity and race, gender, exceptionality, religion, language, and age. But this diversity should not be a problem, especially when we consider that multicultural education is all about plurality. Many educators believe that multicultural education can help students learn about other people and about cultures different from students' own.

Multicultural education means different things to different people. It also means rich diversity of a society. The rich diversity of today's society is clearly evident in many classrooms today. It is no longer enough to educate some of our children. Schools and learning environments must work for all and must reflect the cultures of the communities they serve.

Multicultural education has as its purpose the development of citizens of a more democratic society through provision of more accurate and comprehensive disciplinary knowledge and through enhancement of students' academic achievement and critical thinking applied to social problems. It seeks to promote the valuing diversity and equal opportunity for all people through understanding of the contributions and perspectives of people of differing race, ethnicity, culture, language, religion, gender, sexual orientation, and physical abilities and disabilities.

II. Definitions of Multicultural Education

Definitions of multicultural education vary. Some definitions rely on the cultural characteristics of diverse groups, while others emphasize social problems (particularly those associated with oppression), political power, and the reallocation of economic resources. Some restrict their focus to people of color, while others include all major groups that are different in any way from mainstream of society. Other definitions limit multicultural education to characteristics of local schools, and still others provide directions for school reform in all settings regardless of their characteristics. Bennet (1995) stated that multicultural education is based upon democratic values and beliefs, and seeks to foster cultural pluralism within culturally diverse societies and interdependent world in which the definition includes the dimensions of the movement toward equity, the multicultural approach, the process of becoming multicultural, and the commitment to combat prejudice and discrimination. The goals of these diverse types of multicultural education range from bringing more information about various groups to textbooks, to combating racism, to restructuring the entire school enterprise and reforming society to make schools more culturally fair, accepting, and balanced. For this reason, the field of multicultural education is referred to interchangeably as multicultural education, education that is multicultural and antiracist education.

The following are the most frequently used definitions of multicultural education:

. An idea, an educational reform movement, and a process intended to change the structure of educational institutions so that all students have an equal chance to achieve academic success.

. A philosophy that stresses the importance, legitimacy, and vitality of ethnic and cultural diversity in shaping the lives of individuals, groups, and nations.

. A reform movement that changes all components of the educational enterprise, including its underlying values, procedural rules, curricula, instructional materials, organizational structure, and governance policies to reflect cultural pluralism.

. An ongoing process that requires long term investments of time and effort as well as carefully planned and monitored actions (Banks & Banks, 1993).

. Institutionalizing a philosophy of cultural pluralism within the educational system that is grounded in principles of equality, mutual respect, acceptance and understanding, and moral commitment to social justice (Baptiste, 1979).

. An education free of inherited biases, with freedom to explore other perspectives and cultures, inspired by the goal of making children sensitive to the plurality of the ways of life, different modes of analyzing experiences and ideas, and ways of looking at history found throughout the world (Parekh, 1986, pp. 26-27).

. A humanistic concept based on the strength of diversity, human rights, social justice, and alternative lifestyles for all people, it is necessary for a quality education and includes all efforts to make the full range of cultures available to students; it views a culturally pluralistic society as a positive force and welcomes differences as vehicles for better understanding the global society (ASCD Multicultural Education Commission, in Grant, 1977b, p. 3).

. An approach to teaching and learning based upon democratic values that foster cultural pluralism; in its most comprehensive form, it is a commitment to achieving educational equality, developing curricula that build understanding about ethnic groups, and combating oppressive practices (Bennett, 1990).

. Acquiring knowledge about various groups and organizations that oppose oppression and exploitation by studying the artifacts and ideas that emanate from their efforts (Sizemore, 1981).

. Policies and practices that show respect for cultural diversity through educational philosophy, staffing composition and hierarchy, instructional materials, curricula, and evaluation procedures (Grant, 1977).

. Comprehensive school reform and basic education for all students that challenges all forms of discrimination, permeates instruction and interpersonal relations in the classroom, and advances the democratic principles of social justice (Nieto, 1992).

These various definitions contain several points in common. Advocates agree that the content of multicultural education programs should include ethnic identities, cultural pluralism, unequal distribution of resources and opportunities, and other sociopolitical problems stemming from long histories of oppression. They believe that, at best, multicultural education is a philosophy, a methodology for educational reform, and a set of specific content areas within instructional programs. Multicultural education means learning about, preparing for, and celebrating cultural diversity, or learning to be bicultural. And it requires changes in school programs, policies, and practices.

III. A Brief History of Multicultural Education

As conceptualizations of multicultural education evolve and diversify, it is important to revisit its historical foundation -- the roots from which it sprang. What did the earliest forms of multicultural education look like and what social conditions gave rise to them? What educational traditions and philosophies provided the framework for the development of multicultural education? How has multicultural education changed since its earliest conceptualization? The answers to these questions provide an important contextual grounding for understanding the various models of multicultural education evolving today.

The historical roots of multicultural education lie in the civil rights movements of various historically oppressed groups.

In the late 1960s and early 1970s, the women's rights movement joined this push for education reform. Women's rights groups challenged inequities in employment and educational opportunities as well as income, identifying education as a primary contributing factor in institutionalized and systemic sexism. Feminist scholars and other women activists, like groups of color before them, insisted on curricula more inclusive of their histories and experiences. They challenged the discrepancy low number of female administrators relative to the percentage of female teachers (Banks, 1989).

The 1980s saw the emergence of a body of scholarship on multicultural education by progressive education activists and researchers who refused to allow schools to address their concerns by simply adding token programs and special units on famous women or famous people of color. James Banks, one of the pioneers of multicultural education, was among the first multicultural education scholars to examine schools as social systems from a multicultural context. He grounded his conceptualization of multicultural education in the idea of "educational equality." According to Banks (1981), in order to maintain a "multicultural school environment," all aspects of the school had to be examined and transformed, including policies, teachers' attitudes, instructional materials, assessment methods, counseling, and teaching styles.

So as the 1980s flowed into the final decade of the twentieth century, multicultural education scholars refocused the struggle on developing new approaches and models of education and learning built on a foundation of social justice, critical thinking, and equal opportunity. Educators, researchers, and cultural theorists began to further deconstruct traditional models in both the K-12 (SD to SMA) and higher education arenas from a multicultural framework.

Today, literally dozens of models and frameworks for multicultural education exist. While theory and scholarship has moved from small curricular revisions to approaches that call for full transformations of self, schools, and society, many implementations of multicultural education still begin with curricular additions of diverse sources. But with a fuller understanding of the roots of the movement, we are better equipped to follow the transformative path laid by many educators, activists, and scholars. And it is important to remember that multicultural education is a relatively new concept that will continue to change to meet the needs of a constantly changing society.

IV. Major Goals of Multicultural Education

The expected outcomes of multicultural education are embedded in its definitions, justification, and assumptions; and they exhibit some clearly discernible patterns. While specific goals and related objectives are quite numerous, and vary according to contextual factors such as school settings, audiences, timing, purposes, and perspectives, they fall into seven general clusters. They cover all three domains of learning (cognitive, affective, and action) and incorporate both the intrinsic (ends) and instrumental (means) values of multicultural education. These goal clusters are ethnic and cultural literacy, personal development, attitude and values clarification, multicultural social competence, basic skills proficiency, educational equity and excellence, and empowerment for societal reform. Each one is discussed briefly below.

4.1. Developing Ethnic and Cultural Literacy

One of the primary and persistent reasons for the movement to include cultural pluralism in school programs is to correct what advocates call "sins of omission and commission." First, we must provide students with information about the history and contributions of ethnic groups who traditionally have been excluded from instructional materials and curricula; and second, we must replace the distorted and biased images of those groups that were included in the curricula with more accurate and significant information. These goals continue to be major concerns of multicultural education, because many students still know too little about the history, heritage, culture, languages, and contributions of groups of diverse society in their own country.

Thus, a major goal of multicultural education is to learn about the historical backgrounds, languages, cultural characteristics, contributions, critical events, significant individuals, and social, political, and economic conditions of various majority and minority ethnic groups. This information should be comprehensive, analytical, and comparative, and should include similarities and differences within and among groups.

This goal is appropriate for both majority students and for those who are members of various ethnic minority groups. A mistake frequently made by educators is to assume either that members of ethnic minority groups already know their culture and history or that this kind of knowledge is relevant only to them. Multicultural education argues to the contrary. Membership in an ethnic group does not guarantee self-knowledge or exclusive ownership of knowledge about that group. Acquiring knowledge about the history, life, and culture of ethnic groups is appropriate for all students because they need to learn more, with greater accuracy, about their own cultural heritages and those of others. Furthermore, knowledge about ethnic pluralism is a necessary foundation for respecting, appreciating, valuing, and celebrating diversity, both nationally and internationally.

4.2. Personal Development

The psychological underpinnings of multicultural education explain its emphasis on developing greater self-understanding, positive self-concepts, and pride in one's ethnic identity. Emphasizing these areas is part of multicultural education's goal of contributing to the personal development of students, which contends that a better sense of self contributes to the overall intellectual, academic, and social achievement of students. Students who feel good about themselves are likely to be more open and receptive to interaction with others and to respect their cultures and identities. This argument is further justified by claims made about the reciprocal relationship between self-concept, academic achievement, ethnicity, culture, and individual identity.

Many students have internalized the negative and distorted conceptions of their own and other ethnic groups, a process that has been promoted in larger society. Students from groups of color may be convinced that their heritages have little of value to offer, while those from dominant groups may have inflated notions about their significance. Developing a better understanding of their own and other ethic groups and cultural experiences can correct these distortions. Multicultural education also helps educators to fulfill the goals of maximizing human potential, meeting individual needs, and teaching the whole child by enhancing feelings of personal worth, confidence, and competence. It creates a psychosocial state of readiness in individuals and learning environments, which has a positive effect upon academic efforts and task mastery.

4.3. Attitudes and Value Clarification

Multicultural education promotes the core values that stem from the principles of human dignity, justice, equality, freedom, self-determination, and democracy. The intent is to teach youths to respect and embrace ethnic pluralism, to realize that cultural differences are not synonymous with deficiencies or inferiorities, and to recognize that diversity is an integral part of the human condition. Clarifying ethnic attitudes and values is designed to help students understand that some conflict of values is unavoidable in ethnically and racially pluralistic societies; that conflict does not have to be corrosive and divisive, when managed well it can be a catalyst for social progress; that there is strength in ethnic and cultural pluralism; that ethnic allegiance and national loyalty are not irreconcilable; and that cooperation and coalition among ethnic groups are not dependent upon having identical beliefs, values, and behaviors. Analyzing and clarifying ethnic attitudes and values are key steps in the process of unleashing the creative potential of individuals for self-renewal and of society for continuous growth and development.

4.4. Multicultural Social Competence

It is imperative that students learn how to interact with and understand people who are ethnically, racially, and culturally different from themselves. Our world is becoming increasingly more diverse, compact, and interdependent. Yet, for most students, the formative years of their lives are spent in ethnically and culturally isolated or encapsulated enclaves. This existence does not adequately prepare them to function effectively in ethnically different environments and multicultural settings. Attempts at cross cultural interactions are often stymied by negative attitudes, values, and expectations; cultural blunders; and by trying to impose rules of social etiquette from one cultural system onto another. The results are often heightened interracial and interethnic group frustrations, anxiety, fears, failures, and hostilities.

Multicultural education can ease these tensions by teaching skills in cross cultural communication, interpersonal relations, perspective taking, contextual analysis, understanding alternative points of view and frames of reference, and analyzing how cultural conditions affect values, attitudes, beliefs, preferences, expectations, and behaviors. It also can help students learn how to understand cultural differences without making hasty and arbitrary value judgments about their intrinsic worth. Attaining these goals can be expedited by providing wide varieties of opportunities for students to practice their cultural competence and to interact with different ethnic peoples, experiences, and situations.

4.5. Basic Skill Proficiency

A major goal of multicultural education is to facilitate the teaching and learning of basic literacy skills of ethnically different students. Multicultural education can improve mastery of reading, writing, and mathematical skills; subject matter content; and intellectual process skills such as problem solving, critical thinking, and conflict resolution by providing content and techniques that are more meaningful to the lives and frames of reference of ethnically different students. Using ethnic materials, experiences, and examples as the contexts for teaching, practicing, and demonstrating mastery of academic and subject matter skills increases the appeal of the tools of instruction, heightens the practical relevance of the skills to be learned, and improves students' time on task. This combination of conditions leads to greater focused efforts, task persistence, skill mastery, and academic achievement.

Another aspect of multicultural education that contributes directly to the attainment of higher levels of basic skills achievement is matching teaching and learning styles. Disjuncture in how different students learn in their cultural communities and how they are expected to learn in school cause much time and attention to be devoted to resolving these conflicts instead of concentrating on academic tasks. Teaching students as they are accustomed to learning minimizes these conflicts and channels more energy and effort directly into the academic tasks to be accomplished. Thus, culturally contextualized teaching for making the educational process more effective for ethnically diverse students is a fundamental principle of multicultural education.

The kinds of social climates that exist in classrooms also affect students' performances on academic tasks. This influence is particularly true for ethnic groups that consider social relationships and informal settings imperative to the learning process. When teachers respond to these needs by including ethnic symbols, images, and information in the classroom decorations, curriculum content, and interpersonal interactions, ethnic students feel validated, at ease, and have greater affiliation with the school. These feelings of personal affirmation and comfort create the backdrop of personal connectedness that is essential to students' taking ownership in learning, which, in turn, leads to more sustained attention, effort, time on task, and improved task mastery and academic achievement.

4.6. Educational Equity and Excellence

This goal of multicultural equity is closely related to the goal of basic skill mastery, but is much broader and more philosophical.

In order to determine what constitutes comparability of learning opportunities, educators must thoroughly understand how culture shapes learning styles, teaching behaviors, and educational decisions. They must then develop a variety of means to accomplish common learning outcomes that reflect the preferences and styles of a wide variety of groups and individuals. By giving all students more choices about how they will learn, choices that are compatible with their cultural styles, none will be unduly advantaged or disadvantaged at the procedural levels of learning. These choices will lead to closer parallelism (e.g., equity) in opportunities to learn and more comparability in students' achieving the maximum of their own intellectual capabilities (e.g., excellence).

Other aspects of this goal include teaching accurate information about society; developing a sense of social consciousness, moral courage, and commitment to equality; and acquiring skills in political activism for reforming society to make it more humane, sympathetic toward cultural pluralism, morally just, and egalitarian. Therefore, the multicultural goal of achieving educational equity and excellence encompasses cognitive, affective, and behavioral skills, as well as the principles of democracy (Banks, 1992).

4.7. Personal Empowerment for Social Reform

The ultimate goal of multicultural education is to begin a process of change in schools that will ultimately extend to society. This goal will be accomplished by cultivating in students attitudes, values, habits, and skills so that they can become social change agents who are committed to reforming society in order to eradicate ethnic and racial disparities in opportunities and are willing to act upon this commitment. To do so, they need to improve their knowledge of ethnic issues as well as develop decision making abilities, social action skills, leadership capabilities, a sense of political efficacy, and a moral commitment to human dignity and equality. That is, they not only need to understand and appreciate why ethnicity and cultural pluralism, but also how to translate this knowledge into decisions and actions related to key sociopolitical issues, events, concerns, and situations.

This goal and related skill development are designed to make society more genuinely egalitarian and more accepting of cultural pluralism. They also are intended to ensure that ethnic and cultural groups that traditionally have been victimized and excluded will become full fledged participants at all levels of society, with all of the attendant rights, privileges, and responsibilities. Multicultural education contributes directly to developing skills for democratic citizenship in the global village. This function of multiculturalism is what Banks meant by his proposal to use a social action approach to multicultural education, which teaches students how to become social critics, political activists, change agents, and competent leaders in a culturally pluralistic and ethnically diverse society and world. It is also similar to Grant's conception of multicultural education for social reconstruction. This approach focuses on oppression and social structure inequalities, with the intention of creating a society that better empowers and serves the needs and interests of all groups of people. It builds personal empowerment in students by establishing relevance between school learning and social living, providing practice in applying knowledge and taking action to direct their own lives, and demonstrating the power of knowledge, collaborative efforts, and political action in effecting social change.

V. Key Principles of Multicultural Education

Multicultural education is based on some commonly asserted principles. The frequency and consistency with which these principles are declared across time and advocates are other strong indications of the consensus that exists about some essential, baseline features of multicultural education and a convincing counterargument to claims that the field lacks conceptual clarity.

A principle is a basic or essential quality that determines the intrinsic nature of something. Multicultural education includes several characteristics or traits that, as a composite, distinguish its inherent nature and quality from other educational innovations. Parekh (1986) sets the overall tone of multicultural education in his judgment that multicultural education is good education for all children. To endorse multicultural education is not to imply that the entire education system should be destroyed or that the Anglo centric cultural dominance existing in schooling should merely be replaced with the dominance of other ethnic cultures; neither is it to deny the need for a common national culture. Rather, it simply says that the education system needs to be improved by becoming less culturally monolithic, rigid, biased, hegemonic, and ethnocentric. The prevailing norm in educational decision making and operating procedures should be cultural pluralism and heterogeneity, instead of cultural hegemony or homogeneity.

The general principles of multicultural education are supported by several more specific ones. Multiculturalists describe the most salient "personality traits" of multicultural education as follows:

. A personally empowering, socially transformative, and pedagogically humanistic process

. Correcting and rehabilitating some of the mistakes that schools have made in educating culturally different children, especially those of color and poverty

. A search for scholarly honesty and truth by giving due recognition to the contributions of diverse groups and cultures to the collective accomplishments of humankind

. Fundamentally an affective and humanistic enterprise that aims to achieve greater understanding and appreciation of diverse cultures and peoples

. Both content and process, structure and substance, action and reflection, knowledge and values, philosophy and methodology, an educational means and an end

. For all students in all grades, subjects, and school settings

. A means of achieving parity in educational opportunities for diverse students

. A process of systematic and systemic change that is developmental, progressive, and ongoing

. A confluence of diverse cultural heritages, experiences, perspectives, and contributions

. Has inherent merit for its own sake, as well as instrumental value for facilitating other educational goals

. A bridge for making meaningful connections between the abstractions of schooling and the actual life experiences of ethnically and culturally different students.

. A vehicle for and conduit of relevance, equity, excellence, and personal meaningfulness in education for culturally diverse students.

. An acceptance and celebration of diversity as a normal fact of human life and schooling.

VI. CLOSING

Multicultural education seems to be an important part to be discussed nowadays since we are now living in a global a society. People coming from certain places and different cultures can now easily interact with those who live in other places and cultures. This means that we have to understand other's cultures to be a part of the global society. Multicultural education enables our students to live and adjust with different cultures and understand other people.

Multicultural education means a reform movement that changes all components of the educational enterprise, including its underlying values, procedural rules, curricula, instructional materials, organizational structure, and governance policies to reflect cultural pluralism. This means that the content of multicultural education programs should include ethnic identities, cultural pluralism, unequal distribution of resources and opportunities, and other sociopolitical problems stemming from long histories of oppression.

Therefore, multicultural education sets for some important goals. The goals are developing ethnic and cultural literacy, personal development, attitude and values clarification, multicultural social competence, basic skills proficiency, educational equity and excellence, and empowerment for societal reform.

References

American Association of Colleges for Teacher Education. (1973). No One Model American. Washington, D.C.: American Association of Colleges for Teacher Education.

Banks, J.A. (1992). Multicultural Education for Freedom's Sake. Educational Leadership, 49, 32-36.

Multicultural Education:
An Initial Thought
Muhammad

Abstract

A multicultural country is a designation that is suitable for Indonesia. Imagine, a diversity of religions and beliefs, tribe scattered in more than 17,000 islands, the uniqueness of regional languages in the world occupy the largest number (more than 500 local languages) and a host of others is the potential diversity and uniqueness that is owned by the Indonesian people as a great nation . However, the diversity and uniqueness of these have not get a place in the process of nation building, especially in education. Development paradigm of our highly centralized education have forgotten that once the wealth and diversity of potential possessed by this nation. Fights, impairment, hostility, the emergence of groups that have the feeling that only budayanyalah better than another culture is the fruit of ignorance diversity in our education. In a paper is an initial thoughts about multicultural education, the author describes the various views on what exactly that multicultural education, history, goals and key principles of multicultural education.

Key Words: multicultural education, diversity, plurality, society, social justice, equity.

I. Introduction

Students of Many Religions, races, cultures and languages, ethnic backgrounds, and economic Situations fill today's schools. Gollnick and Chinn (1994) Stated That class comprises a multicultural society (structure, stratification and socioeconomic status), ethnicity and race, gender, exceptionality, religion, language, and age. But this diversity Should not be a problem, ESPECIALLY When We Consider That multicultural education is all about plurality. Many educators believe That multicultural education can help students learn about other people and about cultures different from students' own.

Multicultural education means different Things to different people. It also means a rich diversity of a society. The rich diversity of today's society is evident in many classrooms Cleary today. It is no longer enough to educate some of our children. Schools and learning environments must work for all and must Reflect the cultures of the communities They serve.

Multicultural education has as its purpose the development of citizens of a more democratic society through provision of more accurate and comprehensive disciplinary knowledge and through enhancement of students' academic achievement and critical thinking applied to social problems. It seeks to promotes the valuing diversity and equal opportunity for all people through understanding of the contributions and Perspectives of people of differing race, ethnicity, culture, language, religion, gender, sexual orientation, and Physical Abilities and disabilities.

II. Definitions of Multicultural Education

Definitions of multicultural education Vary. Some definitions RELY on the cultural characteristics of diverse groups, while others emphasize social problems (particularly Those associated with oppression), political power, and the reallocation of economic resources. Some restrict Their focus to people of color, while others include all major groups That are different in any way from the mainstream of society. Other definitions limit multicultural education to characteristics of local schools, and still others Provide directions for school reform in all settings regardless of Their characteristics. Bennett (1995) Stated That multicultural education is based upon democratic values and beliefs, and seeks to foster cultural pluralism within culturally diverse societies and interdependent world in the which the definition includes the dimensions of the movement toward equity, the multicultural approach, the process of Becoming multicultural, and the commitment to combat prejudice and discrimination. The goals of these diverse types of multicultural education range from Bringing more information about Various groups to textbooks, to Combating racism, to restructuring the entire school enterprise and reforming society to the make schools more culturally fair, accepting, and balanced. For this reason, the field of multicultural education is Referred to interchangeably as multicultural education, multicultural education and antiracist That is education.

The following are the most frequently used definitions of multicultural education:

. An idea, an educational reform movement, and a process intended to change the structure of educational institutions so That all students have an equal chance to Achieve academic success.

. A That philosophy stresses the importance, Legitimacy, and vitality of ethnic and cultural diversity in shaping the lives of individuals, groups, and nations.

. A reform movement That changes all components of the educational enterprise, including its underlying values, procedural rules, curricula, instructional materials, organizational structure, and governance policies to Reflect cultural pluralism.

. That process requires an ongoing long term investments of time and effort as well as carefully planned and monitored actions (Banks & Banks, 1993).

. Institutionalizing a philosophy of cultural pluralism within the educational system is grounded in That principles of equality, mutual respect, acceptance and understanding, and moral commitment to social justice (Baptiste, 1979).

. An education free of inherited biases, with freedom to explore other cultures and Perspectives, inspired by the goal of making children sensitive to the plurality of the Airways of life, different modes of analyzing experiences and ideas, and Airways of looking at history found throughout the world (Parekh, 1986, pp. 26-27).

. A humanistic concept based on the strength of diversity, human rights, social justice, and Alternative Lifestyles for all people, it is Necessary for a quality education and includes all Efforts to Make the full range of cultures available to students; it views a culturally pluralistic society as a positive force and welcomes differences as vehicles for better understanding the global society (ASCD Multicultural Education Commission, in Grant, 1977b, p. 3).

. An approach to teaching and learning based upon democratic values That foster cultural pluralism; in its most comprehensive form, it is a commitment to Achieving educational equality, developing curricula That builds understanding about ethnic groups, and Combating oppressive practices (Bennett, 1990).

. Acquiring Knowledge about Various groups and Organizations That oppose oppression and exploitation by studying the artifacts and Ideas That emanate from Their Efforts (Sizemore, 1981).

. Policies and Practices That shows respect for cultural diversity through educational philosophy, staffing composition and hierarchy, instructional materials, curricula, and evaluation procedures (Grant, 1977).

. Comprehensive school reform and basic education for all students That challenges all forms of discrimination, permeates instruction and interpersonal relations in the classroom, and Advances the democratic principles of social justice (Nieto, 1992).

These definitions contain Various Several points in common. Advocates agree That the content of multicultural education programs Should include ethnic identities, cultural pluralism, unequal distribution of resources and opportunities, and other sociopolitical problems stemming from long histories of oppression. They believe that, at best, multicultural education is a philosophy, a methodology for educational reform, and a set of specific content areas within instructional programs. Multicultural education means learning about, Preparing for, and Celebrating cultural diversity, or learning to be bicultural. And it requires changes in school programs, policies, and practices.

III. A Brief History of Multicultural Education

As conceptualizations of multicultural education evolve and diversify, it is Important to Revisit its historical foundation - the roots from the which it sprang. What did the earliest forms of multicultural education look like and what social conditions gave rise to Them? What educational traditions and philosophies provided the framework for the development of multicultural education? How multicultural education has changed since its earliest conceptualization? The answers to these questions Provide an Important contextual grounding for understanding the Various models of multicultural education evolving today.

The historical roots of multicultural education lie in the civil rights movements of Various Historically oppressed groups.

In the late 1960s and early 1970s, the women's rights movement joined this push for education reform. Women's rights groups challenged inequities in employment and educational opportunities as well as income, identifying education as a primary contributing factor in systemic and institutionalized sexism. Feminist scholars and other women activists, like groups of color before Them, insisted on curricula more inclusive of Their histories and experiences. They challenged the discrepancy of low number of female administrators relative to the percentage of female teachers (Banks, 1989).

The 1980s saw the emergence of a body of scholarship on multicultural education by progressive education activists and Researchers WHO refused to allow schools to address Their concerns by simply adding token programs and special units on famous women or famous people of color. James Banks, one of the Pioneers of multicultural education, was Among the first scholars to examine multicultural education schools as social systems from a multicultural context. He grounded his conceptualization of multicultural education in the idea of "educational equality." According to Banks (1981), in order to maintain a "multicultural school environment," all aspects of the school Had to be Examined and transformed, including policies, teachers' Attitudes, instructional materials, assessment methods, counseling, and teaching styles.

So as the 1980s flowed into the final decade of the Twentieth Century, multicultural education scholars refocused the struggle on developing new approaches and models of education and learning is built on a foundation of social justice, critical thinking, and equal opportunity. Educators, Researchers, and cultural theorists began to deconstruct traditional Further Both models in the K-12 (elementary to high school) and higher education arenas from a multicultural framework.

Today, literally dozens of models and frameworks for multicultural education exist. While theory and scholarship has moved from small revisions to curricular approaches That call for full transformations of self, schools, and society, many still Implementations of multicultural education begin with curricular additions of diverse sources. But with a fuller understanding of the roots of the movement, We Are better equipped to follow the transformative path laid by many educators, activists, and scholars. And it is Important to remember That multicultural education is a Relatively New Concept That Will continue to change to meet the needs of a Constantly changing society.

IV. Major Goals of Multicultural Education

The expected outcomes of multicultural education are embedded in its definitions, justification, and assumptions; and Cleary They exhibit some discernible patterns. While specific goals and related objectives are quite numerous, and Vary According to contextual factors Such as school settings, audiences, timing, purposes, and Perspectives, They fall into seven general clusters. They cover all three domains of learning (cognitive, affective, and action) and incorporate Both the intrinsic (ends) and instrumental (means) values of multicultural education. These goal clusters are ethnic and cultural literacy, personal development, attitude and values clarification, multicultural social competence, basic skills proficiency, educational equity and excellence, and empowerment for societal reform. Each one is discussed briefly below.

4.1. Developing Ethnic and Cultural Literacy

One of the primary and persistent Reasons for the movement to include cultural pluralism in school programs is to correct what advocates call "Sins of omission and commission." First, We Must Provide students with information about the history and contributions of ethnic groups traditionally have been excluded WHO from instructional materials and curricula; and second, We must replace the distorted and biased images of That Those groups were the resource persons included in the curricula with more accurate and significant information. These goals continue to be major concerns of multicultural education, Because many students still know too little about the history, heritage, culture, languages, and contributions of diverse groups of society in Their own country.

Thus, a major goal of multicultural education is to learn about the historical backgrounds, languages, cultural characteristics, contributions, critical events, significant individuals, and social, political, and economic conditions of majority and minority Various ethnic groups. Should this information be comprehensive, analytical, and comparative, and Should include similarities and differences within and Among groups.

This goal is Appropriate for Both majority students and for Those Who Are Various members of ethnic minority groups. A mistake frequently made by educators is to assume either That members of ethnic minority groups already know Their culture and history or That this kind of knowledge is relevant only to them. Multicultural education argues to the contrary. Membership in an ethnic group does not guarantee self-knowledge or exclusive ownership of knowledge about that group. Acquiring knowledge about the history, life, and culture of ethnic groups is Appropriate for all students Because They need to learn more, with Greater accuracy, about Their own cultural heritages and Those of others. Furthermore, knowledge about ethnic pluralism is a Necessary foundation for respecting, appreciating, valuing, and Celebrating Diversity, Both nationally and internationally.

4.2. Personal Development

The psychological underpinnings of multicultural education explain its Greater emphasis on developing self-understanding, positive self-concepts, and pride in one's ethnic identity. Emphasizing these areas is part of multicultural education's goal of contributing to the personal development of students, the which contends That a better sense of self contributes to the overall intellectual, academic, and social achievement of students. WHO Students feel good about themselves are Likely to be more open and receptive to interaction with others and to respect Their cultures and identities. Further this argument is justified by claims made about the reciprocal relationship the between self-concept, academic achievement, ethnicity, culture, and individual identity.

Many students have internalized the negative and distorted conceptions of Their own and other ethnic groups, a process That has been Promoted to larger society. Students from groups of color may be convinced That Their heritages have little of value to offer, while Those from dominant groups may have inflated notions about Their significance. Developing a better understanding of Their own and other groups Ethic and cultural experiences can correct these distortions. Multicultural education also helps educators to fulfill the goals of maximizing human potential, meeting individual needs, and teaching the whole child by enhancing feelings of personal worth, confidence, and competence. It creates a psychosocial state of readiness in individuals and learning environments, the which has a positive effect upon academic Efforts and task mastery.

4.3. Attitudes and Values Clarification

Multicultural education promotes That the core values stem from the principles of human dignity, justice, equality, freedom, self-determination, and democracy. The intent is to teach Youths to respect and embrace ethnic pluralism, to realize That cultural differences are not synonymous with deficiencies or inferiorities, and to Recognize That diversity is an integral part of the human condition. Clarifying ethnic Attitudes and values is designed to help students Understand That some conflict of values is unavoidable in ethnically and racially pluralistic societies; That conflict does not have to be corrosive and divisive, Pls managed well it can be a catalyst for social progress; That there is strength in ethnic and cultural pluralism; That ethnic national allegiance and loyalty are not irreconcilable; And that cooperation and coalition Among ethnic groups are not dependent upon having identical beliefs, values, and behaviors. Analyzing and clarifying ethnic Attitudes and values are key steps in the process of Unleashing the creative potential of individuals for self-renewal and of society for continuous growth and development.

4.4. Multicultural Social Competence

It is imperative That students learn how to Interact with and Understand People who are ethnically, racially, and culturally different from themselves. Our World is Becoming increasingly more diverse, compact, and interdependent. Yet, for most students, the Formative years of Their lives are spent in ethnically and culturally isolated enclaves or encapsulated. This does not adequately prepare for existence Them to function effectively in ethnically different environments and multicultural settings. Attempts at cross-cultural interactions are Often stymied by negative Attitudes, values, and expectations; cultural blunders; and by Trying to impose rules of social etiquette from one cultural system onto another. The results are heightened interracial and interethnic Often group frustrations, anxiety, Fears, failures, and hostilities.

Multicultural education can ease these tensions by teaching skills in cross cultural communication, interpersonal relations, perspective taking, contextual analysis, understanding alternative points of view and frames of reference, and analyzing how cultural values affect conditions, Attitudes, beliefs, preferences, expectations, and behaviors. It also can help students learn how to Understand cultural differences without making Hasty and arbitrary value judgments about Their intrinsic worth. Attaining these goals can be expedited by Providing a wide varieties of opportunities for students to practice Their cultural competence and to Interact with different ethnic peoples, experiences, and Situations.

4.5. Basic Skill Proficiency

A major goal of multicultural education is to facilitate the teaching and learning of basic literacy skills of ethnically different students. Multicultural education can Improve mastery of reading, writing, and mathematical skills; subject matter content; and intellectual process as Such problem solving skills, critical thinking, and conflict resolution by Providing That the content and techniques are more meaningful to the lives and frames of reference of ethnically different students. Using ethnic materials, experiences, and examples as the Contexts for teaching, practicing, and demonstrating mastery of academic skills and subject matter increases the appeal of the tools of instruction, heightens the practical relevance of the skills to be learned, and improves students' time on task. This combination of conditions leads to Greater Efforts focused, task persistence, skill mastery, and academic achievement.

Another aspect of multicultural education That contributes directly to the Attainment of higher levels of basic skills achievement is matching teaching and learning styles. Disjuncture in how different students learn in Their cultural communities and how They are expected to learn in school cause much time and attention to be Devoted to resolving these conflicts instead of concentrating on academic tasks. Teaching students as They are accustomed to learning minimizes these conflicts and channels more energy and effort data directly into the academic tasks to be accomplished. Thus, culturally contextualized teaching for making the educational process more effective for ethnically diverse students is a fundamental principle of multicultural education.

The Kinds of social climates exist in classrooms That also affect students' performances on academic tasks. This influence is particularly true for ethnic groups Consider That informal social settings and relationships are imperative to the learning process. When teachers respond to these needs by including ethnic symbols, images, and information in the classroom Decorations, curriculum content, and interpersonal interactions, ethnic students feel validated, at ease, and have Greater affiliation with the school. These feelings of personal Affirmation and comfort create the backdrop of personal connectedness That is essential to students' taking ownership in learning, which, in turn, leads to more sustained attention, effort, time on task, and improved task mastery and academic achievement.

4.6. Educational Equity and Excellence

This goal of multicultural equity is closely related to the goals of basic skill mastery, but is much broader and more Philosophical.

In order to determine what constitutes comparability of learning opportunities, educators must thoroughly Understand how culture shapes learning styles, teaching behaviors, and educational decisions. They must then develop a variety of means to accomplish a common learning outcomes That Reflect the preferences and styles of a wide variety of groups and individuals. By giving all students more choices about how They Will learn, That choices are compatible with Their cultural styles, none Will be unduly advantaged or disadvantaged at the procedural levels of learning. Will these choices lead to closer parallelism (eg, equity) in opportunities to learn and more comparability in students' Achieving the maximum of Their own intellectual capabilities (eg, excellence).

Other aspects of this goal include teaching accurate information about society; developing a sense of social consciousness, moral courage, and commitment to equality; and acquiring skills in political activism for reforming society to make it more humane, sympathetic toward cultural pluralism, morally just, and egalitarian. Therefore, the multicultural goals of Achieving educational equity and excellence encompasses cognitive, affective, and behavioral skills, as well as the principles of democracy (Banks, 1992).

4.7. Personal Empowerment for Social Reform

The ultimate goal of multicultural education is to begin a process of change in schools That Will ultimately extend to society. Will this goal be accomplished by Cultivating in students Attitudes, values, habits, and skills so That They Become social change agents can WHO are committed to reforming society in order to eradicate Racial and ethnic disparities in opportunities and are willing to act upon this commitment. To do so, They need to Improve Their knowledge of ethnic issues as well as develop Abilities decision making, social action skills, leadership capabilities, a sense of political efficacy, and a moral commitment to human dignity and equality. That is, They not only need to Understand and appreciate why ethnicity and cultural pluralism, but also how to translate this knowledge into decisions and actions related to key sociopolitical issues, events, concerns, and Situations.

This goal and related skill development are designed to the make society more genuinely egalitarian and more accepting of cultural pluralism. They also are intended to Ensure That That ethnic and cultural groups have traditionally been victimized and excluded Will Become a full fledged Participants at all levels of society, with all of the attendant rights, privileges, and responsibilities. Multicultural education contributes directly to developing skills for democratic citizenship in the global village. This function of Multiculturalism is what Banks Meant by his proposal to use a social action approach to multicultural education, the which teaches students how to Become Critics of social, political activists, change agents, and competent leaders in a culturally pluralistic and ethnically diverse society and world. It is also similar to Grant's conception of multicultural education for social reconstruction. This approach focuses on oppression and inequalities of social structure, with the intention of creating a better society That empowers and serves the needs and interests of all groups of people. It builds personal empowerment in students by relevance Establishing the between school learning and social living, providing practice in applying knowledge and taking action to direct Their own lives, and demonstrating the power of knowledge, collaborative Efforts, and political action in effecting social change.

V. Key Principles of Multicultural Education

Multicultural education is based on some commonly asserted principles. The frequency and consistency with the which these principles are declared across time and other are strong advocates of the Indications That consensus exists about some essential, baseline features of multicultural education and a convincing counterargument to claims That the field lacks conceptual clarity.

A principle is a basic or essential quality That determines the intrinsic nature of something. Multicultural education includes Several characteristics or traits that, as a composite, distinguish its inherent nature and quality from other educational Innovations. Parekh (1986) sets the overall tone of multicultural education in his judgment That multicultural education is good education for all children. To endorse multicultural education is not to imply That the entire education system That Should Be Destroyed or the Anglo-centric cultural dominance merely existing in schooling Should be replaced with the dominance of other ethnic cultures; Neither is it to deny the need for a common national culture . Rather, it simply says That the education system needs to be improved by Becoming less culturally monolithic, rigid, biased, hegemonic, and ethnocentric. The prevailing norm in educational decision making and Operating Procedures Should Be cultural pluralism and heterogeneity, instead of cultural hegemony or homogeneity.

The general principles of multicultural education are supported by Several more specific ones. Multiculturalists describe the most Salient "personality traits" of multicultural education as follows:

. A personally empowering, socially transformative, humanistic and pedagogically process

. Correcting and rehabilitating some of the Mistakes That schools have made in Educating culturally different children, ESPECIALLY Those of color and poverty

. A search for scholarly honesty and truth by giving due recognition to the contributions of diverse groups and cultures to the collective accomplishments of Humankind

. Fundamentally an affective and humanistic enterprise That AIMS to Achieve Greater understanding and appreciation of diverse cultures and peoples

. Both content and process, structure and substance, action and reflection, knowledge and values, philosophy and methodology, an educational means and an end

. For all students in all grades, subjects, and school settings

. A means of Achieving parity in educational opportunities for diverse students

. A process of systematic and systemic change That Is developmental, progressive, and ongoing

. A Confluence of diverse cultural heritages, experiences, Perspectives, and contributions

. Has inherent merit for its own sake, as well as instrumental value for facilitating other educational goals

. A bridge for making meaningful connections the between the abstractions of schooling and the actual life experiences of ethnically and culturally different students.

. A vehicle for and conduit of relevance, equity, excellence, and personal meaningfulness in education for culturally diverse students.

. An acceptance and celebration of diversity as a normal fact of human life and schooling.

VI. CLOSING

Multicultural education seems a to be an Important Part to be discussed nowadays since We Are now a living in a global society. Certain People coming from different places and cultures can now easily Interact with Those WHO live in other places and cultures. This means That We have to Understand other's cultures to be a part of the global society. Multicultural education enables our students to live and adjust with different cultures and Understand other people.

Multicultural education means a reform movement That changes all components of the educational enterprise, including its underlying values, procedural rules, curricula, instructional materials, organizational structure, and governance policies to Reflect cultural pluralism. This means That the content of multicultural education programs Should include ethnic identities, cultural pluralism, unequal distribution of resources and opportunities, and other sociopolitical problems stemming from long histories of oppression.

Therefore, multicultural education sets for some Goals Important. The goals are developing ethnic and cultural literacy, personal development, attitude and values clarification, multicultural social competence, basic skills proficiency, educational equity and excellence, and empowerment for societal reform.

References

American Association of Colleges for Teacher Education. (1973). No One Model American. Washington, DC: American Association of Colleges for Teacher Education.

Banks, J.A. (1992). Multicultural Education for Freedom's Sake. Educational Leadership, 49, 32-36.

BAROQUE ART

2011-12-01T18:01:00.000-08:00

Seni jaman Baroque adalah peralihan dari jaman Rennesance dan menuju jaman Racoco merupakan jaman terakhir dari sejarah Seni Rupa Barat atau Eropa.

DEWAN KESENIAN GRESIK - arts council of gresik

2011-11-28T22:44:00.000-08:00

DKG Gresik Janji Ciptakan Seni Icon Gresik
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Gresik (beritakota.net) – Jelang selesainya Sarana Wahana Rekreasi di Tlogodendo, Asisten I Sekda Gresik, Drs. Mulyono mewakili Bupati Gresik, mengukuhkan Budi Palopo dan Kawan-kawan pengurus Dewan Kesenian Gresik (DKG) periode 2011 – 2016, Kamis malam (24/11).

Meski datang agak terlambat karena menghadiri acara Serah terima Kepala Pengadilan Gresik, Bupati menyempatkan hadir pada helatan acara yang dipadu dengan pameran lukisa dan berlangsung di Gedung Nasional Gresik (GNI). Dihadapan sekitar 250 orang undangan para seniman kota pudak, Bupati Gresik, Dr. Sambari Halim Radianto menyayangkan pelaksanaan pelantikan ini.

Katanya” mestinya seandainya mau menunggu sebentar sekitar bulan Desember 2011, sampai selesainya Sarana Wahana Rekreasi para pengurus seniman ini bisa melaksanakan pengukuhan di gedung baru itu, sekaligus pembukaan gedung tersebut” ujarnya.

Masih menurut Bupati, “sebetulnya sudah saya tawari untuk diundur sebentar, namun karena para seniman ini punya agenda lain maka kami tidak bisa menolak kemauan saudara. Mungkin perhitungan para seniman ini terkait hari baik” tambah Bupati sambil tersenyum lebar.

Dalam kesempatan itu Bupati mengingatkan kepada pengurus DKG agar senantiasa menjaga kekompakan antar seniman. “tolong, agar hal-hal yang tidak baik dimasa lalu untuk dilupakan dan masa yang akan datang disambut dengan optimis dan jalinan rasa persatuan. Kami siap membantu apabila para saudara seniman ini mau membicarakan kesulitan pada kami” pinta Sambari.

Usai dikukuhkan sebagai Ketua DKG Gresik terpilih Budi Palopo menyatakan terimakasih atas kepedulian Pemkab Gresik dalam mempersatukan para Seniman Gresik. Menurut ketua yang juga Sastrawan Gresik ini. Pada tahap awal ini, pihaknya masih dalam masa orientasi.”Di tahun pertama dan kedua, kami mendata dan mengolah data para seniman serta komunitas seni di Gresik.

Selanjutnya pada tahun-tahun berikutnya kami siap bekerja”. Budi menyatakan siap membuat kreasi seni yang bisa dijadikan ikon untuk masyarakat Gresik. “setidaknya, nanti kami akan berupaya untuk menciptakan kreasi seni yang bisa ditampilkan pada event-event yang bersifat protokoler sebagai symbol masyarakat Gresik” ujar Budi optimis.

Sekretaris umum DKG Bagus Sasmita dalam keterangannya kepada kabag Humas Pemkab Gresik, Andhy Hendro Wijaya. Sesuai pendataan yang dilakukan, jumlah sementara seniman di Gresik sekitar 500 orang lebih. Mereka terbagi dalam beberapa kelompok seni masing-masing seniman sastra sebanyak 35 orang, seniman teater 200 orang, seniman tari 25 orang, seniman taradisional 90 orang, seniman music 100 orang, seniman pedalangan 10 orang, seniman multimedia 15 orang, seniman senirupa 25 orang.

DKG Gresik Gresik Promises Create Art Icon
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Gresik (beritakota.net) - Coming to the completion of the facilities at the Recreation Vehicle Tlogodendo, Assistant Secretary I Gresik, Drs. Mulyono representing Regent Gresik, confirmed Budi Palopo and Comrades Arts Council board Gresik (DKG) in the period 2011 to 2016, Thursday night (24/11).

Though coming a little late due to attend the handover ceremony Court Chief Gresik, the Regent took helatan present at the event which combined with lukisa exhibition and takes place at the National Building Gresik (GNI). In front of about 250 people invited artists Pudak city, Regent Gresik, Dr. Halim Sambari Radianto deplore the implementation of this inauguration.

He said "if they should want to wait a bit around December 2011, until the completion of the Recreational Vehicle Facility administrators of these artists could perform at the inauguration of the new building, as well as the opening of the building" he said.

Still according to the Regent, "I actually had offered to be postponed for a while, but because these artists have a different agenda then we could not refuse his wishes. Probably related to the calculation of these artists a good day "the Regent added with a grin.

On that occasion the regent reminded the board DKG to always maintain cohesiveness among artists. "Please, so that things are not good in the past to be forgotten and the future was greeted with optimism and a sense of unity fabric. We are ready to help when the brothers are artists willing to talk about problems in our "begged Sambari.

After confirmed as elected Chairman of the DKG Gresik Budi Palopo expressed gratitude for the concern Gresik regency of Gresik in uniting the artist. According to the chairman who is also writer of this Gresik. At this early stage, it is still in its orientation. "In the first and second years, we record and process data of the artists and the arts community in Gresik.

Furthermore, in subsequent years we are ready to work ". Budi says ready to make the creations of art that can become an icon for the community Gresik. "At least, we'll attempt to create art creations that can be displayed at events that are protocol as a symbol of society Gresik" Budi said optimistically.

Good general secretary DKG Sasmita Head of Public Relations in his statement to the regency of Gresik, Andhy Hendro Wijaya. Appropriate data collection is done, the number of artists in Gresik while about 500 people more. They are divided into several groups each artist arts literature as many as 35 people, 200 people theater artists, dance artists 25 people, 90 people taradisional artists, music artists 100 people, 10 people puppetry artists, multimedia artists 15 people, artists, art 25 people. yan

PAINTINGS BY INDONESIAN CHILDREN

2011-11-13T11:38:00.000-08:00

Karya Seni Lukis Anak-Anak Indonesia Mendulang Medali di Bangladesh

Jumat, 01 Januari 2010

Indonesia, diwakili oleh anak-anak dari sekolah seni “Ananda Visual Art School, Bandung” kembali ikut ambil bagian dalam Zainul-Quamrul International Children’s Painting Competition 2009 yang pengumuman pemenang dan pembagian hadiahnya berlangsung pada Rabu, 30 Desember 2009, bertempat di Bangladesh Shilpakala Academy di Dhaka, Bangladesh. Acara dibuka dengan nyanyian beberapa lagu oleh anak-anak Bangladesh dan dilanjutkan dengan sambutan oleh panitia acara, pimpinan Shilpakala Academy, dan Menteri Keuangan Bangladesh, Abul Mal Abdul Muhit sebagai Chief Guest.

Di antara para undangan, hadir Duta Besar RI Dhaka, Zet Mirzal Zainuddin bersama Staf KBRI Dhaka, serta Duta Besar Negara Asing dan anak-anak Bangladesh didampingi oleh orang tuanya masing-masing. Antusiasme yang tinggi dari anak-anak yang mengikuti kompetisi serta kegembiraan dan suka cita anak-anak bermain sambil menunggu penyerahan hadiah juga turut memeriahkan acara pada sore hari itu.

Disamping Bangladesh, wakil dari 17 negara ikut serta dalam kompetisi kali ini, yaitu Belarus, Indonesia, India, Turkey, Bulgaria, Denmark, Myanmar Rumania, Philippines, Germany, Sri Lanka, Brunei, Thailand, Malaysia, Qatar, Kuwait dan Canada.

Kompetisi Zainul-Quamrul International Children’s Painting 2009 dibagi dalam 4 Group menurut kelompok umur yang terdiri dari Group A (3 – 6 tahun), B (6+ – 9 tahun), C (9+ – 12 tahun), dan D (12+ – 16 tahun). Indonesia pada kompetisi seni lukis tahun 2009 ini memperoleh tujuh medali dan lima sertifikat. Anak-anak Indonesia yang memperoleh penghargaan tersebut adalah dari Group A, dengan perolehan medali perak yaitu lukisan dari Marcius Fabiyan, Jesica, Edbert Halim, dan medali perunggu diperoleh Timoti Felix Maruli, Daniel Louis, sedang untuk sertifikat diwakili oleh lukisan Wiliana Renaldi. Pada Group B, medali perak diperoleh Steven Matthew Bahari. sedabgkan pada Group C dengan perolehan sertifikat diwakili oleh lukisan dari Aurelio Mareo, Salma Azhar Firdaus, Shania Vanessa Fernanda, dan Delicia Evangeline.

Pada kesempatan ini, Duta Besar RI Dhaka diminta panitia penyelenggara untuk mewakili anak-anak Indonesia pemenang kompetisi dalam menerima medali perak, perunggu dan sertifikat yang diserahkan langsung oleh Menteri Kuangan Bangladesh, Abul Mal Abdul Muhit. (Sumber: KBRI Dhaka)

Painting work of the Children Indonesia pan Medal in Bangladesh

Friday, January 1, 2010

Indonesia, represented by children from the school of art "Ananda Visual Art School, New York" again took part in the Zainul-Quamrul International Children's Painting Competition 2009 that the announcement of winners and distribution of prizes took place on Wednesday, December 30, 2009, held at Bangladesh Shilpakala Academy in Dhaka, Bangladesh. The event opened with the singing of several songs by the children of Bangladesh and continued with remarks by a steering committee, led Shilpakala Academy, and Finance Minister of Bangladesh, Abul Mal Abdul Muhit as Chief Guest.

Among the invitees, attended the Ambassador of Indonesia Dhaka, Zet Mirzal Zainuddin Embassy in Dhaka along with Staff, and Ambassador of State of Foreign and Bangladeshi children accompanied by their parents. Enthusiasm of the children who enter the competition as well as excitement and joy of children playing while waiting for delivery of gifts also helped enliven the event that afternoon.

Besides Bangladesh, representatives from 17 countries participated in the competition this time, namely Belarus, Indonesia, India, Turkey, Bulgaria, Denmark, Myanmar, Romania, Philippines, Germany, Sri Lanka, Brunei, Thailand, Malaysia, Qatar, Kuwait and Canada.

Competition Zainul-Quamrul International Children's Painting 2009 is divided into 4 group by age group consisting of Group A (3-6 years), B (6 + - 9 years), C (9 + - 12 years), and D (12 + - 16 years). Indonesia at the 2009 painting competition is getting seven medals and five certificates. Indonesian children who obtained the award is from Group A, with a silver medal is a painting of Marcius Fabiyan, Jesica, Edbert Halim, and earned a bronze medal Timoti Maruli Felix, Daniel Louis, was to be represented by painting Wiliana certificate Renaldi. In Group B, Steven Matthew earned a silver medal Bahari. sedabgkan in Group C with the acquisition of certificates represented by the paintings of the Aurelio Mareo, Salma Azhar Firdaus, Shania Vanessa Fernanda, and Delicia Evangeline.

On this occasion, the Ambassador of Indonesia Dhaka prompted organizers to represent children in Indonesia competition winners received silver medals, bronze medals and certificates are given directly by the Minister Kuangan Bangladesh, Abul Mal Abdul Muhit. (Source: Embassy in Dhaka)

Lukisan Karya Anak Indonesia Dipamerkan di Hungaria
Sabtu, 5 Juni 2010 01:18 WIB | 2205 Views

London (ANTARA News) - Puluhan lukisan anak mancanegara termasuk anak Indonesia dipamerkan di lobi kantor Ombudsman Nasional Hungaria, untuk meningkatkan perhatian umum kepada keamanan dan kesejahteraan anak dan ibu yang terancam kekerasan.

Acara ini dihadiri sejumlah seniman Hungaria, baik pelukis, penyanyi maupun sastrawan, serta pakar pendidikan, kata Sekretaris II, Pelaksana Fungsi Pensosbud, KBRI Budapest, Annie Puspa Rosita, kepada Antara, Sabtu.

Lukisan yang dipamerkan adalah yang terbaik dari ribuan lukisan anak mancanegara yang pernah mendapatkan penghargaan dari Panitia Kompetisi Internasional Anak yang diselenggarakan Hungaria Youth Center sekali dalam dua tahun.

Duta Besar Indonesia Mangasi Sihombing yang memberikan sambutan dalam acara itu menekankan, kreatifitas anak dan rasa percaya diri perlu ditanamkan kepada anak bahwa mereka dihargai sebagai bagian integral masyarakat.

Dalam berbagai kompetisi Internasional yang diselenggarakan Youth Center Zanka, karya anak Indonesia meraih medali emas, perak dan perunggu.

Direktur Museum Youth Center Zanka, Dr. Kinga Bene mengatakan untuk kompetisi tahun ini Indonesia mengirimkan lukisan karya anak-anak Sanggar Seni Anak-Anak Surabaya.

Annie Puspa mengatakan, Hungaria sepakat membawa pameran karya anak-anak ini ke Indonesia.(*)

U-ZG/AR09
Editor: Jafar M Sidik

Children's Painting Works OF INDONESIAN Exhibited in Hungary
Saturday, June 5, 2010 1:18 pm | 2205 Views

LONDON (AFP) - Dozens of foreign children, including children paintings on display in the lobby Indonesia Hungarian National Ombudsman's office, to improve the public's attention to the safety and welfare of children and mothers who threatened violence.

The event was attended by a number of Hungarian artists, both painters, singers and poets, as well as education experts, said Second Secretary, Executive Function Pensosbud Embassy in Budapest, Annie Puspa Rosita, told Reuters on Saturday.

Paintings on display is the best of thousands of children of foreign paintings ever get an award from the International Children's Competition Committee of the Hungarian Youth Center held once in two years.

Ambassador of Indonesia Mangasi Sihombing who delivered a speech at the event stressed, children's creativity and self-confidence needs to be invested to the child that they are valued as an integral part of society.

In various international competitions held Zanka Youth Center, children's work Indonesia won the gold medal, silver and bronze.

Museum Director Youth Center Zanka, Dr. Kinga Bene said for this year's competition Indonesia to send paintings by children Children's Art Gallery, Surabaya.

Annie Puspa say, Hungary agreed to bring the exhibition of these children to Indonesia. (*)

U-ZG/AR09
Editor: Jafar M Sidik

COBRA ART

2011-11-06T04:34:00.000-08:00

CoBrA
(1948 - 1951)
Cobra was a post-World War II European avant-garde movement. The name was derived from the initials of the members' home cities: Copenhagen, Brussels, and Amsterdam. Copenhagen is the head, Brussels is the body, and Amsterdam is the tail of the Cobra.

The group's founders included Asger Jorn, the Dutch painter Constant, the Belgian poet Christian Dotremont and the painters Pierre Alechinsky, Karel Appel, Corneille and Carl-Henning Pedersen. Later on the group was expanded substantially.

In a Europe devastated by war, artists were eager to join forces, pool their thoughts and react to the inhumanity of a civilization based on reason and science. Cobra had a distinctive political and social dimension based on a criticism of the Cold War society of their day.

Cobra was formed from an amalgamation of the Dutch group Reflex, the Danish group Host and the Belgian Revolutionary Surrealist Group. Their fundamental values were nonconformity and spontaneity. Their inspiration was children's drawings, the alienated and folk art, motifs from Nordic mythology, Marxism. They rejected erudite art and all official art events. They sought to express combination of the Surrealist unconscious with the romantic forces of nature but unlike the former group they felt an abstract idiom better served that purpose. They were primary distinguished by a semiabstract expressive paintings style with brilliant color, violent brushwork, and distorted human figures.

Cobra was a milestone in the development of European Abstract Expressionism and was very similar to American Action Painting.

Main Representatives
• Pierre Alechinsky
• Karel Appel
• Jean-Michel Atlan
• Constant
• Corneille
• Christian Dotremont
• Doucet
• Asger Jorn
• Sucebert
• Carl Pedersen

Cobra
(1948 - 1951)
Cobra adalah pasca-Perang Dunia II avant-garde Eropa gerakan. Nama itu berasal dari inisial kota rumah anggota: Kopenhagen, Brussels, dan Amsterdam. Kopenhagen adalah kepala, Brussel adalah tubuh, dan Amsterdam adalah ekor Cobra.

Pendiri kelompok ini termasuk Asger Jorn, konstanta pelukis Belanda, Belgia penyair Kristen Dotremont dan pelukis Pierre Alechinsky, Karel Appel, Corneille dan Carl-Henning Pedersen. Kemudian kelompok itu diperluas secara substansial.

Dalam Eropa hancur oleh perang, seniman ingin bergabung, kolam pikiran dan bereaksi terhadap kebiadaban sebuah peradaban yang didasarkan pada akal dan ilmu pengetahuan. Cobra memiliki dimensi politik dan sosial yang khas berdasarkan kritik dari masyarakat Perang Dingin hari mereka.

Cobra dibentuk dari penggabungan dari Reflex kelompok Belanda, Denmark Host kelompok dan Kelompok Surealis Belgia Revolusioner. Nilai-nilai dasar mereka ketidaksesuaian dan spontanitas. Inspirasi mereka adalah gambar anak-anak,, terasing dan seni rakyat dari mitologi Nordik motif, Marxisme. Mereka menolak seni ilmiah dan semua acara kesenian resmi. Mereka berusaha untuk mengekspresikan kombinasi dari ketidaksadaran Surealis dengan kekuatan alam romantis tapi tidak seperti kelompok pertama mereka merasakan suatu ungkapan abstrak yang lebih baik digunakan untuk itu. Mereka primer dibedakan oleh gaya lukisan semiabstract ekspresif dengan warna yang cemerlang, sapuan kuas kekerasan, dan figur manusia yang terdistorsi.

Cobra adalah tonggak sejarah dalam pengembangan Ekspresionisme Abstrak Eropa dan sangat mirip dengan Lukisan Aksi Amerika.

utama Perwakilan
• Pierre Alechinsky
• Karel Appel
• Jean-Michel Atlan
• Konstan
• Corneille
• Kristen Dotremont
• Doucet
• Asger Jorn
• Sucebert
• Carl Pedersen

THE HISTORY VISUAL ARTS OF INDONESIA

2011-11-03T09:57:00.000-07:00

PERKEMBANGAN SENI LUKIS INDONESIA MODERN

Pada dewasa ini di Indonesia telah berkembang 2 golongan besar Seni Lukis Modern. Kedua golongan tersebut adalah Seni Lukis Indonesia yang berkembang di Bali dan satu lagi berkembang di kota-kota besar di Indonesia. Keduanya memiliki gaya dan perekembangan yang berbeda karena pada dasarnya di karenakan perbedaan latar, kebudayaan. GOLONGAN PERTAMA Pada golongan pertama adalah Seni Lukis Indonesia yang berkembang di daerah Bali. Sekitar tahun tiga puluhan seni lukis Bali terjadi suatu pembaruan yang dialami sedikit demi sedikit dari pergeseran perubahan dari seni lukis Bali kuno atau klasik. Sebelum terjadi perubahan itu, seni lukis Bali telah berkembang dengan pola seni lukis Klasi Tradisonal yang terkait oleh adat istiadat dan agama Hindu Bali. Sedangkan seni lukis tersebut bermotif dekoratif dan melukiskan kesusastraan kuno bali. Setelah terjadi pembaharuan dalam perkembangannya yang sedikit berbeda dengan seni lukis sebelumya tsb. Maka seni lukis Bali tidak lagi hanya melukiskan kesusastraan kuno,tetapi sudah mengambil objek seperti seni lukis modern. Begitu juga masalah teknik bentuk gayanya. Akan tetapi bagaimanapn juga masih tampak seperti induknya yaitu seni lukis Bali. Maka seni lukis modern yang berkembang di Bali masih dapat dinamakan Seni Lukis Bali karena masih tetap berhubungan dengan kesenian dan kebudayaan Bali sendiri. GOLONGAN KEDUA Sedang pada golongan kedua adalah Seni lukis Indonesia Modern yang berkembang di kota-kota besar. Sepeti Jakarta,Bandung Yogyakarta,Surabaya,Medan dsb. Pada umumnya pelukis-pelukis golongan kedua ini perna mengeyam pendidikan formal. Mereka merupakan hasil produk sekolah kesenian rupa atau sanggar-sanggar. Paling tidak pernah belajar atau membaca beberapa teori tentang hakekat seni modern. Ada beberapa yang memasukan unsur-unsur seni kedaerahan, atau hal yang bersifat tradisonal dalam pengolahan seni lukisnya. Tetapi kenyataannya tidak bisa dimasukan dalam kategori seni budaya daerah. Jadi pada prinsipnya masih tergolong seni lukis modern. Hal ini disebabkan terjadinya akibat pengaruh kebudayaan yang telah berkembang dan juga masuknya anasir kebudayaan Barat. Terutama pada masa penjajahan sampai pada sistim pendidikannya. Sehingga tidak dapat dipungkiri lagi bahwa perkembangan seni modern Barat atau Eropah memberikan adil berkembangnya Seni Lukis Modern di Indonesia.

GOLONGAN PERTAMA  SENI LUKIS BALI

Sebelum kita membahas tentang seni lukis Bali,sebaiknya lebih dulu kita melihat latar sejarah dan aspek kehidupan masyarakat Bali serta beberapa unsur-unsur penunjang kesenian di Bali. Bali dikenal sebagai daerah yang menarik dalam keseniaannya itu, pada kenyataanya ditunjang oleh berbagai aspek antara lain
a. Aspek kehidupan agama Hindu
b. Aspek ditimbulkan oleh benda-benda peninggalan sejarah di Bali.
c. Aspek pemerintah raja-raja di Bali
d. Aspek kehidupan sosial masyarakat
e. Aspek geografis dan alam Bali.

Aspek kehidupan agama Hindu,agama Hindu ini telah berakar kuat pada masyarakat Bali. Sekaligus menjadi tradisi dan adat istiadat masyarakat Bali untuk memeluknya. Dengan adanya berbagai upacara agama seperti piodalan Pura,upacara Panca Yadnya dsb. Maka peranan seni mendukung dan bahkan telah menjadi salah satu bagian integral dari agama Hindu di Bali. Setiap kegiatan keagamaan tidak akan terlepas dari kegiatan kesenian tsb. Sehingga dalam pertumbuhannya kesenian Bali selaras dengan agama menyebabkan keduanya terjalin kesatuan yang harmonis dan mesra. Aspek ditimbulkan oleh benda-benda peninggalan sejarah Peninggalan benda-benda purbakala dari jaman Batu Tua sampai Batu Baru. Juga peninggalan kebudayaan Hindu-Budha (sebelum pengaruh Majapahit). Peninggalan tersebut antara lain: Prasasti Tembaga, Prasasti Batu, Lontar dan Prasi, Arca, Peninggalan perunggu,Gerabah,berbagai gaya ragam hias. Peninggalan kuno antara lain; Neraka perunggu di Pura Penataran Sasih Pejeng. Relief di Yeh Pulu Petanu,gua gajah, pura gunung kawi, patung-patung dewi Gayatri di kuteri dsb. Aspek pemerintahan raja-raja di Bali Mempunyai pusat kebudayaan berkisar dari Pejeng ke Samprangan, Gelgel, Klungkung pada pemerintahan dalam Bali. Pada masa ini pengabdian terhadap seni bermutu tinggi untuk keindahan Pura (religi),dan Puri (istana). Bentuk gaya klasi tradisonal. Seperti hiasan pepatraan,pewayangan. Melukis cerita Mahabarata,Ramayana dsb. Karya seni ini dikerjakan bersama-sama. Aspek kehidupan sosial masyarakat Bali Masyarakat Bali berpegang teguh pada adat istiadat yang berlaku antara lain: Hukum adat, tata pergaulan sehari-hari,cara hidup berkelompok diman induvidu sebagai bagian masyarakat mempunyai hubungan yang erat antara satu dengan yang lainya. Seperti subak sakaha,tunggal kawitan,tunggal sanggah,banjar,desa. Aspek geografis dan alam Bali Bali dengan alam yang menarik dengan segala keindahannya turut melantar belakangi agama seni budaya dan adat istiadat yang serasi dan saling mengisi terwujutnya seni budaya Bali. Seperti pura yang didirikan di sekitar di sekitar pemadangan alam yang indah. Begitu juga dengannya adanya jalan yang berliku-liku di lereng gunung, sawah di punggung berbukitan, gunung membiru ,lembah dan ngarai,danau serta lautan,semua mewujudkan keindahan dan kemesteriusan alam Bali dan banyak menggugah serta menjadi sumber bahan inspirasi bagi seniman.

LATAR BELAKANG SEJARAH

Perkembangan kesenian Bali pada umumnya tidak terlepas dari faktor sejarah serta kondisi geografi daerah Bali. Sejak kerajaan Majapahit berpengaruh di Bali, menyebabkan Bali berhubungan baik dengan Jawa Timur. Sehingga menyebabkan kesenian Hindu Jawa berkembang baik di sana yang bercampur dengan kesenian setempat. Terjadi suatu pembaharuan serta pembauran,timbulah suatu keserasian dan melahirkan seni budaya Bali. Memiliki cita rasa dan ciri tersendiri, maka pembaharuan tadi menghasilkan Kesenian Bali yang kita kenal sekarang. Begitu pula adanya berbagai peninggalan. Menjelang pada abad XX Bali mulai mendapat pengaruh dari unsur budaya Barat. Ditandai dengan masuknya kekuasaan panjajahan Belanda di daerah Bali pada tahun 1908. Pembaruhan dengan adanya pengaruh anasir kebudayaan Barat dalam kesenian.dimulai sejak datangnya pelukis Impessionime dari Jerman bernama Walter Spies pada tahun 1926. Juga disusul dengan datangnya pelukis Belanda bernama Rudolf Bonnet pada tahun 1928. Akibat pengaruh kedua orang tersebut terjadi suatu gejala pembaruhan yang mencapai puncaknya dengan berdirinya kelompok “Pitha Maha” pada tahun 1934. Selanjutnya disusul dengan lahirnya seni gaya Ubud dan gaya Batuan. Pada tahun 1928 telah didirikan museum yang menyimpan benda-benda seni berupa lontar dan prasi. Museum tersebut didirikan di daerah Bali utara yaitu kota Singaraja,dengan di beri nama “Gedung Kirtya” Pada tahun 1956 berdiri sebuah museum yang menyimpan lukisan dengan nama museum “Puri Lukisan’’, sedangkan pendirinya adalah sebuah badan yang bernama Yayasan Ratna Wartha. Kemudian menyusul lagi museum Lukisan “Le Mayeur” berada di sekitar pantai Sanur Bali. Juga pada tahun 1982 yayasan Dharma Seni mendirikan sebuah museum lukisan dengan nama “museum Neka”, didirikan di daerah Ubud. Dengan akibat masuknya pengaruh seni budaya modern, maka timbul juga pembaharuan dalam sikap mental dari yang bersifat komunal menjadi individual. Dari seni “kesanggingan” menjadi bentuk seni “kekinian”. Pembaharuan tersebut karena pada umunya masyarakat Bali mudah menerima sesuatu yang baik dari luar,dengan didahului oleh seleksi dan kemudian menjadi milik sendiri. Akibat tersebut sehingga terjadi tiru-meniru dalam kalangan seni,akibat identitas pribadi semakin menipis menadi identitas banjar attau desa. Sedang pembaruhan yang mendasar dialami oleh generasi muda dengan melalui pendidikan formal dan disiplin ilmu kesenirupaan, dengan teknik modern muncul berbagai bentuk karya seni yang berkonsep modern dan menumbuhkan identitas gaya pribadi.

PEMBAGIAN GAYA DALAM SENI LUKIS BALI

Sejak adanya pengaruh gerakan dari kelompok “Pitha Maha”, maka pembaharuan dan modernisasi dalam seni lukis terjadi perkembangan yang pesat. Akan tetapi dalam bentuk dan gayanya masih dikatakan dalam garis ciri khas seni lukis Bali. Pada perkembangan tampak berbagai kecenderungan yang dapat di kategorikan menjadi beberapa hal antar lain:

1. SENI LUKIS KLASIK KAMASAN
2. SENI LUKIS PITHA MAHA
3. SENI LUKIS YOUNG ARTIS
4. SENI LUKIS AKADEMIS

Seni Lukis Klasik Kamasan Merupakan kelanjutan dari tradisi melukis wayang. Bentuk gayanya tidak auh berbeda dengan wayang kulit. Hanya pelukisan wajah figurnya tampak tiga perempat dan kedua belah biji matanya kelihatan. Perkembangan seni lukis ini sudah dimulai sejak abad XVI, pada saat kerajajn Gelgel jatuh dan pemerintahan berpindah ke Klungkung. Banyak didapatkan berbagi hiasan pada pura dan puri dengan gaya seni lukis ini. Peninggalan yang masih ada dan terawat baik. Terdapat pada gedung Kerthagosa di daerah Klunkung sekarang Pada tahun 1686 muncul seorang pelukis (sangging) bernama Sangging Mahudara di Klungkung,dan beliau menjadi pelopor pada perkembangan seni lukis klasik kemasan ini. Sedang kamasan diambil dari nama sebuah desa yang menjadi pusat berkembangnya seni lukis ini sampai kini. Ciri-cirinya antara lain : • Bahan dasar sebagai kanvas dari kain tenun, blacu, papan, triplek, herd board. • Warna yang digunakan antara lain: merah (dari batu), biru (blau), kuning (tanah pere), hitam (langes), putih (tulang). Untuk warna lain dengan mengolah warna-warna pokok tersebut. • Alat yang berupa kuas dibuat dari bambu dan pena yang di baut dari bahan sejenis kayu yang diruncingkan. • Tema diambil dari cerita Ramayana, Mahabarata, Baratayudha, cerita malet atau cerita panji, Sucasoma, dan pelintangan atau kalender kelahiran. Pada mulanya seni lukis ini dikerjakan secara komunal (kolektif) yaitu dikerjakan bersama oleh beberapa orang. Tapi perkembangan selanjutnya mucul pribadi-pribadi antara lain:

• Mangku Mura • Ida Bagus Made Gelgel • I Nyoman Mandra • I Wayan Lengket Seni

Lukis Pitha Maha

Dengan adanya pengaruh 2 orang pelukis yang datang ke Bali. Mereka adalah Walter Spies dan Rudolf Bonnet, berpengaruh terhadap perkembangan seni lukis Bali dengan adanya pelajaran dan didikan tehnik modern ala Barat pada pelukis-pelukis Bali saat itu. Kemudian atas bantuan dari Cokorda Ngurah Lingsir, pada tahun 1935 mendirikan organisasi tersebut antara lain:

1. Bertujuan memajukan dan mengembangkan seni daerah.
2. Bertujuan untuk meningkatkan mutu hasil seni.
3. Membantu menyelenggaraan pameran hasil karya dari pedan komisi baik ke luar daerah maupun ke luar negri.

Sebagai ciri umum lukisan gaya ini menunjukan perubahan dari gaya klasik tradisonal menuju pada bentuk baru yang sedikit agak berbeda, tetapi masih tetap ada ciri khas gaya akarnya. Pembaharuan ini di pelopori dengan gaya pribadi dari karya I Gusti Nyoman Lempat dalam seni lukisnya. Sedangkan pada seni Patung dipelopori oleh I Tjokot melahirkan “cokotisme”. Serta gejala pembaruan seni patung realis. Pada masa Pitha Maha ini gejala perkembangan terdapat 2 gaya yang agak berbeda yaitu seni lukis gaya Ubud dan seni lukis gaya Batuan. Masing menujukan ciri dan bentuk yang berbeda sesuai daerah perkembangannya. Seni Lukis Gaya Ubud Gaya seni lukis ini berkembang di daerah Ubud dan sekitarnya sampai kini. Merupakan perkembangan dari gaya klasik yang mengalami modernisasi. Adanya gaya pribadi yang tampak. Ciri-cirinya antara lain:

• Tehnik sudah modern, bahan dasar memakai kanvas dari blanco, drill, metting, kertas dsb. • Alat-alat yang dipakai sudah seperi seni lukis modern, seperti potlot, pena, kuas cina dsb. • Cat yang mereka pakai tidak lagi bahan alam melainkan bahan-bahan hasil produksi pabrik, seperi cat air, cat acrylic, cat minyak, dan juga telah memakai fixatif (pelapis). • Tema yang mereka ambil tidak lagi cerita sastra tapi objek sehari-hari seperti petani di sawah, upacara pura, keramaian pasar, tari-tarian dsb. Penganutnya antara lain:

• I Gusti Nyoman Lempat • I Gusti Ketut Kobot • Ida Bagus Made • Anak Agung Gede Sobrat • I Wayan Turun

Seni LukisGaya Batuan

Seni lukis modern gaya Batuan ini berkembang di daerah Batuan dan sekitarnya. Juga merupakan perkembangan gaya seni lukis klasik yang memiliki ciri khas Batuan. Pada gaya Ubud masih tampak gaya lukisan wayang, tetapi pada gaya Batuan ini sudah tidak menampakkan gaya lukisan wayang lagi. Gaya Batuan lebih menonjolkan warna hitam dan putih pada latar belakang, hijau dalam (kolam) untuk warna dedaunan, dan merah kecoklatan untuk warna kulit manusia. Sehingga menampakan suasana malam dan menakutkan. Ciri-cirinya antara lain: • Bahan yang digunakan tidak berbeda dengan gaya lukisan Ubud. • Alat-alat juga sama, begitu pula dengan cat yang dipakai • Tema yang daiambil dari cerita rakyat yang populer dan tema kehidupan sehari-hari yang bebas. • Teknik pada gaya Batuan lebih teliti dengan adanya motif dekoratif yang lebih rumit, maka perlu adanya kecermatan kerja bagi pelukisnya. Penganutnya antara lain: •

Ida Bagus Made Wija • Ida Bagus Made Togog • I Wayan Rajin Seni

Lukis Young Artis

Pada tahun 1961 muncul aliran dengan corak baru yang sebelumnya tidak pernah di duga. Lukisan gaya ini dengan corak dekoratif yang naif. Kemunculannya berpusat di desa Penestan dekat Ubud. Sedang promotor dari gaya ini adalah seorang pelukis dari Belanda Ari Smith. Dengan bimbingan dan motivasi yang diberikan pada anak-anak di desa itu untuk melukis sebebas-bebasnya. Jadi anak melukis bebas sesuai kemampuan yang dimiliki dan segala fantasinya maka lukisan itu menunjukkan spontanitas besar. Lahirlah lukisan dekoratif yang naif dan kekanak-kanakan, warna segar dan cemerlang sehingga lukisan tersebut dinamakan Seni Lukis Gaya Young Artis. Ciri-cirinya antara lain: • Bahan dasar memakai kanvas atau kain yang sudah seperti pada seni lukis modern. • Cat yang dipakai cat minyak, dengan mengunakan medium dari minyak tanah agar tidak mengkilat,menggunakan plamir untuk pelapis dasar dari cat tembok dan lem. • Alat-alat yang dipakai beruupa buatan pabrik seperti pada seni lukis modern. • Tema yang diambil ialah kehidupan sehari-hari yang terus terbawa, petani, nelayan, tari Barong, tari Arja dsb. Penganutnya antara lain:

• I Nyoman Cakra • I Ketut Soki • I Ketut Puduh • I Ketut Tagen • I Ketut Pugur • I Ketut Londo • I Ketut Mujung

SENI LUKIS MODERN YANG BERKEMBANG DI KOTA-KOTA BESAR

Seperti yang telah dijelaskan di muka bahwa pada golongan seni lukis kedua ini berkembang di daerah kota-kota besar di Indonesia. Terutama kota-kota antara lain: Jakarta, Bandung, Yogyakarta, Surabaya, Medan, Semarang, Ujung Pandang dsb. Pada umumnya di kota banyak tersedianya sarana dan prasarana yang memungkinkan berkembangnya seni lukis modern berkembang dengan pesat. Apalagi ditunjang dengan adanya pendidikan formal, yakni akademi kesenirupaan dan munculnya berbagai kelompok seniman dengan sanggarnya, ataupun studio seni pribadi dimana seniman bekerja. Begitu pula ditunjang adanya fasilitas lain seperti faktor transportasi yang mudah, komunikasi, serta ekonomi yang lebih memungkinkan, sdang yang lebih penting adalah faktor kebutuhan dan pandangan hidup masyarakat dengan kebudayaan yang modern. Perubahan dari sikap hidup masyarakat inilah yang memungkinkan bertumbuhnya seni modrn dalam masyarakat modern seperti yang tampak dalam masyarakat kota besar tersebut. Walaupun tidak dapat dipungkiri faktor tradisional masih dibawa sebagai suatu kecenderungan kecil. Begitu pula dalam hal karya seni modern yang berkembang di Indonesia masih juga terdapat kecenderungan untuk memasukan unsur seni tradisonal. Tetapi pada dasarnya masih tetap sebagai seni modern. Dalam seni lukis pada golongan kedua, dapat dikatakan seperti bentuk seni lukis modern yang ada di negara-negara Barat. Karena pada dasarnya adanya pengaruh baik itu secara langsung maupun tidak langsung. MASA KEDUA Pada sekitar tahun 1940 telah tumbuh seni lukis dengan gaya mengungkapkan pengalaman dalam hidup. Tampak adanya perwatakan dan keadaan jiwa tegang dan gelisah pada lukisan. Mengingat perasaan atau energi terhadap objek yang dilukiskan oleh mereka MASA KETIGA Berlangsung sesudah masa tahun 1960. Pada masa ketiga ini telah tumbuh gaya atau corak seni lukis abstrak. Objek lukisannya telah sukar untuk dinikmati dan dikenal bentuknya.

I. SENI LUKIS PADA MASA PERTAMA 1900-1940

Yaitu seni lukis yang tumbuh di Indonesia dengan berobjek pada pemandangan alam. Faktor-faktor penyebabnya antara lain: Karena pengaruh pelukis Belanda pada jaman Hindia Belanda. Seni lukis tersebut telah berkembang sejak tiga sampai empat abad yang lalu di Eropa. Adanya cita – cita kaum pedagang Eropa dengan membawa seni lukis pemandangan alam sejalan dengan kemajuan dan perkembangan kaum pengusaha dan saudagar. Serta pada kenyataanya pelukis jaman itu memang senang membuat objek dari lukisannya mengambil tema pemandangan alam. Karena saat itu seni lukis ini mendapat tanggapan yang baik, terutama dari kaum menengah. Penganutnya antara lain:

• Abdullah S.R. • Mas Pirngadi • Wakidi

Dalam lukisan mereka telah mencoba membuat suatu gaya dengan cara menghilangkan bayangan peradapan jaman modern. Dengan memindahkan dan mengaturnya letak dan susunan pohon atau rerumputan. Seolah-olah mereka memperbaiki keadaan alam dalam lukisannya. Perhatian yang lain ialah dengan adanya kesan warna panas, dingin dsb. Hal tersebut memang berusaha untuk mengubah suasana segar dan menyenangkan. Sedang teknik melukis merka masih menggunakan ketentuan-ketentuan dalam seni lukis Belanda. Perspektif juga mendapat perhatian khusus, dalam bidang di bagi menjadi 3 yaitu depan, tengah, dan belakang. Pada ruang yang ditojolkan diberi penekana cahaya. Warna telah diatur pada palet agar tidak menimbulkan warna yang kotor, kemudian dikuaskan dengan halus serta teliti pada kanvas.

II. SENI LUKIS PADA MASA KEDUA 1940-1960

Di masa ini telah berkembang gaya seni lukis yang mengungkapkan perasaan dan gaya emosi pibadi. Beberapa faktor kecendrungan: Pertama, Pelukis dengan langsung menghadapi objeknya saat melukis serta digerakan oleh emosinya yang erat dengan objeknya. Kecenderungan mendistorsi objek dengan mengubah bentuk dan proposinya serta warna. Sehingga terjalin hubungan erat antara emosi dan distorsi yang menyatu dalam bentu lukisan yang terlahir. Tampak susunan rupa yang dinamis dengan ditunjang tarikan garis dan sapuan kuas yang leluasa, spotan dan tegas. Oleh karena itu tampak kusam karena warna di campur di atas kanvas. Tergeraknya emosi tidak saja pada wujud rupa melainkan juga pada makna obyeknya. Hubungan antara dengan pengalaman dan pikiran. Pengalaman akan kehidupan sosial rakyat di sekitar banyak memberikan inspirasi atas lahirnya karya lukis. Terutama bagi mereka yang tergabung pada SIM ( Seniman Indonesia Muda ) dan pelukis Rakyat antara lain:

Sujoyono, Affandi, Hendra Gunawan, Surono, Henk Ngantung, Trubus, Tarmizi, Otto Jaya, Dullah, Hariyadi, Amrus Natalsya.

Beberapa yang menunjukan kecendrungan ungkapan emosi pribadi antara lain:

Basuki Resobowo, Sholikin, Oesman Effendi, Zaini, Nashar.

Kedua, Gaya dengan objektifitas lebih besar juga berkembang dalam masa ini.

Pelukis mengamati suatu objek, lalu emosinya mendistorsi yang dilihatnya tadi. Mereka yang menganut konsep ini antara lain:Sujoyono, Menk Ngantung, Hariyadi, Dullah, Trubus. Pada perkembangan sekitar tahun 1940-1960 ini, sementara kritikus banyak yang mengecam pada seni lukis modern,karena sukarnya untuk dipahami oleh masyarakat biasa. Mereka lebih suka pada gaya realistis (nyata). Mereka menolak dan mengeritik agar seni lukis masa itu berkembang dengan meninggalkan abstraksi objeknya. Akan tetapi pada kenyataanya seni lukis tetap mengarah pada abstraksi lebih besar. Demikian juga para pelukis tetap pada konsep pribadi yang mengarah pada gaya lukisan yang jauh dari realisme.

Ketiga, Pada kencendrungan lainya mengarah adanya subjektifitas dan fantasi.

Berbagai proses kejiwaan seperti khayal, lamunan, mimpi, mithos dan sebagainya terlahir dalam karya seni lukis. Dari tinjauan seni psikologis menunjukkan bahwa semuanya itu merupakan protes terhadap kenyataan yang bermakna. Tetapi munculnya tidak berdasarkan logika kenyataan saat kita dalam keadaan terbangun. Dengan fantasi dapat melahirkan citra yang menyenangkan, mencekam atau juga menakutkan yang melalui prinsip irrasional. Beberpa pelukis yang berkecenderungan ini antara lain:

Sudibio, Agus Jaya, Sukirno.

Keempat Gaya seni lukis dekoratif atau hias juga berkembang pada masa ini.

Kebanyakan menggunakan obyek pohon atau daun yang digayakan atau dipolakan. Watak garis diperjelas, irama berulang-ulang, serta pola teratur dan rapi. Perkembangan dari gaya hias ini tidak cenderung menggayakan bentuk obyek sebagai model, melainkan menyusun berbagai elemen-elemen rupa yaitu garis, warna, tekstur, bidang menjadi bentuk umum. Sedang obyek manusia atau binatang bukan lagi seperti yang kita kenal. Tidak lagi melukiskan potret sesorang. Tetapi melukiskan perlambangan juga tidak oyektif melainkan adanya abstraksi yang lebih besar. Beberapa penganutnya antara lain:

Kartono Yudhokusumo, Hendra Gunawan, batara Lubis, Widayat, Abas Alibasyah, bagong Kusudiarjo, Suparto.

III. MENJELANG SENI LUKIS ABSTRAK 1955-1960

Pada masa ini berkembang gaya seni lukis yang menunjukkan peralihan dari gaya yang telah ada menuju pada perwujudan gaya seni lukis abstrak. Gaya ini terutama muncul di kota-kota seperti Jakarta, Bandung, dan Jogjakarta. Di Bandung tampak pada karya-karya dari Ahmad Sadali, Mochtar Apin, Srihadi, Popo Iskandar, But Mochtar, Yusuf Effendi. Sedang di Jakarta pada Oesman Effendi. Di Yogyakarta pada karya G. Sidharta, Fajar Sidik, Handriyo, Abbas Alibasyah. Pada masa peralihan ini tampak suatu usaha untuk merombak bentuk-bentuk obyek menjadi motif-motif yang datar. Terjadi dari perpotongan garis lurus dan lengkung yang membagi permukaan dari kanvas, warna serta bidang-bidang geometris. Kecenderungan dari masa ini tampak lebih bebas dalam penyusunan bentuk-bentuk abstrak. Penyusunan rupa yang ekspresif sebagai segi liris serta memuaskan perasaan rupa untuk segi estetik. Maka mulai saat ini telah muncul suatu gejala peralihan dalam pembaharuan seni lukis Indonesia. Kemudian lahir bentuk seni lukis abstrak Indonesia.

IV. SENI LUKIS PADA MASA KETIGA (SESUDAH 1960)

Perkembangan sesudah tahun 1960, Indonesia memiliki bentuk baru dalam seni lukis, yaitu Seni Lukis Abstrak. Gaya tersebut tidak menyuguhkan objek yang kita kenal dalam kenyataan. Karena itu dikatakan seni lukis abstrak non objektif atau non figuratif. Seni lukis abstrak pada dasarnya tidak terlepas dari hubungan rupa yang ada. Kita tidak bisa menutup penglihatan dunia laur dari kenyataan di sekitar kita. Kita bisa menangkap apa aja yang ada di dunia dengan berbagai kemungkinannya. Bumi dilihat dari angkasa, detail dari permukaan tanah dan batu, benda yang dilihat dari mikroskop. Bentuk-bentuk tersebut menyadarkan pada kita akan kekayaan rupa yang bisa menumbuhkan ide yang beraneka. Jadi latar belakang pengalaman dan pengetahuan tentang rupa, baik itu secara fisiologi maupun faktor psikologis sebagai faktor yang penting dalam menghayati seni lukis abstrak. Serta adanya usaha persiapan tentang kekayaan dan kedalaman pengalaman akan dunia rupa yang beraneka.

PERKEMBANGANNYA Pertumbuhan seni lukis abstrak di mulai sekitar tahun 1960, dengan ditandai dari faktor abstraksi yang lebih besar dari sebelumnya.

Srihadi (1960-1962)

Muncul eksperimen dengan menghasilkan seni lukis abstrak dalam mengisi perkembangan baru seni lukis Indonesia. Lukisannya berupa coretan-coretan yang lepas dinamis dan warna-warna transparan.

A.Sadali 1963

Menyuguhkan warna-warna redup seperti tanah, oker, biru dalam dan hitam. Tekstur memegang peranan penting, yang merupakan tenaga dari proses alam, seperti penegangan dan pengerutan, peretakan dan pemecahan, penyobekan, pengikisan, pelapukan, proses menua dan hancur. Bahkan juga menempatkan lelehan dari sisa-sisa emas, juga bentuk lambang di pasang di ambil dari ayat suci alquran, segi empat hitam mengingatkan pada ka’bah, bentuk gunungan, serta gerakan ke atas. Fajar

Fadjar Sidik 1963

Menghasilkan lukisan abstrak dengan menyuguhkan susunan geometris. Membuat sketsa Vignet dalam bulatan, segi tiga dsb. Juga bentuk-bentuk yang menyerupai manusia, binatang, tumbuh-tumbuhan. Menggunakan warna-warna biru, merah, kuning terang dengan rata.

Oesman Effendi 1960

Dengan menjauhi bentuk alam, pada tahun 1968 membawa seni lukis abstrak dengan adanya kontras, harmoni dan variasi garis, warna cerah serta adanya tekanan susunan yang terbuka, dan bergerak leluasa serta beriama hampir mendekati irama pada seni musik.

Popo Iskandar 1970

Pelukis satu ini tampil dengan liris alam dan kehidupan. Masih tetap menggunakan hubungan dengan objek alam seperti panati, pemandagan, bunga, kucing dsb. Beberapa pelukis lain yang datang dengan improvisasi tanpa pikiran pokok, membawa objek yang kita kenal walaupun tidak jelas. Pelukis-pelukis tersebut antara lain:

A. D. Pirous, Yusup Effendi, Rustam Arief, Amri Yahya, D. A. Peransi O.H. Supono

Melukis dengan membawa konsep fantasi abstrak. Dengan menampilkan obyek dan figur yang bergerak serta auh dari dunia alam nyata. Sedang pelukis-pelukis lain mencoba bereksperimen dengan tekstur, bahan serta teknik. Menempel potongan kertas, kain, kaca, logam, dengan teknik menjahit, mengelas, melubangi kanvas. Merakit bermacam-macam barang dan bahan serta teknik berkembang pesat. Mereka tersebut antara lain: Sapto Hudoyo, Abas Alibasyah, Amri Yahya, Bagong Kusudiardjo, Mujita, Mustika.

V. TINJAUAN UMUM SENI LUKIS ABSTRAK

Seni lukis abstrak yang berkembang pada masa ketiga ini mengarah pada corak ‘Lirisme’. Merupakan ungkapan emosi dan perasaan pelukis dalam dunianya. Lukisan sebagai bidang ekspresif untuk memproyeksikan rasa emosi dan getaran perasaan. Bidang lukisan sebagai dunia imajiner yang memiliki kodrat sendiri. Sedang pada tahun 1970 seni lukis abstrak Indonesia muncul suatu kecenderungan yang anti ‘lirisme’. Memiliki kecenderungan antara lain:

Pertama

Mereka menyingkirkan asosiasi dengan alam dan kehidupan. Pada dasarnya berpegang pada prinsip perasaan dalam tertib matematis dan rasionalitas dalam sni rupa. Lukisan sebagai susunan matematis dengan bentuk-bentuk geometris. Melukis merupakan penelitian, analisa, mengukur, menghitung untuk menimbulkan gejala optis dalam struktur bersistem. Pendukung dari paham ini antara lain:

Harsono, Nanik Mirna,Anyyol Subroto, Sugeng Santoso.

Pada tahun 1970-1973 muncul Seni Rupa Baru Indonesia yang sebenarnya merupakan dampak dari Pop Art. Kemudian pada tahu 1973, Danarto dengan pamerannya menyuguhkan kanvas kosong dalam ukuran besar dan tanpa pigora. Dari eksperimennya itu ia memberikan filosofi bahwa lukisan menjadi lingkungan bagi si pengamat. Tidak lagi dunia imajiner yang terkucil di dinding dengan dibatasi pigora. Kedua Anti ‘lirisme’ dari kecenderungan kedua ini terwujud pada kekongritan bentuk. Kalau ‘lirisme’ menyaring dan kemudian menjelmakan pengalaman serta emosi dalam dunia imajiner . Akan tetapi pada anti ‘lirisme’ tampak tidak menyaring dari transformasi alam. Bukan lagi gambaran benda itu disuguhkan tetapi benda itu sendiri. Bukan rasa jijik yang disuguhkan untuk kepuasan imajiner, melainkan rasa jijik itu sediri disuguhkan tanpa batas, sehingga menimbulkan rasa jijik jika orang melihatnya. Sebab mereka berdalih bahwa seni bukan sepotong dunia imajiner yang mesti direnungi dengan jarak tetapi meampilkan obyek kongkrit yang mampu melibatkan pengamat secara fisik. Hal ini tampak pada pameran ‘seni lukis 74’ oleh B. Munniardhi, Harsono dan Nanik Mirna. Juga gerakan Seni Rupa Baru Indonesia pada tahun 1975 oleh Jim Supangat, Hardi, Harsono, B. Munniardhi, Siti Adyati.

A. LATAR BELAKANG SENI LUKIS INDONESIA

Dalam perkembangan Seni Lukis Indonesia Baru tidak terlepas dari kaitan kemasyarakatan dan kebudayaan Indonesia sendiri. Maka diperlukan pewarisan budaya dalam watak manusia Indonesia, dengan dasar hubungan manusia dan realita sekelilingnya sendiri, sehingga terjalin intuisi, emosi, serta realitas. Perkembangan peradaban masyarakat Indonesia tetap memperlihatkan bertahannya unsur-unsur kebudayaan lama, telah memberi nafas tersendiri dalam perkembangan Seni Lukis Indonesia Baru. Terutama tampak jelas pengaruh motip dari ragam hias. Dimana sebelumnya merupakan bagian dari seni tradisional. Begitupula dengan kekuatan sejarah dalam kehidupan sosial di sekeliling para seniman, memiliki pengaruh yang besar; seperti pergolakan politik, perjuangan, pembaharuan, cita-cita dari masyarakat membawa akibat kejiwaan yang tegang serta gelisah. Pada tahun 1928 saat tercetusnya Sumpah Pemuda, merupakan pengaruh yang sangat besar atas bangkitnya Seni Lukis Indonesia memiliki kepribadian sendiri yang kuat. Juga tidak daat disangkal bahwa kekuatan sejarah dimasa penjajahan Belanda menyebabkan adanya persentuhan Seni Lukis Indonesia dengan Seni Lukis Barat (Eropa). Namun tidak semua gaya seni lukis Barat memiliki pengaruh terhadap seni lukis Indonesia. Tetapi yang jelas terjadi akulturisasi di antara keduanya. Seni lukis yang lahir dan tumbuh serta bernafas di indonesia adalah milik bangsa Indonesia. Begitu pula didukung dengan lahirnya lembaga pendidikan kesenirupaan, sanggar-sanggar, serta gerakan yang mengarah pada pembangunan Seni Rupa Indonesia. Juga perlu adanya motivasi untuk membangkitkan rasa cinta dan memiliki seni lukis itu sendiri. A.

IKHTISAR PERISTIWA SENI RUPA INDONESIA

KURUN JAMAN I: RADEN SALEH DAN PELUKIS-PELUKIS HINDIA JELITA

1807 Raden Saleh Syarif bustaman lahir di Terboyo, Kabupaten Semarang. 1829 Setelah belajar pada pelukis Belgia A.A.J. Payen di Batavia, dikirim ke Belanda untuk studi atas biaya pemerintahan Kerajaan 1839 – 1845 Selama sepuluh tahun bermukim di Belanda, mendapat kesempatan keliling Eropa.

1848 Raden Saleh terkenal dengan karyanya ‘Antara Hidup dan Mati’ yang dilukis saat di Paris.

1870 Raden Saleh melukis di Batavia dengan karyanya ‘Perkelahian Dengan Singa’ sebagai koleksi Istana Negara sekarang.

1914 Berdiri Gedung Kunstkring Batavia sebagai tempat masyarakat Belanda mengadakan kegiatan pameran.
1922 Ki Hajar Dewantara mendirikan perguruan Taman Siswa di Yogyakarta, tumbuh pemuda-pemuda dengan jiwa seni seperti Rusli, S. Sudjojono, Basuki Rosobowo dan Abbas Alibasyah. 1923 Perkumpulan Seni ‘Raden Saleh’ berdiri di Surabaya oleh Maskan, Soepardi, Pik Gan, Joyowisastra.

1926 Pelukis kelahiran Jerman Walter Spies datang di pulau Bali, menetap di Campuan, Ubud. 1934 Penguasa Regnault mengadakan Pameran Lukisan Eropa koleksi pribadinya di gedung Kunstkring karya-karya asli dari : Chagal, Utrillo, Dufy, Gaugin dll.
1935 Cokorda Gede Agung Sukawati beserta Walter Spies dan Rudolf Bonet mendirikan perkumpulan pelukis dan pematung Bali ‘PITHA MAHA’

1936 Pameran koleksi Regnault untuk kedua kalinya menampilkan karya-karya asli dari: Campigli, Chirico dan Van Gogh.

KURUN JAMAN II: PERSAGI DAN SANGGAR-SANGGAR PELUKIS REVOLUSI

1937 Persatuan Ahli Gambar Indonesia (Persagi) berdiri di Jakarta dipimpin Agus Jaya dan S. Sujoyono.

1930 Pelukis Indonesia diperbolehkan mengikuti acara di Kunstkring Batavia

1941 Penyelenggaran pameran Lukisan Indonesia karya-karya seniman, Otto Jaya, Emiria Sunarsa, RM Surono dan Sujoyono oleh lingkaran seni masyarakat Belanda ‘Kunstkring Batavia’

1942 Keimin Bunka Shidosho Pusat Kebudayaan yang didirikan pemerintah Dai yang dipimpin oleh seniman Sasoe Ono dan Yamamoto. Sedang anggota dari Indonesia antara lain: Agus Jaya (ketua), Otto Jaya, Basuki Resobowo, Sujoyono dan Affandi.

1943 Lembaga Kesenian dari Pusat Tenaga Rakyat (Putera) dibentuk dibawah pimpinan Ir. Soekarno, M. Hatta, Ki Hajar Dewantara, dan KH Mansyur. Sedang bagian lukis diserahkan pada pelukis-pelukis Sujoyono, Affandi, basuki Abdullah, Kartono Yudhokusumo, Surono, Dullah, Hendra dll. 1945 Pusat Tenaga Pelukis Indonesia didirikan oleh Jayengasmoro. Angkatan Seni Rupa Indonesia (ASRI) didirikan di kota Medan oleh Nasjah Jamin.

1946 Seniman Indonesia Muda (SIM) didirikan oleh Sujoyono di Madiun kemudian pindah ke Solo, selanjutnya menetap di Jogyakarta 1948.

1947 Hendra Gunawan keluar dari SIM dan mendirikan Pelukis Rakyat (PR) dimana Hendra dan Affandi berkecimpung dalam sanggar. Pada tahun ini juga di Jogyakarta diadakan pameran pelukis-pelukis Revolusi dengan menampilkan sebanyak 70 buah karya lukisan dari Sujoyono, Affandi, Trubus, Haryadi. Saat itu Ipphos membuat dokumentasi foto yang lengkap. Di Bandung berdiri Balai Pendidikan Universitas Guru Gambar yang kelak menjadi bagian seni rupa ITB.

1948 Gabungan Pelukis Indonesia (GPI) didirikan di Jakarta oleh Sutiksna dan Affandi dengan anggotanya: Handriyo, Zaini, Nashar, Oesman Effendy, Suparto, Basuki Rosobowo. Seniman Indonesia Muda Indonesia (SEMI) didirikan oleh Ali Akbar di Bukit Tinggi.

1949 Seniman di Madiun membentuk Tunas Muda Madiun dipimpin oleh Sudiyono, sedang anggotanya al. Kartono, Sudibio, Sunindio. Di Surakarta terbentuk Himpunan BudayaSurakarta pimpinan Murdowo, himpunan ini lebih dikenal HBS.

KURUN JAMAN III: TIMBULNYA AKADEMI-AKADEMI DAN PERKEMBANGAN SENI RUPA MUTAKHIR

1950 Berdiri Akademi Seni Rupa Indonesia (ASRI) didirikan di Jogyakarta dengan dukungan Pusat Tenaga Pelukis Indonesia (PTPI), PIPIM dan pemerintah. Sedang yang menjadi direktur pertama RJ. Katamsi. Bagian Seni Rupa ITB dibentuk dengan pimpinan T. Sumarja. Lembaga Kebudayaan Rakyat (LEKRA) di bentuk di Jogyakarta. Pelukis Indonesia (PI) didirikan antara lain olh Kusnadi dan Sholikin dengan anggota Nasyah Jamin, Gambir Anom, Bagong Kusudiardjo, dan Motinggo Busye. Di Surabaya kelompok seniman al: Karyono, Bandarkum dan Wiwiek Hidayat membentuk ikatan seniman Prabangkara dengan anggotanya Imam Sunaryo, Sunarto Timur, dll. Dengan pimpinan Widagdo di Malang terbentuk Angkatan Pelukis Muda Malang (APMM). Sedang anggotanya Hasan Salman, Joko Irawan, Armand.

1952 Pelukis Indonesia Muda (PIM) berdiri dengan anggota G. Sidharta, Widayat, Sayogo dan seniman angkatan ASRI di Yogyakarta. Kartono Yudhokusumo mendirikan “Sanggar Seniman” di kota Bandung. Pada tahun ini juga berdiri Badan Musyawarah Kebudayaan Nasional (BMKN). 1953 Di Bandung berdiri “Tjipta Pantjaran Rasa” (TPR) oleh R.Waluyo, Abedy dan Angkama.

1954 Atas prakasa Cokorda Gede Agung Sukawati dan Rudolf Bonnet didirikan sebuah Museum “Puri Lukisan” di Ubud Bali.

1955 Sanggar “Matahari” dibentuk oleh Zaini, Trisno, Sumarjo, Oesman Effendi, Nashar, Alex Wetik, Puranta, Alimin.

1956 Pelukis Dullah diangkat sebagai kuraktor koleksi Sukarno dan menerbitkan buku “Koleksi Presi dan Sukarno” dalam 2 jilid.

1958 Berdirinya “Yayasan Seni dan Design Indonesia” oleh Goos Harjasumantri, Oesman Effendi, Zaini, dan Trisno Sumarjo.

1961 Atas dorongan dari pelukis Arie Smit maka muncul corak baru dalam seni lukis Bali dengan gaya dekoraktif naif “ The Young Artist” di daerah Penestanan, Ubud Bali.

1963 Pada tanggal 17 Agustus 1963, Manifes Kebudayaan ditanda tangani oleh seniman-seniman dan cendekiwan seperti; H.B. Yassin, Trisno Sumarjo, Zaini, Taufiq Ismail, Gunawan Muhammad dll. Pelukis Le Man Fong diangkat sebagai kurator koleksi Seni Rupa Presiden Sukarno.

1964 Terbentuk panitia penerbit buku lukisan-lukisan dan patung koleksi Presiden Sukarno menerbikan buku koleksi Sukarno yang ke 2 dalam lima jilid.

1967 Akademi Seni Rupa (Aksera) didirikan oleh seniman-seniman Surabaya saat itu.

1968 Gubenur Ali Sadikin membentuk Dewan Kesenian Jakarta (DKJ) dengan ketuanya Trisno Sumarjo yang pertama Pusat Kesenian Jakarta “Taman Ismail Marzuki” (TIM) diresmikan oleh gubenur Ali Sadikin. 1970 Lembaga Pendidikan Kesenian Jakarta (LPKJ) di bentuk oleh DKI. Kemudian sekarang berubah nama menjadi Institut Kesenian Jakarta (IKJ) Pameran Seni Lukis Indonesia dengan sponsor Menteri Luar Negri Adam Malik di Jakarta dan New York dalam rangka HUT ke 25 PBB.

1971 Terbentuk Akademi Jakarta di Jakarta 1972 R. Bonnet kembali ke Indonesia atas kerja sama kebudayaan Indonesia, Belanda maka terjadi usaha memperluas dan melengkapi museum “Puri Lukisan” di Ubud Bali.

1976 Diselengarakan sebuah pameran besar lukisan Lukisan karya Basuki Abdullah di Hotel Borobudur. Pada tanggal 20 Agustus sampai 28 Nopember selama 100 hari, diselengarakan pameran seni rupa “ Seabad Seni Rupa Indonesia” yang diikuti oleh seniman seni rupa se Indonesia.

At present in Indonesia has developed two major categories of Modern Art. Both groups are growing Indonesian Painting in Bali and one growing in big cities in Indonesia. Both have different styles and perekembangan because basically in because of differences in background, culture.

FIRST GROUP
In the first group is growing Indonesian Painting in Bali. Around the thirties there was a Balinese art updates that experienced little by little from the shift changes from the ancient Balinese art or classical. Before the change, Balinese art has grown with the pattern of art-related Traditional classification by customs and religion of Hindu Bali. While painting the decorative motifs of ancient literature and describe bali.
Once an update is in progress a little different to painting previous page. Then the Balinese painting is no longer just depict ancient literature, but it takes an object such as modern painting. So is his style of engineering problems. However, bagaimanapn also still looks like its parent the Balinese painting. So modern painting which flourished in Bali still be called the Art of Bali because they still keep in touch with the arts and culture of Bali itself.

SECOND GROUP
The second group is currently in Indonesia Modern Art painting which flourished in big cities. A case of Jakarta, Bandung, Yogyakarta, Surabaya, Medan and so on. In general painters of this second type of formal education mengeyam breathing. They are the product of art or art school studios. Most have never studied or read some theories about the nature of modern art.
There are some that incorporate elements of regional art, or things that are traditional in the processing of his art. But the reality could not be included in the regional cultural arts categories. So in principle, still relatively modern painting. This is due to the result of cultural influences that have been developed and also the entry of elements of Western culture. Especially in the colonial period until the education system. So can not be denied that the development of modern art of Western or European give fair development of Modern Art in Indonesia.

FIRST GROUP
 Painting BALI
Before we discuss about Bali's art, we should first look at the background history and aspects of Balinese life and some of the elements supporting the arts in Bali.

Bali is known as an area of interest in keseniaannya was, in fact supported by various aspects, among others
a. Aspects of Hindu life
b. Aspects caused by the relics of history in Bali.
c. Aspects of the kings in Bali
d. Aspects of social life
e. Geographical and natural aspects of Bali.

Aspects of the life of the Hindu religion, Hindu religion has been deeply rooted in Balinese society. Both a tradition and customs of the Balinese people to embrace him. With the variety of religious ceremonies such as piodalan Pura, etc. Yadnya ceremony Panca. The role of supporting the arts and even has become an integral part of Hinduism in Bali. Any religious activities will not be separated from artistic activity TSB. Balinese art so that in its growth in harmony with religion led to a harmonious unity both knit and intimate.
Aspects generated by the objects of heritage
Relics of ancient objects from the time of the Old Stone to the New Stone. Also Hindu-Buddhist cultural heritage (before the influence of Majapahit). Relics include: Copper Inscription, Inscription Rock, Lontar and Prasi, ARCA, Heritage bronze, pottery, a variety of decorative styles. Ancient relics, among others; Hell bronze in Penataran Sasih Pejeng. Yeh Pulu Relief in Petanu, elephant cave, temple Gunung Kawi, statues goddess Gayatri in kuteri etc..

Governance aspects of the kings in Bali
Have ranged from cultural centers to Samprangan Pejeng, Gelgel, Klungkung on governance in Bali. At this time devotion to the art of high quality to the beauty of temple (religion), and Puri (palace). Form style of traditional classification. As decoration pepatraan, puppet. Painting the Mahabharata, Ramayana etc.. This artwork was done together.

Social aspects of Balinese life
Balinese people cling to the customs prevailing among others: Customary law, procedures for daily life, how to live in groups Diman induvidu as part of the public has a close relationship with each other. Such as subak sakaha, kawitan single, single corrected, banjo, village.

Geographical and natural aspects of Bali
Bali with interesting natural beauty with all the co-culture art melantar backs on religion and customs co-exist harmoniously and terwujutnya art of Balinese culture. Like the temple which was established in the vicinity around a beautiful natural sights. So also with the existence of a winding road on the slopes of mountains, rice fields in back berbukitan, blue mountains, valleys and gorges, lakes and oceans, all embody the beauty and natural kemesteriusan Bali and many evocative and become a source of inspiration for artists.

HISTORICAL BACKGROUND
The development of Balinese art in general can not be separated from historical factors and geographical area of Bali.
Since the influence of the Majapahit kingdom in Bali, Bali causes associated both with the East Java. Thus causing the Hindu Javanese art well developed there are mixed with the local arts. There was a renewal and integration, harmony and childbirth timbulah a Balinese art and culture. Has a distinctive taste and characteristics, then the renewal had produced Bali Arts we know today. Similarly, the existence of various relics.
Ahead of the twentieth century began under the influence of Balinese elements of Western culture. Marked by the entry of the Dutch power panjajahan in Bali in 1908.
Pembaruhan with the influence of Western cultural elements in kesenian.dimulai Impessionime since the arrival of German painter Walter Spies in 1926. Also followed by the arrival of the Dutch painter Rudolf Bonnet named in 1928.
Due to the influence of the two men occurred a phenomenon pembaruhan which culminated with the establishment of the group "Pitha Maha" in 1934. Subsequently followed by the birth of Ubud art style and the style rocks.
In 1928 the museum has been established that stores objects of art in the form of palm and prasi. The museum was established in the area north of the city of Singaraja Bali, with the name "House Kirtya"
In 1956 established a museum that holds the museum of paintings with the name "Castle Painting'', while the founder is an entity called the Foundation Ratna Wartha. Then followed another museum painting "Le Mayeur" be around the coast of Sanur Bali. Also in 1982 the foundation of Dharma Art founded a museum of paintings with the name "Neka Museum", was established in the Ubud area.
With the influx due to the influence of modern art and culture, will arise in the reform of the mental attitude that is communal to individual. Of art "kesanggingan" into a form of art "contemporary".
Renewal because in general the people of Bali readily accept anything good from the outside, preceded by a selection and then become the property itself. Due to the resulting echoes in the art-imitating, due to dwindling personal identity menadi banjar attau village identity.
Moderate pembaruhan fundamental experienced by young people through formal education and artistic disciplines, with modern techniques, various forms of art which the modern concept of identity and foster personal style.

DISTRIBUTION OF BALI STYLE in painting

Since the influence of the movement of the group "Pitha Maha", then the renewal and modernization in the art of rapid development occurred. However, in the form and style are said to be in line characteristic of Balinese painting.
In the development of various trends that seem to be categorized into several things among others:
1. CLASSICAL Kamasan Painting
2. Painting PITHA ALMIGHTY
3. Painting YOUNG ARTISTS
4. ACADEMIC Painting

Classical Painting of Kamasan

A continuation of the tradition of painting puppet. Auh not form his style different from shadow puppets. Only portrayal face and figure looked three-quarters of both pupils of her eyes visible.
The development of this painting has been started since the XVI century, when kerajajn Gelgel fell and government moves to Klungkung. Many gained share in the decoration of temples and palaces in the style of this painting. Relics that are still there and well maintained. Posted at Kerthagosa buildings in the area now Klunkung
In 1686 appeared a painter (Sangging) named Sangging Mahudara in Klungkung, and he became a pioneer in the development of this packaging of classical painting.
Kamasan being taken from the name of a village that became the center of the development of this art until now.

Characteristics include:
• The basic ingredients of the woven fabric as a canvas, calico, boards, plywood, boards herd.
• Colors used include: red (stone), blue (Blau), yellow (ground pere), black (langes), white (bone). For other colors by processing these basic colors.
• Tools that form a brush made from bamboo and pen in the bolt of a sharpened wood-like material.
• The theme is taken from the Ramayana, Mahabharata, Baratayudha, Malet story or story banner, Sucasoma, and pelintangan or calendar birth.
At first painting was done communally (collectively) that is carried along by some people. But subsequent developments appear personalities, among others:
• Mangku Mura
• Ida Bagus Made Gelgel
• I Nyoman Mandra
• I Wayan Sticky

Painting Pitha Maha

With the influence of 2 people painter who came to Bali. They are Walter Spies and Rudolf Bonnet, influence the development of Balinese painting with the education and training of modern techniques of Western-style painters in Bali at that time.
Then with the help of Cokorda Ngurah Lingsir, in 1935 founded the organization include:
1. Aiming to promote and develop local arts.
2. Aiming to improve the quality of the art.
3. Helping menyelenggaraan exhibition of the works either Pedan commission outside of the region and abroad.
As a general characteristic of this style painting shows a change from traditional classical styles into a new form of a little bit different, but still remains the hallmark of the style of roots.
These reforms in the personal style of the pioneering work of I Gusti Nyoman Lempat in his art. While the Statue of art pioneered by I Tjokot birth "cokotisme". Updates and symptoms of realist sculpture.
During development of the Pitha Maha these symptoms there are two rather different styles of Ubud style of painting and art rock styles. Each addressing different characteristics and shapes according to regional development.

Ubud Style Painting

This style of painting developed in Ubud and surrounding area until now. An outgrowth of classical style modernization. The existence of a personal style that looks.
Characteristics include:
• Engineering is a modern, wearing canvas base material of the blanco, drill, Metting, paper etc..
• The tools used already are like modern painting, such as pencil, pen, brush, etc. china.
• Paint that they no longer use natural materials but the materials production plant, are like watercolor, acrylic paint, oil paint, and has also been put on fixatif (coatings).
• Themes that they take no longer literature but the story of everyday objects such as farmers in the rice, temple ceremonies, the market crowd, dance, etc..
Adherents among others:
• I Gusti Nyoman Lempat
• I Gusti Ketut Kobot
• Ida Bagus Made
• Anak Agung Gede Sobrat
• I Wayan Down

Batuan Style

Modern painting style evolved rocks in the Rock and the surrounding area. Is also a development of classical style of painting which has a typical rock.
In Ubud style of painting still looks stylish puppet, but the style has not revealed this rock painting style puppet anymore. Further highlight the rock style black and white in the background, green in (swimming) for foliage colors, and maroon for the color of human skin. So it appears the night and eerie atmosphere.
Characteristics include:
• The materials used are no different from Ubud painting style.
• The tools are also similar, as well as the paint used
• The theme daiambil of popular folklore and themes of everyday life are free.
• Engineering in style rocks more closely by the decorative motifs are more complicated, it is necessary for the artist working precision.

Adherents among others:
• Ida Bagus Made Wija
• Ida Bagus Made Togog
• I Wayan Diligent

Young Artists Painting

In 1961 appeared the flow with a new style that had not previously been in thought. This style of painting with the decorative style is naive. They appear centered in the village near Ubud Penestan. Being the promoter of this style is a painter from the Netherlands Ari Smith. With guidance and motivation given to children in the village to paint freely. So the children paint freely according to the capabilities and all the fantasies of the painting suggests spontaneity. Decorative painting was born naive and childish, fresh and bright colors so that the painting was named Young Artist Painting Style.
Characteristics include:
• The basic ingredients to use canvas or cloth that has been as in modern painting.
• Paint used oil paint, using the medium of kerosene that is not shiny, use plamir for basic coating of paint and glue.
• The tools used beruupa manufactured as in modern painting.
• The theme is taken everyday life that continues to get carried away, farmers, fishermen, Barong dance, dance, etc. Arja.
Adherents among others:
• I Nyoman Chakra
• I Ketut Soki
• I Ketut Puduh
• I Ketut Tagen
• I Ketut Pugur
• I Ketut Londo
• I Ketut Mujung

Modern painting
IN DEVELOPING THE MAJOR CITIES

As was explained in advance that on this second type of painting developed in the big cities in Indonesia. Especially among other cities: Jakarta, Bandung, Yogyakarta, Surabaya, Medan, Semarang, Ujung Pandang and so on.
In general in the city a lot of availability of facilities and infrastructure that enable the development of modern painting is growing rapidly. Moreover, supported by the existence of formal education, namely artistic academy and the emergence of a diverse group of artists with sanggarnya, or private art studios where artists work.
Similarly, supported the existence of other facilities such factors are easy to transport, communication, and enabling economic, sdang more important is the factor of the needs and views of people living with modern culture.
The change of attitude is what allows the growth of community arts modrn in modern society as it appears in the big city. Although it can not be denied the traditional factors are still taken as a minor trend.
Similarly, in the case of works of modern art that developed in Indonesia still have a tendency to incorporate elements of traditional art. But in essence still remains as modern art.
In the art of painting in the second group, it can be said as a modern form of art that exist in Western countries. Because, basically, the influence of either directly or indirectly.

SECOND PERIOD
At around 1940 has grown with the style of painting reveals experiences in life. There appear to characterization and mood tense and anxious at the painting. Given the feeling or energy of objects described by their

THIRD PERIOD
Took place after the year 1960. In this third period has grown style or abstract style of painting. The object of his paintings have been difficult for enjoyed and known shape.

I. ON THE FIRST Painting 1900-1940

Painting that is growing in Indonesia with berobjek on the landscape. Cause factors such as:
Due to the influence of Dutch painter in the era of the Dutch East Indies. The painting has grown from three to four centuries ago in Europe.
The existence of ideals - ideals of the European traders to bring the art of landscape painting in line with the progress and development of entrepreneurs and merchants.
And in fact the painter of that time was pleased to make the object of his paintings took the theme of landscape. Since that time this painting received a good response, especially from the middle class.
Adherents among others:

• Abdullah S.R.
• Mas Pirngadi
• Wakidi

In painting they have tried to create a style by eliminating shadow modern civilization.
With the move and arrange the location and arrangement of trees or grass. As if they improve the state of nature in his paintings. Attention of others is the presence of the color impression of heat, cold etc.. It is indeed trying to change the atmosphere fresh and fun.
Moderate merka painting techniques still use the provisions of Dutch painting. Perspective also receive special attention, in the field is divided into 3, namely the front, middle, and rear.
In the space ditojolkan given the emphasis of light. The color palette has been set in order not to cause a dirty color, then gently and carefully dikuaskan on canvas.

II. ON THE SECOND Painting 1940-1960

In the past this has evolved style of art that express feelings and emotions pibadi style.
Several factors have a tendency:
First, the
Painters with direct face painting and when its object is moved by his emotions close to its object. Tendency to distort the object by changing the shape and color as well proportioned. Thus established a close link between emotion and distortion fused in bentu painting is born. It appears that the dynamic arrangement of a way to pull line and supported the free brushwork, spotan and firm. Therefore it seems dull because of the color is mixed on canvas.
Tergeraknya emotion not only in form but also on the way as the meaning of its object. The relationship between the experiences and thoughts. The experience of the social life of the people in the vicinity of the birth of many inspired paintings. Especially for those who are incorporated in the SIM (Young Indonesian Artists) and the People's painter, among others:

Sujoyono, Affandi, Hendra Gunawan, Surono, Henk Ngantung, Poster, Tarmizi, Otto Jaya, Dullah, Hariyadi, Amrus Natalsya.
Some trends that show the expression of personal emotion, among others: Basuki Resobowo, Sholikin, Oesman Effendi, Zaini, Nashar.

Second,
the Style with greater objectivity is also growing in this period. Painter observing an object, then he had seen his emotions distort. Those who embrace this concept include: Sujoyono, Menk Ngantung, Hariyadi, Dullah, Trubus.
In the development around the year 1940-1960, while many are criticizing the critics of modern painting, due to difficult to understand for ordinary people. They prefer the realistic style of (real). They refused and criticized for that period of painting developed by leaving the object abstraction. But in fact the art of painting still lead to greater abstraction. Similarly, the painter still at the concept of personal style of painting that leads away from realism.

Third,
On the other kencendrungan leads the subjectivity and fantasy. A variety of mental processes such as imagination, daydreams, dreams, myth and so born in art painting.
From a psychological art review showed that it was a protest against the fact that meaningful. But the appearance is not based on the logic of reality when we are in a state of waking.
With the fantasy can bear the image of a fun, tense or fearful that the principle is also irrational.
Beberpa painter who is prone to include: Sudibio, Agus Jaya, Sukirno.

Fourth

Style of painting decorative or ornamental is also developing at this time. Most use the object tree or a stylized or patterned leaves. Character of the line made clear, repetitive rhythms, and patterns of neat and tidy.
The development of this ornamental style is not likely to menggayakan shape of an object as a model, but to codify various elements that form a line, color, texture, the field became a common form. Being the object of human or animal is no longer as we know it. No longer describes the portrait of someone. But the symbolism depicts oyektif but there is also no greater abstraction.
Some adherents among others: Kartono Yudhokusumo, Hendra Gunawan, god Lubis, Widayat, Abas Alibasyah, ponderous Kusudiarjo, Suparto.

III. TOWARDS Abstract Painting 1955-1960

At this time of evolving styles of painting that shows the transition from the existing styles toward the realization of abstract painting style. This style appeared primarily in cities such as Jakarta, Bandung, and Yogyakarta.
In Bandung look at the works of Ahmad Sadali, Mochtar Apin, Srihadi, Popo Iskandar, But Mochtar, Yusuf Effendi. Currently in Jakarta on Oesman Effendi. In Yogyakarta on the work of G. Sidhartha, Dawn Sidik, Handriyo, Abbas Alibasyah.
In this transitional period seems an attempt to recast the forms of objects into the motives of the flat. Occurred from the intersection of straight and curved lines which divide the surface of the canvas, color and geometric areas.
The tendency of this period seem more freely in the preparation of abstract shapes. Preparation of the expressive way in terms of lyrical as well as satisfying a way as to terms of aesthetic feeling. So from this moment has come a transitional phenomenon in the newness of Indonesian art. Then the birth of abstract art form Indonesia.

IV. Painting ON THIRD PERIOD (AFTER 1960)

Developments after 1960, Indonesia has a new form in painting, namely Abstract Painting. The style does not serve the object that we know in reality. Because it is said to be non-objective abstract painting or a non-figurative.
Abstract painting is basically no way apart from the existing relationship. We can not close the curved world vision of the reality around us. We can capture what wrote that exist in the world with many possibilities. Earth seen from space, details of surface soil and stones, objects are viewed from the microscope. The forms are people aware of the richness of a way that could foster diverse ideas.
So the background experience and knowledge of the way, whether it be physiological or psychological factors as an important factor in experiencing the art of abstract painting. And the presence of preparation effort on wealth and depth of experience will form a diverse world.

Development
Growth in abstract painting began around 1960, with marked abstraction of a factor greater than ever.

Srihadi (1960-1962)
Experiments appeared to produce an abstract painting in filling new developments Indonesian art. His paintings form a loose graffiti dynamic and transparent colors.

A. Sadali 1993
Presents a dim colors such as land, ocher, blue inside and black. Texture plays an important role, which is the power of natural processes, such as tension and shrinkage, cracking and breaking, penyobekan, erosion, weathering, aging and destroyed. In fact also puts a melt of the remnants of gold, also in pairs in the form of symbols taken from the holy Quran verse, reminiscent of the black rectangle Ka'bah, the form of mountains, as well as upward movement.

Fadjar Sidik 1963
Produce an abstract painting by presenting the geometric arrangement. Vignet sketched in the spheres, triangles and so on. Also the forms that resemble humans, animals, plants. Using the colors blue, red, bright yellow with a flat.

Oesman Effendi 1960
With away from its natural form, in 1968 brought the art of abstract painting in the presence of contrast, harmony and variety of lines, bright colors and arrangement of the pressure that is open, and move freely and close beriama rhythm in art music.

Popo Iskandar 1970
The painter was performed with a lyrical nature and life. Still use the connection with natural objects such as panati, pemandagan, flowers, cats, etc..
Some of the other painters who came up with improvisations without thinking subject, bringing the object even though we know it is not clear. Painters, among others:
A. D. Pirous, Yusuf Effendi, Rustam Arief, Amri Yahya, D. A. Peransi

O.H. Supono

Painting by bringing the concept of abstract fantasy. By displaying moving objects and figures as well as real-auh of the natural world. Other painters'm trying to experiment with textures, materials and techniques. Sticking pieces of paper, fabric, glass, metal, with a sewing techniques, welding, punching holes in the canvas. Assemble a variety of goods and materials and techniques developed rapidly. They include: Sapto Hudoyo, Abas Alibasyah, Amri Yahya, Bagong Kusudiardjo, Mujita, Mustika.

V. OVERVIEW Abstract Painting

Abstract painting that developed during this third lead to the shades 'Lirisme'. Is an expression of emotions and feelings of painters in the world.
Painting as an expressive field to project a sense of emotion and feeling vibrations. The field of painting as an imaginary world that has its own nature.
Being in 1970 Indonesia abstract painting appears a tendency of the anti 'lirisme'. Have a tendency, among others:

First
They get rid of associations with nature and life. Basically adhered to the principle of orderly mathematical sense and rationality in a way sni.
Painting as a mathematical structure with geometric forms. Painting is a research, analysis, measuring, counting to cause symptoms in the structure of the optical collection system.
Proponents of this understanding include: Harsono, Nanik miRNA, Anyyol Subroto, Sugeng Santoso. In 1970-1973 appeared the New Art Indonesia which actually is the impact of Pop Art.
Then in the know, 1973, Danarto the exhibition presents a blank canvas in large size and without pigora. From his experiments, he gave the philosophy that the painting becomes the environment for the viewer. No longer isolated in an imaginary world with limited pigora wall.

Second
Anti 'lirisme' of this second tendency manifested in the form kekongritan. If 'lirisme' filter and then transforming the experience and emotions in an imaginary world.
However, the anti 'lirisme' did not seem to filter out of the natural transformation. It's no longer the picture it presented, but the object itself. Not a sense of disgust that were served to the satisfaction of an imaginary, but a sense of disgust that sediri served without limit, so it creates a feeling of disgust when people see it.
Because they argue that art is not a piece of imaginary worlds with the distance but must direnungi meampilkan concrete object that can involve physical observer.
This is evident in the exhibition 'painting 74' by B. Munniardhi, Harsono and Nanik miRNA. New Art movement also Indonesia in 1975 by Jim Supangat, Hardi, Harsono, B. Munniardhi, Siti Adyati.

A. BACKGROUND Art INDONESIA

In the development of a New Painting Indonesia is inseparable from social and cultural association Indonesia itself. It would require cultural inheritance in human nature Indonesia, on the basis of human relationships and the reality around her own, so interwoven intuition, emotion, and reality.
The development of civilization Indonesia still show the persistence of elements of the old culture, has given its own breath in the development of Indonesia New Painting. Especially apparent motive of decorative effects. Where previously a part of the traditional arts.
Similarly with the forces of history in the social life around the artist, has a great influence, such as political upheaval, struggle, renewal, the ideals of community mental health consequences are tense and agitated.
In 1928 when the outbreak of the Youth Pledge, is a huge influence on the rise Painting Indonesia has its own strong personality. Nor does daat denying that future history of the Dutch colonial power led to the contiguity Painting Painting Indonesia with the West (Europe). However, not all styles of Western painting has an influence on Indonesian art. But it is clear acculturation occurs between them.
Paintings are born and grow and breathe in Indonesia is owned by the Indonesian nation. Similarly, educational institutions supported by the birth of artistic, studios, and the movement that led to the development of Indonesian Arts. Also need the motivation to evoke feelings of love and have a painting itself.

A. SUMMARY OF EVENTS ART INDONESIA

1807 Raden Saleh Sharif was born in Terboyo Bustaman, Semarang regency.
1829 After studying at the Belgian painter A.A.J. Payen in Batavia, sent
to the Netherlands to study at the expense Kingdom government
1839 - 1845 Over the past ten years living in the Netherlands, had the opportunity around Europe.
1848 Raden Saleh is famous for his work 'Between Life and Death' which was painted while in Paris.
Raden Saleh's 1870 painting in Batavia with his work 'Fight With Lions' as a collection of the State Palace today.
1914 House Standing Kunstkring Batavia as a place to hold exhibitions of Dutch society.
Ki Hajar Dewantara 1922 Student Park founded the university in Yogyakarta, growing youths with artistic soul like Rush, S. Sudjojono, Basuki Alibasyah Rosobowo and Abbas.
1923 Society of Arts 'Raden Saleh' stand in Surabaya by worried about, Soepardi, Pik Gan, Joyowisastra.
1926-born German painter Walter Spies arrived on the island of Bali, settled in Campuan, Ubud.
Regnault Ruler 1934 European Painting Exhibition held in the building Kunstkring personal collection of original works of: Chagal, Utrillo, Dufy, Gaugin etc..
1935 Cokorda Gede Agung Sukawati and Walter Spies and Rudolf Bonet established painters and sculptors association Bali 'PITHA ALMIGHTY'
1936 Exhibition for the second time Regnault collection featuring original works from: Campigli, Chirico and Van Gogh.

Period TIMES I: Raden Saleh and beautiful INDIAN PAINTER PAINTER-

Period TIMES II: PERSAGI studios PAINTER AND REVOLUTION
1937 Association of Picture Experts Indonesia (Persagi) standing in Jakarta led by Agus Jaya and S. Sujoyono.
1930 Painters Indonesia is allowed to follow the event in Batavia Kunstkring
Indonesia 1941 Painting exhibition organizing the works of artists, Otto Jaya, Emiria Sunarsa, RM Surono and Sujoyono by art circle of Dutch society 'Kunstkring Batavia'
1942 Keimin Shidosho Bunka Cultural Center established government led by artists Dai Sasoe Ono and Yamamoto. Being a member of Indonesia, among others: Agus Jaya (chairman), Otto Jaya, Basuki Resobowo, Sujoyono and Affandi.
1943 Art Institute of Energy Center for the People (Son) was formed under the leadership of Ir. Sukarno, M. Hatta, Ki Hajar Dewantara, and KH Mansyur. The painting is being handed over to the painters Sujoyono, Affandi, Basuki Abdullah, Kartono Yudhokusumo, Surono, Dullah, Hendra etc..
Indonesia Power Center 1945 Painters was founded by Jayengasmoro.
Indonesia Force Arts (ASRI) was established in the city of Medan by Nasjah Jamin.
1946 Indonesia Young Artists (SIM) was established by Sujoyono in Madison and then moved to Solo, then settled in Jogyakarta 1948.
Hendra Gunawan 1947 out of the driver's license and founded the People's painter (PR) where Hendra and Affandi dabbling in the studio.
In this year also held exhibitions in Yogyakarta painters Revolution by displaying as many as 70 pieces of paintings Sujoyono, Affandi, Trubus, Haryadi. At that Ipphos create a complete photo documentation.
In Bandung Institute of Education University Teacher standing image that would become part of art ITB.
1948 Combined Painters Indonesia (GPI) was established in Jakarta by Sutiksna and Affandi with its members: Handriyo, Zaini, Nashar, Oesman Effendy, Suparto, Basuki Rosobowo.
Young artist Indonesia Indonesia (SEMI) was established by Ali Akbar at Bukit Tinggi.
1949 Artists in Madison forming Tunas Muda Sudiyono led by Madison, were members of al. Kartono, Sudibio, Sunindio.
Association formed in Surakarta BudayaSurakarta Murdowo leadership, this set is better known HBS.

Period TIMES III:
The emergence-ACADEMY ACADEMY OF ART AND cutting-edge
1950 Academy of Fine Arts Standing Indonesia (ASRI) was established in Yogyakarta with the support of the Central Power Painters Indonesia (PTPI), PIPIM and government. Who's who became the first director of the RJ. Katamsi.
Section of Fine Arts ITB was formed with the leadership of T. Sumarja.
People's Cultural Institute (LEKRA) in the form in Jogyakarta.
Painters Indonesia (PI) was established, among others, olh Kusnadi and Sholikin with members Nasyah Jamin, Gambier Anom, Bagong Kusudiardjo, and Motinggo Busye.
In Surabaya group of artists al: Karyono, Bandarkum and Wiwiek Hidayat Prabangkara artists form bonds with members of Imam Sunaryo, Sunarto East, etc..
With the leadership Widagdo formed in Malang Malang Young Painters Force (APMM). Moderate members Salman Hasan, Joko Irawan, Armand.
1952 Painters Indonesia Muda (PIM) stand with members of G. Sidhartha, Widayat, ASRI force Sayogo and artists in Yogyakarta.
Kartono Yudhokusumo founded "Studio Artist" in the city of Bandung.
In this year also established the National Culture Consultative Body (BMKN).
1953 In Bandung standing "Tjipta Pantjaran Sense" (TPR) by R. Waluyo, Abedy and Angkama.
1954 Top Prakasa Cokorda Gede Agung Sukawati and Rudolf Bonnet founded a Museum "Puri Paintings" in Ubud Bali.
1955 Studio "Sun" was formed by Zaini, Trisno, Sumarjo, Oesman Effendi, Nashar, Alex Wetik, Puranta, Alimin.

1956 Painters Dullah Sukarno appointed as kuraktor collection and published the book "Collection President and Sukarno" in 2 vols.
1958 The establishment of the "Foundation for Art and Design Indonesia" by Goos Harjasumantri, Oesman Effendi, Zaini and Trisno Sumarjo.
1961 On the encouragement of artist Arie Smit then emerged a new style in the style of Balinese painting dekoraktif naive "The Young Artist" in the area Penestanan, Ubud Bali.
1963 On August 17, 1963, the Cultural Manifesto signed by artists and cendekiwan like; HB Yassin, Trisno Sumarjo, Zaini, Taufiq Ismail, Gunawan Muhammad etc..
Painter Le Man Fong was appointed as curator of Fine Arts collection of President Sukarno.
Formed in 1964 the committee publishers paintings and sculpture collection of President Sukarno Sukarno menerbikan book collection into two in five volumes.
1967 Academy of Fine Arts (Aksera) was founded by artists Surabaya at that time.
1968 Governor Ali Sadikin form the Jakarta Arts Council (DKJ) with the first chairman Trisno Sumarjo
Jakarta Art Center "Taman Ismail Marzuki" (TIM) was inaugurated by governor Ali Sadikin.
1970 Education of the Jakarta Arts Institute (LPKJ) in the form by DKI. Then now changed its name to the Jakarta Arts Institute (IKJ)
Indonesia Art Exhibition sponsored by Foreign Minister Adam Malik in Jakarta and New York in the framework of the UN's 25th anniversary.
Formed 1971 Academy Jakarta in Jakarta
1972 R. Bonnet returned to Indonesia in cooperation between cultures of Indonesia, the Netherlands then there is business to expand and complement the museum "Castle Painting" in Ubud Bali.
1976 held a major exhibition of paintings
Paintings by Basuki Abdullah at Hotel Borobudur.
On 20 August to 28 November for 100 days, held art exhibition "Century Indonesian Art" which was followed by fine arts artists across Indonesia.

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B. PERKEMBANGAN SENI LUKIS INDONESIA MODERN Pada dewasa ini di Indonesia telah berkembang 2 golongan besar Seni Lukis Modern. Kedua golongan tersebut adalah Seni Lukis Indonesia yang berkembang di Bali dan satu lagi berkembang di kota-kota besar di Indonesia. Keduanya memiliki gaya dan perekembangan yang berbeda karena pada dasarnya di karenakan perbedaan latar, kebudayaan. GOLONGAN PERTAMA Pada golongan pertama adalah Seni Lukis Indonesia yang berkembang di daerah Bali. Sekitar tahun tiga puluhan seni lukis Bali terjadi suatu pembaruan yang dialami sedikit demi sedikit dari pergeseran perubahan dari seni lukis Bali kuno atau klasik. Sebelum terjadi perubahan itu, seni lukis Bali telah berkembang dengan pola seni lukis Klasi Tradisonal yang terkait oleh adat istiadat dan agama Hindu Bali. Sedangkan seni lukis tersebut bermotif dekoratif dan melukiskan kesusastraan kuno bali. Setelah terjadi pembaharuan dalam perkembangannya yang sedikit berbeda dengan seni lukis sebelumya tsb. Maka seni lukis Bali tidak lagi hanya melukiskan kesusastraan kuno,tetapi sudah mengambil objek seperti seni lukis modern. Begitu juga masalah teknik bentuk gayanya. Akan tetapi bagaimanapn juga masih tampak seperti induknya yaitu seni lukis Bali. Maka seni lukis modern yang berkembang di Bali masih dapat dinamakan Seni Lukis Bali karena masih tetap berhubungan dengan kesenian dan kebudayaan Bali sendiri. GOLONGAN KEDUA Sedang pada golongan kedua adalah Seni lukis Indonesia Modern yang berkembang di kota-kota besar. Sepeti Jakarta,Bandung Yogyakarta,Surabaya,Medan dsb. Pada umumnya pelukis-pelukis golongan kedua ini perna mengeyam pendidikan formal. Mereka merupakan hasil produk sekolah kesenian rupa atau sanggar-sanggar. Paling tidak pernah belajar atau membaca beberapa teori tentang hakekat seni modern. Ada beberapa yang memasukan unsur-unsur seni kedaerahan, atau hal yang bersifat tradisonal dalam pengolahan seni lukisnya. Tetapi kenyataannya tidak bisa dimasukan dalam kategori seni budaya daerah. Jadi pada prinsipnya masih tergolong seni lukis modern. Hal ini disebabkan terjadinya akibat pengaruh kebudayaan yang telah berkembang dan juga masuknya anasir kebudayaan Barat. Terutama pada masa penjajahan sampai pada sistim pendidikannya. Sehingga tidak dapat dipungkiri lagi bahwa perkembangan seni modern Barat atau Eropah memberikan adil berkembangnya Seni Lukis Modern di Indonesia. GOLONGAN PERTAMA  SENI LUKIS BALI Sebelum kita membahas tentang seni lukis Bali,sebaiknya lebih dulu kita melihat latar sejarah dan aspek kehidupan masyarakat Bali serta beberapa unsur-unsur penunjang kesenian di Bali. Bali dikenal sebagai daerah yang menarik dalam keseniaannya itu, pada kenyataanya ditunjang oleh berbagai aspek antara lain a. Aspek kehidupan agama Hindu b. Aspek ditimbulkan oleh benda-benda peninggalan sejarah di Bali. c. Aspek pemerintah raja-raja di Bali d. Aspek kehidupan sosial masyarakat e. Aspek geografis dan alam Bali. Aspek kehidupan agama Hindu,agama Hindu ini telah berakar kuat pada masyarakat Bali. Sekaligus menjadi tradisi dan adat istiadat masyarakat Bali untuk memeluknya. Dengan adanya berbagai upacara agama seperti piodalan Pura,upacara Panca Yadnya dsb. Maka peranan seni mendukung dan bahkan telah menjadi salah satu bagian integral dari agama Hindu di Bali. Setiap kegiatan keagamaan tidak akan terlepas dari kegiatan kesenian tsb. Sehingga dalam pertumbuhannya kesenian Bali selaras dengan agama menyebabkan keduanya terjalin kesatuan yang harmonis dan mesra. Aspek ditimbulkan oleh benda-benda peninggalan sejarah Peninggalan benda-benda purbakala dari jaman Batu Tua sampai Batu Baru. Juga peninggalan kebudayaan Hindu-Budha (sebelum pengaruh Majapahit). Peninggalan tersebut antara lain: Prasasti Tembaga, Prasasti Batu, Lontar dan Prasi, Arca, Peninggalan perunggu,Gerabah,berbagai gaya ragam hias. Peninggalan kuno antara lain; Neraka perunggu di Pura Penataran Sasih Pejeng. Relief di Yeh Pulu Petanu,gua gajah, pura gunung kawi, patung-patung dewi Gayatri di kuteri dsb. Aspek pemerintahan raja-raja di Bali Mempunyai pusat kebudayaan berkisar dari Pejeng ke Samprangan, Gelgel, Klungkung pada pemerintahan dalam Bali. Pada masa ini pengabdian terhadap seni bermutu tinggi untuk keindahan Pura (religi),dan Puri (istana). Bentuk gaya klasi tradisonal. Seperti hiasan pepatraan,pewayangan. Melukis cerita Mahabarata,Ramayana dsb. Karya seni ini dikerjakan bersama-sama. Aspek kehidupan sosial masyarakat Bali Masyarakat Bali berpegang teguh pada adat istiadat yang berlaku antara lain: Hukum adat, tata pergaulan sehari-hari,cara hidup berkelompok diman induvidu sebagai bagian masyarakat mempunyai hubungan yang erat antara satu dengan yang lainya. Seperti subak sakaha,tunggal kawitan,tunggal sanggah,banjar,desa. Aspek geografis dan alam Bali Bali dengan alam yang menarik dengan segala keindahannya turut melantar belakangi agama seni budaya dan adat istiadat yang serasi dan saling mengisi terwujutnya seni budaya Bali. Seperti pura yang didirikan di sekitar di sekitar pemadangan alam yang indah. Begitu juga dengannya adanya jalan yang berliku-liku di lereng gunung, sawah di punggung berbukitan, gunung membiru ,lembah dan ngarai,danau serta lautan,semua mewujudkan keindahan dan kemesteriusan alam Bali dan banyak menggugah serta menjadi sumber bahan inspirasi bagi seniman. LATAR BELAKANG SEJARAH Perkembangan kesenian Bali pada umumnya tidak terlepas dari faktor sejarah serta kondisi geografi daerah Bali. Sejak kerajaan Majapahit berpengaruh di Bali, menyebabkan Bali berhubungan baik dengan Jawa Timur. Sehingga menyebabkan kesenian Hindu Jawa berkembang baik di sana yang bercampur dengan kesenian setempat. Terjadi suatu pembaharuan serta pembauran,timbulah suatu keserasian dan melahirkan seni budaya Bali. Memiliki cita rasa dan ciri tersendiri, maka pembaharuan tadi menghasilkan Kesenian Bali yang kita kenal sekarang. Begitu pula adanya berbagai peninggalan. Menjelang pada abad XX Bali mulai mendapat pengaruh dari unsur budaya Barat. Ditandai dengan masuknya kekuasaan panjajahan Belanda di daerah Bali pada tahun 1908. Pembaruhan dengan adanya pengaruh anasir kebudayaan Barat dalam kesenian.dimulai sejak datangnya pelukis Impessionime dari Jerman bernama Walter Spies pada tahun 1926. Juga disusul dengan datangnya pelukis Belanda bernama Rudolf Bonnet pada tahun 1928. Akibat pengaruh kedua orang tersebut terjadi suatu gejala pembaruhan yang mencapai puncaknya dengan berdirinya kelompok “Pitha Maha” pada tahun 1934. Selanjutnya disusul dengan lahirnya seni gaya Ubud dan gaya Batuan. Pada tahun 1928 telah didirikan museum yang menyimpan benda-benda seni berupa lontar dan prasi. Museum tersebut didirikan di daerah Bali utara yaitu kota Singaraja,dengan di beri nama “Gedung Kirtya” Pada tahun 1956 berdiri sebuah museum yang menyimpan lukisan dengan nama museum “Puri Lukisan’’, sedangkan pendirinya adalah sebuah badan yang bernama Yayasan Ratna Wartha. Kemudian menyusul lagi museum Lukisan “Le Mayeur” berada di sekitar pantai Sanur Bali. Juga pada tahun 1982 yayasan Dharma Seni mendirikan sebuah museum lukisan dengan nama “museum Neka”, didirikan di daerah Ubud. Dengan akibat masuknya pengaruh seni budaya modern, maka timbul juga pembaharuan dalam sikap mental dari yang bersifat komunal menjadi individual. Dari seni “kesanggingan” menjadi bentuk seni “kekinian”. Pembaharuan tersebut karena pada umunya masyarakat Bali mudah menerima sesuatu yang baik dari luar,dengan didahului oleh seleksi dan kemudian menjadi milik sendiri. Akibat tersebut sehingga terjadi tiru-meniru dalam kalangan seni,akibat identitas pribadi semakin menipis menadi identitas banjar attau desa. Sedang pembaruhan yang mendasar dialami oleh generasi muda dengan melalui pendidikan formal dan disiplin ilmu kesenirupaan, dengan teknik modern muncul berbagai bentuk karya seni yang berkonsep modern dan menumbuhkan identitas gaya pribadi. PEMBAGIAN GAYA DALAM SENI LUKIS BALI Sejak adanya pengaruh gerakan dari kelompok “Pitha Maha”, maka pembaharuan dan modernisasi dalam seni lukis terjadi perkembangan yang pesat. Akan tetapi dalam bentuk dan gayanya masih dikatakan dalam garis ciri khas seni lukis Bali. Pada perkembangan tampak berbagai kecenderungan yang dapat di kategorikan menjadi beberapa hal antar lain: 1. SENI LUKIS KLASIK KAMASAN 2. SENI LUKIS PITHA MAHA 3. SENI LUKIS YOUNG ARTIS 4. SENI LUKIS AKADEMIS Seni Lukis Klasik Kamasan Merupakan kelanjutan dari tradisi melukis wayang. Bentuk gayanya tidak auh berbeda dengan wayang kulit. Hanya pelukisan wajah figurnya tampak tiga perempat dan kedua belah biji matanya kelihatan. Perkembangan seni lukis ini sudah dimulai sejak abad XVI, pada saat kerajajn Gelgel jatuh dan pemerintahan berpindah ke Klungkung. Banyak didapatkan berbagi hiasan pada pura dan puri dengan gaya seni lukis ini. Peninggalan yang masih ada dan terawat baik. Terdapat pada gedung Kerthagosa di daerah Klunkung sekarang Pada tahun 1686 muncul seorang pelukis (sangging) bernama Sangging Mahudara di Klungkung,dan beliau menjadi pelopor pada perkembangan seni lukis klasik kemasan ini. Sedang kamasan diambil dari nama sebuah desa yang menjadi pusat berkembangnya seni lukis ini sampai kini. Ciri-cirinya antara lain : • Bahan dasar sebagai kanvas dari kain tenun, blacu, papan, triplek, herd board. • Warna yang digunakan antara lain: merah (dari batu), biru (blau), kuning (tanah pere), hitam (langes), putih (tulang). Untuk warna lain dengan mengolah warna-warna pokok tersebut. • Alat yang berupa kuas dibuat dari bambu dan pena yang di baut dari bahan sejenis kayu yang diruncingkan. • Tema diambil dari cerita Ramayana, Mahabarata, Baratayudha, cerita malet atau cerita panji, Sucasoma, dan pelintangan atau kalender kelahiran. Pada mulanya seni lukis ini dikerjakan secara komunal (kolektif) yaitu dikerjakan bersama oleh beberapa orang. Tapi perkembangan selanjutnya mucul pribadi-pribadi antara lain: • Mangku Mura • Ida Bagus Made Gelgel • I Nyoman Mandra • I Wayan Lengket Seni Lukis Pitha Maha Dengan adanya pengaruh 2 orang pelukis yang datang ke Bali. Mereka adalah Walter Spies dan Rudolf Bonnet, berpengaruh terhadap perkembangan seni lukis Bali dengan adanya pelajaran dan didikan tehnik modern ala Barat pada pelukis-pelukis Bali saat itu. Kemudian atas bantuan dari Cokorda Ngurah Lingsir, pada tahun 1935 mendirikan organisasi tersebut antara lain: 1. Bertujuan memajukan dan mengembangkan seni daerah. 2. Bertujuan untuk meningkatkan mutu hasil seni. 3. Membantu menyelenggaraan pameran hasil karya dari pedan komisi baik ke luar daerah maupun ke luar negri. Sebagai ciri umum lukisan gaya ini menunjukan perubahan dari gaya klasik tradisonal menuju pada bentuk baru yang sedikit agak berbeda, tetapi masih tetap ada ciri khas gaya akarnya. Pembaharuan ini di pelopori dengan gaya pribadi dari karya I Gusti Nyoman Lempat dalam seni lukisnya. Sedangkan pada seni Patung dipelopori oleh I Tjokot melahirkan “cokotisme”. Serta gejala pembaruan seni patung realis. Pada masa Pitha Maha ini gejala perkembangan terdapat 2 gaya yang agak berbeda yaitu seni lukis gaya Ubud dan seni lukis gaya Batuan. Masing menujukan ciri dan bentuk yang berbeda sesuai daerah perkembangannya. Seni Lukis Gaya Ubud Gaya seni lukis ini berkembang di daerah Ubud dan sekitarnya sampai kini. Merupakan perkembangan dari gaya klasik yang mengalami modernisasi. Adanya gaya pribadi yang tampak. Ciri-cirinya antara lain: • Tehnik sudah modern, bahan dasar memakai kanvas dari blanco, drill, metting, kertas dsb. • Alat-alat yang dipakai sudah seperi seni lukis modern, seperti potlot, pena, kuas cina dsb. • Cat yang mereka pakai tidak lagi bahan alam melainkan bahan-bahan hasil produksi pabrik, seperi cat air, cat acrylic, cat minyak, dan juga telah memakai fixatif (pelapis). • Tema yang mereka ambil tidak lagi cerita sastra tapi objek sehari-hari seperti petani di sawah, upacara pura, keramaian pasar, tari-tarian dsb. Penganutnya antara lain: • I Gusti Nyoman Lempat • I Gusti Ketut Kobot • Ida Bagus Made • Anak Agung Gede Sobrat • I Wayan Turun Seni LukisGaya Batuan Seni lukis modern gaya Batuan ini berkembang di daerah Batuan dan sekitarnya. Juga merupakan perkembangan gaya seni lukis klasik yang memiliki ciri khas Batuan. Pada gaya Ubud masih tampak gaya lukisan wayang, tetapi pada gaya Batuan ini sudah tidak menampakkan gaya lukisan wayang lagi. Gaya Batuan lebih menonjolkan warna hitam dan putih pada latar belakang, hijau dalam (kolam) untuk warna dedaunan, dan merah kecoklatan untuk warna kulit manusia. Sehingga menampakan suasana malam dan menakutkan. Ciri-cirinya antara lain: • Bahan yang digunakan tidak berbeda dengan gaya lukisan Ubud. • Alat-alat juga sama, begitu pula dengan cat yang dipakai • Tema yang daiambil dari cerita rakyat yang populer dan tema kehidupan sehari-hari yang bebas. • Teknik pada gaya Batuan lebih teliti dengan adanya motif dekoratif yang lebih rumit, maka perlu adanya kecermatan kerja bagi pelukisnya. Penganutnya antara lain: • Ida Bagus Made Wija • Ida Bagus Made Togog • I Wayan Rajin Seni Lukis Young Artis Pada tahun 1961 muncul aliran dengan corak baru yang sebelumnya tidak pernah di duga. Lukisan gaya ini dengan corak dekoratif yang naif. Kemunculannya berpusat di desa Penestan dekat Ubud. Sedang promotor dari gaya ini adalah seorang pelukis dari Belanda Ari Smith. Dengan bimbingan dan motivasi yang diberikan pada anak-anak di desa itu untuk melukis sebebas-bebasnya. Jadi anak melukis bebas sesuai kemampuan yang dimiliki dan segala fantasinya maka lukisan itu menunjukkan spontanitas besar. Lahirlah lukisan dekoratif yang naif dan kekanak-kanakan, warna segar dan cemerlang sehingga lukisan tersebut dinamakan Seni Lukis Gaya Young Artis. Ciri-cirinya antara lain: • Bahan dasar memakai kanvas atau kain yang sudah seperti pada seni lukis modern. • Cat yang dipakai cat minyak, dengan mengunakan medium dari minyak tanah agar tidak mengkilat,menggunakan plamir untuk pelapis dasar dari cat tembok dan lem. • Alat-alat yang dipakai beruupa buatan pabrik seperti pada seni lukis modern. • Tema yang diambil ialah kehidupan sehari-hari yang terus terbawa, petani, nelayan, tari Barong, tari Arja dsb. Penganutnya antara lain: • I Nyoman Cakra • I Ketut Soki • I Ketut Puduh • I Ketut Tagen • I Ketut Pugur • I Ketut Londo • I Ketut Mujung SENI LUKIS MODERN YANG BERKEMBANG DI KOTA-KOTA BESAR Seperti yang telah dijelaskan di muka bahwa pada golongan seni lukis kedua ini berkembang di daerah kota-kota besar di Indonesia. Terutama kota-kota antara lain: Jakarta, Bandung, Yogyakarta, Surabaya, Medan, Semarang, Ujung Pandang dsb. Pada umumnya di kota banyak tersedianya sarana dan prasarana yang memungkinkan berkembangnya seni lukis modern berkembang dengan pesat. Apalagi ditunjang dengan adanya pendidikan formal, yakni akademi kesenirupaan dan munculnya berbagai kelompok seniman dengan sanggarnya, ataupun studio seni pribadi dimana seniman bekerja. Begitu pula ditunjang adanya fasilitas lain seperti faktor transportasi yang mudah, komunikasi, serta ekonomi yang lebih memungkinkan, sdang yang lebih penting adalah faktor kebutuhan dan pandangan hidup masyarakat dengan kebudayaan yang modern. Perubahan dari sikap hidup masyarakat inilah yang memungkinkan bertumbuhnya seni modrn dalam masyarakat modern seperti yang tampak dalam masyarakat kota besar tersebut. Walaupun tidak dapat dipungkiri faktor tradisional masih dibawa sebagai suatu kecenderungan kecil. Begitu pula dalam hal karya seni modern yang berkembang di Indonesia masih juga terdapat kecenderungan untuk memasukan unsur seni tradisonal. Tetapi pada dasarnya masih tetap sebagai seni modern. Dalam seni lukis pada golongan kedua, dapat dikatakan seperti bentuk seni lukis modern yang ada di negara-negara Barat. Karena pada dasarnya adanya pengaruh baik itu secara langsung maupun tidak langsung. MASA KEDUA Pada sekitar tahun 1940 telah tumbuh seni lukis dengan gaya mengungkapkan pengalaman dalam hidup. Tampak adanya perwatakan dan keadaan jiwa tegang dan gelisah pada lukisan. Mengingat perasaan atau energi terhadap objek yang dilukiskan oleh mereka MASA KETIGA Berlangsung sesudah masa tahun 1960. Pada masa ketiga ini telah tumbuh gaya atau corak seni lukis abstrak. Objek lukisannya telah sukar untuk dinikmati dan dikenal bentuknya. I. SENI LUKIS PADA MASA PERTAMA 1900-1940 Yaitu seni lukis yang tumbuh di Indonesia dengan berobjek pada pemandangan alam. Faktor-faktor penyebabnya antara lain: Karena pengaruh pelukis Belanda pada jaman Hindia Belanda. Seni lukis tersebut telah berkembang sejak tiga sampai empat abad yang lalu di Eropa. Adanya cita – cita kaum pedagang Eropa dengan membawa seni lukis pemandangan alam sejalan dengan kemajuan dan perkembangan kaum pengusaha dan saudagar. Serta pada kenyataanya pelukis jaman itu memang senang membuat objek dari lukisannya mengambil tema pemandangan alam. Karena saat itu seni lukis ini mendapat tanggapan yang baik, terutama dari kaum menengah. Penganutnya antara lain: • Abdullah S.R. • Mas Pirngadi • Wakidi Dalam lukisan mereka telah mencoba membuat suatu gaya dengan cara menghilangkan bayangan peradapan jaman modern. Dengan memindahkan dan mengaturnya letak dan susunan pohon atau rerumputan. Seolah-olah mereka memperbaiki keadaan alam dalam lukisannya. Perhatian yang lain ialah dengan adanya kesan warna panas, dingin dsb. Hal tersebut memang berusaha untuk mengubah suasana segar dan menyenangkan. Sedang teknik melukis merka masih menggunakan ketentuan-ketentuan dalam seni lukis Belanda. Perspektif juga mendapat perhatian khusus, dalam bidang di bagi menjadi 3 yaitu depan, tengah, dan belakang. Pada ruang yang ditojolkan diberi penekana cahaya. Warna telah diatur pada palet agar tidak menimbulkan warna yang kotor, kemudian dikuaskan dengan halus serta teliti pada kanvas. II. SENI LUKIS PADA MASA KEDUA 1940-1960 Di masa ini telah berkembang gaya seni lukis yang mengungkapkan perasaan dan gaya emosi pibadi. Beberapa faktor kecendrungan: Pertama, Pelukis dengan langsung menghadapi objeknya saat melukis serta digerakan oleh emosinya yang erat dengan objeknya. Kecenderungan mendistorsi objek dengan mengubah bentuk dan proposinya serta warna. Sehingga terjalin hubungan erat antara emosi dan distorsi yang menyatu dalam bentu lukisan yang terlahir. Tampak susunan rupa yang dinamis dengan ditunjang tarikan garis dan sapuan kuas yang leluasa, spotan dan tegas. Oleh karena itu tampak kusam karena warna di campur di atas kanvas. Tergeraknya emosi tidak saja pada wujud rupa melainkan juga pada makna obyeknya. Hubungan antara dengan pengalaman dan pikiran. Pengalaman akan kehidupan sosial rakyat di sekitar banyak memberikan inspirasi atas lahirnya karya lukis. Terutama bagi mereka yang tergabung pada SIM ( Seniman Indonesia Muda ) dan pelukis Rakyat antara lain: Sujoyono, Affandi, Hendra Gunawan, Surono, Henk Ngantung, Trubus, Tarmizi, Otto Jaya, Dullah, Hariyadi, Amrus Natalsya. Beberapa yang menunjukan kecendrungan ungkapan emosi pribadi antara lain: Basuki Resobowo, Sholikin, Oesman Effendi, Zaini, Nashar. Kedua, Gaya dengan objektifitas lebih besar juga berkembang dalam masa ini. Pelukis mengamati suatu objek, lalu emosinya mendistorsi yang dilihatnya tadi. Mereka yang menganut konsep ini antara lain:Sujoyono, Menk Ngantung, Hariyadi, Dullah, Trubus. Pada perkembangan sekitar tahun 1940-1960 ini, sementara kritikus banyak yang mengecam pada seni lukis modern,karena sukarnya untuk dipahami oleh masyarakat biasa. Mereka lebih suka pada gaya realistis (nyata). Mereka menolak dan mengeritik agar seni lukis masa itu berkembang dengan meninggalkan abstraksi objeknya. Akan tetapi pada kenyataanya seni lukis tetap mengarah pada abstraksi lebih besar. Demikian juga para pelukis tetap pada konsep pribadi yang mengarah pada gaya lukisan yang jauh dari realisme. Ketiga, Pada kencendrungan lainya mengarah adanya subjektifitas dan fantasi. Berbagai proses kejiwaan seperti khayal, lamunan, mimpi, mithos dan sebagainya terlahir dalam karya seni lukis. Dari tinjauan seni psikologis menunjukkan bahwa semuanya itu merupakan protes terhadap kenyataan yang bermakna. Tetapi munculnya tidak berdasarkan logika kenyataan saat kita dalam keadaan terbangun. Dengan fantasi dapat melahirkan citra yang menyenangkan, mencekam atau juga menakutkan yang melalui prinsip irrasional. Beberpa pelukis yang berkecenderungan ini antara lain: Sudibio, Agus Jaya, Sukirno. Keempat Gaya seni lukis dekoratif atau hias juga berkembang pada masa ini. Kebanyakan menggunakan obyek pohon atau daun yang digayakan atau dipolakan. Watak garis diperjelas, irama berulang-ulang, serta pola teratur dan rapi. Perkembangan dari gaya hias ini tidak cenderung menggayakan bentuk obyek sebagai model, melainkan menyusun berbagai elemen-elemen rupa yaitu garis, warna, tekstur, bidang menjadi bentuk umum. Sedang obyek manusia atau binatang bukan lagi seperti yang kita kenal. Tidak lagi melukiskan potret sesorang. Tetapi melukiskan perlambangan juga tidak oyektif melainkan adanya abstraksi yang lebih besar. Beberapa penganutnya antara lain: Kartono Yudhokusumo, Hendra Gunawan, batara Lubis, Widayat, Abas Alibasyah, bagong Kusudiarjo, Suparto. III. MENJELANG SENI LUKIS ABSTRAK 1955-1960 Pada masa ini berkembang gaya seni lukis yang menunjukkan peralihan dari gaya yang telah ada menuju pada perwujudan gaya seni lukis abstrak. Gaya ini terutama muncul di kota-kota seperti Jakarta, Bandung, dan Jogjakarta. Di Bandung tampak pada karya-karya dari Ahmad Sadali, Mochtar Apin, Srihadi, Popo Iskandar, But Mochtar, Yusuf Effendi. Sedang di Jakarta pada Oesman Effendi. Di Yogyakarta pada karya G. Sidharta, Fajar Sidik, Handriyo, Abbas Alibasyah. Pada masa peralihan ini tampak suatu usaha untuk merombak bentuk-bentuk obyek menjadi motif-motif yang datar. Terjadi dari perpotongan garis lurus dan lengkung yang membagi permukaan dari kanvas, warna serta bidang-bidang geometris. Kecenderungan dari masa ini tampak lebih bebas dalam penyusunan bentuk-bentuk abstrak. Penyusunan rupa yang ekspresif sebagai segi liris serta memuaskan perasaan rupa untuk segi estetik. Maka mulai saat ini telah muncul suatu gejala peralihan dalam pembaharuan seni lukis Indonesia. Kemudian lahir bentuk seni lukis abstrak Indonesia. IV. SENI LUKIS PADA MASA KETIGA (SESUDAH 1960) Perkembangan sesudah tahun 1960, Indonesia memiliki bentuk baru dalam seni lukis, yaitu Seni Lukis Abstrak. Gaya tersebut tidak menyuguhkan objek yang kita kenal dalam kenyataan. Karena itu dikatakan seni lukis abstrak non objektif atau non figuratif. Seni lukis abstrak pada dasarnya tidak terlepas dari hubungan rupa yang ada. Kita tidak bisa menutup penglihatan dunia laur dari kenyataan di sekitar kita. Kita bisa menangkap apa aja yang ada di dunia dengan berbagai kemungkinannya. Bumi dilihat dari angkasa, detail dari permukaan tanah dan batu, benda yang dilihat dari mikroskop. Bentuk-bentuk tersebut menyadarkan pada kita akan kekayaan rupa yang bisa menumbuhkan ide yang beraneka. Jadi latar belakang pengalaman dan pengetahuan tentang rupa, baik itu secara fisiologi maupun faktor psikologis sebagai faktor yang penting dalam menghayati seni lukis abstrak. Serta adanya usaha persiapan tentang kekayaan dan kedalaman pengalaman akan dunia rupa yang beraneka. PERKEMBANGANNYA Pertumbuhan seni lukis abstrak di mulai sekitar tahun 1960, dengan ditandai dari faktor abstraksi yang lebih besar dari sebelumnya. Srihadi (1960-1962) Muncul eksperimen dengan menghasilkan seni lukis abstrak dalam mengisi perkembangan baru seni lukis Indonesia. Lukisannya berupa coretan-coretan yang lepas dinamis dan warna-warna transparan. A.Sadali 1993 Menyuguhkan warna-warna redup seperti tanah, oker, biru dalam dan hitam. Tekstur memegang peranan penting, yang merupakan tenaga dari proses alam, seperti penegangan dan pengerutan, peretakan dan pemecahan, penyobekan, pengikisan, pelapukan, proses menua dan hancur. Bahkan juga menempatkan lelehan dari sisa-sisa emas, juga bentuk lambang di pasang di ambil dari ayat suci alquran, segi empat hitam mengingatkan pada ka’bah, bentuk gunungan, serta gerakan ke atas. Fajar Sidik 1963 Menghasilkan lukisan abstrak dengan menyuguhkan susunan geometris. Membuat sketsa Vignet dalam bulatan, segi tiga dsb. Juga bentuk-bentuk yang menyerupai manusia, binatang, tumbuh-tumbuhan. Menggunakan warna-warna biru, merah, kuning terang dengan rata. Oesman Effendi 1960 Dengan menjauhi bentuk alam, pada tahun 1968 membawa seni lukis abstrak dengan adanya kontras, harmoni dan variasi garis, warna cerah serta adanya tekanan susunan yang terbuka, dan bergerak leluasa serta beriama hampir mendekati irama pada seni musik. Popo Iskandar 1970 Pelukis satu ini tampil dengan liris alam dan kehidupan. Masih tetap menggunakan hubungan dengan objek alam seperti panati, pemandagan, bunga, kucing dsb. Beberapa pelukis lain yang datang dengan improvisasi tanpa pikiran pokok, membawa objek yang kita kenal walaupun tidak jelas. Pelukis-pelukis tersebut antara lain: A. D. Pirous, Yusup Effendi, Rustam Arief, Amri Yahya, D. A. Peransi O.H. Supono Melukis dengan membawa konsep fantasi abstrak. Dengan menampilkan obyek dan figur yang bergerak serta auh dari dunia alam nyata. Sedang pelukis-pelukis lain mencoba bereksperimen dengan tekstur, bahan serta teknik. Menempel potongan kertas, kain, kaca, logam, dengan teknik menjahit, mengelas, melubangi kanvas. Merakit bermacam-macam barang dan bahan serta teknik berkembang pesat. Mereka tersebut antara lain: Sapto Hudoyo, Abas Alibasyah, Amri Yahya, Bagong Kusudiardjo, Mujita, Mustika. V. TINJAUAN UMUM SENI LUKIS ABSTRAK Seni lukis abstrak yang berkembang pada masa ketiga ini mengarah pada corak ‘Lirisme’. Merupakan ungkapan emosi dan perasaan pelukis dalam dunianya. Lukisan sebagai bidang ekspresif untuk memproyeksikan rasa emosi dan getaran perasaan. Bidang lukisan sebagai dunia imajiner yang memiliki kodrat sendiri. Sedang pada tahun 1970 seni lukis abstrak Indonesia muncul suatu kecenderungan yang anti ‘lirisme’. Memiliki kecenderungan antara lain: Pertama Mereka menyingkirkan asosiasi dengan alam dan kehidupan. Pada dasarnya berpegang pada prinsip perasaan dalam tertib matematis dan rasionalitas dalam sni rupa. Lukisan sebagai susunan matematis dengan bentuk-bentuk geometris. Melukis merupakan penelitian, analisa, mengukur, menghitung untuk menimbulkan gejala optis dalam struktur bersistem. Pendukung dari paham ini antara lain: Harsono, Nanik Mirna,Anyyol Subroto, Sugeng Santoso. Pada tahun 1970-1973 muncul Seni Rupa Baru Indonesia yang sebenarnya merupakan dampak dari Pop Art. Kemudian pada tahu 1973, Danarto dengan pamerannya menyuguhkan kanvas kosong dalam ukuran besar dan tanpa pigora. Dari eksperimennya itu ia memberikan filosofi bahwa lukisan menjadi lingkungan bagi si pengamat. Tidak lagi dunia imajiner yang terkucil di dinding dengan dibatasi pigora. Kedua Anti ‘lirisme’ dari kecenderungan kedua ini terwujud pada kekongritan bentuk. Kalau ‘lirisme’ menyaring dan kemudian menjelmakan pengalaman serta emosi dalam dunia imajiner . Akan tetapi pada anti ‘lirisme’ tampak tidak menyaring dari transformasi alam. Bukan lagi gambaran benda itu disuguhkan tetapi benda itu sendiri. Bukan rasa jijik yang disuguhkan untuk kepuasan imajiner, melainkan rasa jijik itu sediri disuguhkan tanpa batas, sehingga menimbulkan rasa jijik jika orang melihatnya. Sebab mereka berdalih bahwa seni bukan sepotong dunia imajiner yang mesti direnungi dengan jarak tetapi meampilkan obyek kongkrit yang mampu melibatkan pengamat secara fisik. Hal ini tampak pada pameran ‘seni lukis 74’ oleh B. Munniardhi, Harsono dan Nanik Mirna. Juga gerakan Seni Rupa Baru Indonesia pada tahun 1975 oleh Jim Supangat, Hardi, Harsono, B. Munniardhi, Siti Adyati. A. LATAR BELAKANG SENI LUKIS INDONESIA Dalam perkembangan Seni Lukis Indonesia Baru tidak terlepas dari kaitan kemasyarakatan dan kebudayaan Indonesia sendiri. Maka diperlukan pewarisan budaya dalam watak manusia Indonesia, dengan dasar hubungan manusia dan realita sekelilingnya sendiri, sehingga terjalin intuisi, emosi, serta realitas. Perkembangan peradaban masyarakat Indonesia tetap memperlihatkan bertahannya unsur-unsur kebudayaan lama, telah memberi nafas tersendiri dalam perkembangan Seni Lukis Indonesia Baru. Terutama tampak jelas pengaruh motip dari ragam hias. Dimana sebelumnya merupakan bagian dari seni tradisional. Begitupula dengan kekuatan sejarah dalam kehidupan sosial di sekeliling para seniman, memiliki pengaruh yang besar; seperti pergolakan politik, perjuangan, pembaharuan, cita-cita dari masyarakat membawa akibat kejiwaan yang tegang serta gelisah. Pada tahun 1928 saat tercetusnya Sumpah Pemuda, merupakan pengaruh yang sangat besar atas bangkitnya Seni Lukis Indonesia memiliki kepribadian sendiri yang kuat. Juga tidak daat disangkal bahwa kekuatan sejarah dimasa penjajahan Belanda menyebabkan adanya persentuhan Seni Lukis Indonesia dengan Seni Lukis Barat (Eropa). Namun tidak semua gaya seni lukis Barat memiliki pengaruh terhadap seni lukis Indonesia. Tetapi yang jelas terjadi akulturisasi di antara keduanya. Seni lukis yang lahir dan tumbuh serta bernafas di indonesia adalah milik bangsa Indonesia. Begitu pula didukung dengan lahirnya lembaga pendidikan kesenirupaan, sanggar-sanggar, serta gerakan yang mengarah pada pembangunan Seni Rupa Indonesia. Juga perlu adanya motivasi untuk membangkitkan rasa cinta dan memiliki seni lukis itu sendiri. A. IKHTISAR PERISTIWA SENI RUPA INDONESIA 1807 Raden Saleh Syarif bustaman lahir di Terboyo, Kabupaten Semarang. 1829 Setelah belajar pada pelukis Belgia A.A.J. Payen di Batavia, dikirim ke Belanda untuk studi atas biaya pemerintahan Kerajaan 1839 – 1845 Selama sepuluh tahun bermukim di Belanda, mendapat kesempatan keliling Eropa. 1848 Raden Saleh terkenal dengan karyanya ‘Antara Hidup dan Mati’ yang dilukis saat di Paris. 1870 Raden Saleh melukis di Batavia dengan karyanya ‘Perkelahian Dengan Singa’ sebagai koleksi Istana Negara sekarang. 1914 Berdiri Gedung Kunstkring Batavia sebagai tempat masyarakat Belanda mengadakan kegiatan pameran. 1922 Ki Hajar Dewantara mendirikan perguruan Taman Siswa di Yogyakarta, tumbuh pemuda-pemuda dengan jiwa seni seperti Rusli, S. Sudjojono, Basuki Rosobowo dan Abbas Alibasyah. 1923 Perkumpulan Seni ‘Raden Saleh’ berdiri di Surabaya oleh Maskan, Soepardi, Pik Gan, Joyowisastra. 1926 Pelukis kelahiran Jerman Walter Spies datang di pulau Bali, menetap di Campuan, Ubud. 1934 Penguasa Regnault mengadakan Pameran Lukisan Eropa koleksi pribadinya di gedung Kunstkring karya-karya asli dari : Chagal, Utrillo, Dufy, Gaugin dll. 1935 Cokorda Gede Agung Sukawati beserta Walter Spies dan Rudolf Bonet mendirikan perkumpulan pelukis dan pematung Bali ‘PITHA MAHA’ 1936 Pameran koleksi Regnault untuk kedua kalinya menampilkan karya-karya asli dari: Campigli, Chirico dan Van Gogh. KURUN JAMAN I: RADEN SALEH DAN PELUKIS-PELUKIS HINDIA JELITA KURUN JAMAN II: PERSAGI DAN SANGGAR-SANGGAR PELUKIS REVOLUSI 1937 Persatuan Ahli Gambar Indonesia (Persagi) berdiri di Jakarta dipimpin Agus Jaya dan S. Sujoyono. 1930 Pelukis Indonesia diperbolehkan mengikuti acara di Kunstkring Batavia 1941 Penyelenggaran pameran Lukisan Indonesia karya-karya seniman, Otto Jaya, Emiria Sunarsa, RM Surono dan Sujoyono oleh lingkaran seni masyarakat Belanda ‘Kunstkring Batavia’ 1942 Keimin Bunka Shidosho Pusat Kebudayaan yang didirikan pemerintah Dai yang dipimpin oleh seniman Sasoe Ono dan Yamamoto. Sedang anggota dari Indonesia antara lain: Agus Jaya (ketua), Otto Jaya, Basuki Resobowo, Sujoyono dan Affandi. 1943 Lembaga Kesenian dari Pusat Tenaga Rakyat (Putera) dibentuk dibawah pimpinan Ir. Soekarno, M. Hatta, Ki Hajar Dewantara, dan KH Mansyur. Sedang bagian lukis diserahkan pada pelukis-pelukis Sujoyono, Affandi, basuki Abdullah, Kartono Yudhokusumo, Surono, Dullah, Hendra dll. 1945 Pusat Tenaga Pelukis Indonesia didirikan oleh Jayengasmoro. Angkatan Seni Rupa Indonesia (ASRI) didirikan di kota Medan oleh Nasjah Jamin. 1946 Seniman Indonesia Muda (SIM) didirikan oleh Sujoyono di Madiun kemudian pindah ke Solo, selanjutnya menetap di Jogyakarta 1948. 1947 Hendra Gunawan keluar dari SIM dan mendirikan Pelukis Rakyat (PR) dimana Hendra dan Affandi berkecimpung dalam sanggar. Pada tahun ini juga di Jogyakarta diadakan pameran pelukis-pelukis Revolusi dengan menampilkan sebanyak 70 buah karya lukisan dari Sujoyono, Affandi, Trubus, Haryadi. Saat itu Ipphos membuat dokumentasi foto yang lengkap. Di Bandung berdiri Balai Pendidikan Universitas Guru Gambar yang kelak menjadi bagian seni rupa ITB. 1948 Gabungan Pelukis Indonesia (GPI) didirikan di Jakarta oleh Sutiksna dan Affandi dengan anggotanya: Handriyo, Zaini, Nashar, Oesman Effendy, Suparto, Basuki Rosobowo. Seniman Indonesia Muda Indonesia (SEMI) didirikan oleh Ali Akbar di Bukit Tinggi. 1949 Seniman di Madiun membentuk Tunas Muda Madiun dipimpin oleh Sudiyono, sedang anggotanya al. Kartono, Sudibio, Sunindio. Di Surakarta terbentuk Himpunan BudayaSurakarta pimpinan Murdowo, himpunan ini lebih dikenal HBS. KURUN JAMAN III: TIMBULNYA AKADEMI-AKADEMI DAN PERKEMBANGAN SENI RUPA MUTAKHIR 1950 Berdiri Akademi Seni Rupa Indonesia (ASRI) didirikan di Jogyakarta dengan dukungan Pusat Tenaga Pelukis Indonesia (PTPI), PIPIM dan pemerintah. Sedang yang menjadi direktur pertama RJ. Katamsi. Bagian Seni Rupa ITB dibentuk dengan pimpinan T. Sumarja. Lembaga Kebudayaan Rakyat (LEKRA) di bentuk di Jogyakarta. Pelukis Indonesia (PI) didirikan antara lain olh Kusnadi dan Sholikin dengan anggota Nasyah Jamin, Gambir Anom, Bagong Kusudiardjo, dan Motinggo Busye. Di Surabaya kelompok seniman al: Karyono, Bandarkum dan Wiwiek Hidayat membentuk ikatan seniman Prabangkara dengan anggotanya Imam Sunaryo, Sunarto Timur, dll. Dengan pimpinan Widagdo di Malang terbentuk Angkatan Pelukis Muda Malang (APMM). Sedang anggotanya Hasan Salman, Joko Irawan, Armand. 1952 Pelukis Indonesia Muda (PIM) berdiri dengan anggota G. Sidharta, Widayat, Sayogo dan seniman angkatan ASRI di Yogyakarta. Kartono Yudhokusumo mendirikan “Sanggar Seniman” di kota Bandung. Pada tahun ini juga berdiri Badan Musyawarah Kebudayaan Nasional (BMKN). 1953 Di Bandung berdiri “Tjipta Pantjaran Rasa” (TPR) oleh R.Waluyo, Abedy dan Angkama. 1954 Atas prakasa Cokorda Gede Agung Sukawati dan Rudolf Bonnet didirikan sebuah Museum “Puri Lukisan” di Ubud Bali. 1955 Sanggar “Matahari” dibentuk oleh Zaini, Trisno, Sumarjo, Oesman Effendi, Nashar, Alex Wetik, Puranta, Alimin. 1956 Pelukis Dullah diangkat sebagai kuraktor koleksi Sukarno dan menerbitkan buku “Koleksi Presi dan Sukarno” dalam 2 jilid. 1958 Berdirinya “Yayasan Seni dan Design Indonesia” oleh Goos Harjasumantri, Oesman Effendi, Zaini, dan Trisno Sumarjo. 1961 Atas dorongan dari pelukis Arie Smit maka muncul corak baru dalam seni lukis Bali dengan gaya dekoraktif naif “ The Young Artist” di daerah Penestanan, Ubud Bali. 1963 Pada tanggal 17 Agustus 1963, Manifes Kebudayaan ditanda tangani oleh seniman-seniman dan cendekiwan seperti; H.B. Yassin, Trisno Sumarjo, Zaini, Taufiq Ismail, Gunawan Muhammad dll. Pelukis Le Man Fong diangkat sebagai kurator koleksi Seni Rupa Presiden Sukarno. 1964 Terbentuk panitia penerbit buku lukisan-lukisan dan patung koleksi Presiden Sukarno menerbikan buku koleksi Sukarno yang ke 2 dalam lima jilid. 1967 Akademi Seni Rupa (Aksera) didirikan oleh seniman-seniman Surabaya saat itu. 1968 Gubenur Ali Sadikin membentuk Dewan Kesenian Jakarta (DKJ) dengan ketuanya Trisno Sumarjo yang pertama Pusat Kesenian Jakarta “Taman Ismail Marzuki” (TIM) diresmikan oleh gubenur Ali Sadikin. 1970 Lembaga Pendidikan Kesenian Jakarta (LPKJ) di bentuk oleh DKI. Kemudian sekarang berubah nama menjadi Institut Kesenian Jakarta (IKJ) Pameran Seni Lukis Indonesia dengan sponsor Menteri Luar Negri Adam Malik di Jakarta dan New York dalam rangka HUT ke 25 PBB. 1971 Terbentuk Akademi Jakarta di Jakarta 1972 R. Bonnet kembali ke Indonesia atas kerja sama kebudayaan Indonesia, Belanda maka terjadi usaha memperluas dan melengkapi museum “Puri Lukisan” di Ubud Bali. 1976 Diselengarakan sebuah pameran besar lukisan Lukisan karya Basuki Abdullah di Hotel Borobudur. Pada tanggal 20 Agustus sampai 28 Nopember selama 100 hari, diselengarakan pameran seni rupa “ Seabad Seni Rupa Indonesia” yang diikuti oleh seniman seni rupa se Indonesia.

B. DEVELOPMENT OF MODERN INDONESIA Painting

At present in Indonesia has developed two major categories of Modern Art. Both groups are growing Indonesian Painting in Bali and one growing in big cities in Indonesia. Both have different styles and perekembangan because basically in because of differences in background, culture.

FIRST GROUP
In the first group is growing Indonesian Painting in Bali. Around the thirties there was a Balinese art updates that experienced little by little from the shift changes from the ancient Balinese art or classical. Before the change, Balinese art has grown with the pattern of art-related Traditional classification by customs and religion of Hindu Bali. While painting the decorative motifs of ancient literature and describe bali.
Once an update is in progress a little different to painting previous page. Then the Balinese painting is no longer just depict ancient literature, but it takes an object such as modern painting. So is his style of engineering problems. However, bagaimanapn also still looks like its parent the Balinese painting. So modern painting which flourished in Bali still be called the Art of Bali because they still keep in touch with the arts and culture of Bali itself.

SECOND GROUP
The second group is currently in Indonesia Modern Art painting which flourished in big cities. A case of Jakarta, Bandung, Yogyakarta, Surabaya, Medan and so on. In general painters of this second type of formal education mengeyam breathing. They are the product of art or art school studios. Most have never studied or read some theories about the nature of modern art.
There are some that incorporate elements of regional art, or things that are traditional in the processing of his art. But the reality could not be included in the regional cultural arts categories. So in principle, still relatively modern painting. This is due to the result of cultural influences that have been developed and also the entry of elements of Western culture. Especially in the colonial period until the education system. So can not be denied that the development of modern art of Western or European give fair development of Modern Art in Indonesia.

FIRST GROUP
 Painting BALI
Before we discuss about Bali's art, we should first look at the background history and aspects of Balinese life and some of the elements supporting the arts in Bali.

Bali is known as an area of interest in keseniaannya was, in fact supported by various aspects, among others
a. Aspects of Hindu life
b. Aspects caused by the relics of history in Bali.
c. Aspects of the kings in Bali
d. Aspects of social life
e. Geographical and natural aspects of Bali.

Aspects of the life of the Hindu religion, Hindu religion has been deeply rooted in Balinese society. Both a tradition and customs of the Balinese people to embrace him. With the variety of religious ceremonies such as piodalan Pura, etc. Yadnya ceremony Panca. The role of supporting the arts and even has become an integral part of Hinduism in Bali. Any religious activities will not be separated from artistic activity TSB. Balinese art so that in its growth in harmony with religion led to a harmonious unity both knit and intimate.
Aspects generated by the objects of heritage
Relics of ancient objects from the time of the Old Stone to the New Stone. Also Hindu-Buddhist cultural heritage (before the influence of Majapahit). Relics include: Copper Inscription, Inscription Rock, Lontar and Prasi, ARCA, Heritage bronze, pottery, a variety of decorative styles. Ancient relics, among others; Hell bronze in Penataran Sasih Pejeng. Yeh Pulu Relief in Petanu, elephant cave, temple Gunung Kawi, statues goddess Gayatri in kuteri etc..

Governance aspects of the kings in Bali
Have ranged from cultural centers to Samprangan Pejeng, Gelgel, Klungkung on governance in Bali. At this time devotion to the art of high quality to the beauty of temple (religion), and Puri (palace). Form style of traditional classification. As decoration pepatraan, puppet. Painting the Mahabharata, Ramayana etc.. This artwork was done together.

Social aspects of Balinese life
Balinese people cling to the customs prevailing among others: Customary law, procedures for daily life, how to live in groups Diman induvidu as part of the public has a close relationship with each other. Such as subak sakaha, kawitan single, single corrected, banjo, village.

Geographical and natural aspects of Bali
Bali with interesting natural beauty with all the co-culture art melantar backs on religion and customs co-exist harmoniously and terwujutnya art of Balinese culture. Like the temple which was established in the vicinity around a beautiful natural sights. So also with the existence of a winding road on the slopes of mountains, rice fields in back berbukitan, blue mountains, valleys and gorges, lakes and oceans, all embody the beauty and natural kemesteriusan Bali and many evocative and become a source of inspiration for artists.

HISTORICAL BACKGROUND
The development of Balinese art in general can not be separated from historical factors and geographical area of Bali.
Since the influence of the Majapahit kingdom in Bali, Bali causes associated both with the East Java. Thus causing the Hindu Javanese art well developed there are mixed with the local arts. There was a renewal and integration, harmony and childbirth timbulah a Balinese art and culture. Has a distinctive taste and characteristics, then the renewal had produced Bali Arts we know today. Similarly, the existence of various relics.
Ahead of the twentieth century began under the influence of Balinese elements of Western culture. Marked by the entry of the Dutch power panjajahan in Bali in 1908.
Pembaruhan with the influence of Western cultural elements in kesenian.dimulai Impessionime since the arrival of German painter Walter Spies in 1926. Also followed by the arrival of the Dutch painter Rudolf Bonnet named in 1928.
Due to the influence of the two men occurred a phenomenon pembaruhan which culminated with the establishment of the group "Pitha Maha" in 1934. Subsequently followed by the birth of Ubud art style and the style rocks.
In 1928 the museum has been established that stores objects of art in the form of palm and prasi. The museum was established in the area north of the city of Singaraja Bali, with the name "House Kirtya"
In 1956 established a museum that holds the museum of paintings with the name "Castle Painting'', while the founder is an entity called the Foundation Ratna Wartha. Then followed another museum painting "Le Mayeur" be around the coast of Sanur Bali. Also in 1982 the foundation of Dharma Art founded a museum of paintings with the name "Neka Museum", was established in the Ubud area.
With the influx due to the influence of modern art and culture, will arise in the reform of the mental attitude that is communal to individual. Of art "kesanggingan" into a form of art "contemporary".
Renewal because in general the people of Bali readily accept anything good from the outside, preceded by a selection and then become the property itself. Due to the resulting echoes in the art-imitating, due to dwindling personal identity menadi banjar attau village identity.
Moderate pembaruhan fundamental experienced by young people through formal education and artistic disciplines, with modern techniques, various forms of art which the modern concept of identity and foster personal style.

DISTRIBUTION OF BALI STYLE in painting
Since the influence of the movement of the group "Pitha Maha", then the renewal and modernization in the art of rapid development occurred. However, in the form and style are said to be in line characteristic of Balinese painting.
In the development of various trends that seem to be categorized into several things among others:
1. CLASSICAL Kamasan Painting
2. Painting PITHA ALMIGHTY
3. Painting YOUNG ARTISTS
4. ACADEMIC Painting

Classical Painting of Kamasan
A continuation of the tradition of painting puppet. Auh not form his style different from shadow puppets. Only portrayal face and figure looked three-quarters of both pupils of her eyes visible.
The development of this painting has been started since the XVI century, when kerajajn Gelgel fell and government moves to Klungkung. Many gained share in the decoration of temples and palaces in the style of this painting. Relics that are still there and well maintained. Posted at Kerthagosa buildings in the area now Klunkung
In 1686 appeared a painter (Sangging) named Sangging Mahudara in Klungkung, and he became a pioneer in the development of this packaging of classical painting.
Kamasan being taken from the name of a village that became the center of the development of this art until now.

Characteristics include:
• The basic ingredients of the woven fabric as a canvas, calico, boards, plywood, boards herd.
• Colors used include: red (stone), blue (Blau), yellow (ground pere), black (langes), white (bone). For other colors by processing these basic colors.
• Tools that form a brush made from bamboo and pen in the bolt of a sharpened wood-like material.
• The theme is taken from the Ramayana, Mahabharata, Baratayudha, Malet story or story banner, Sucasoma, and pelintangan or calendar birth.
At first painting was done communally (collectively) that is carried along by some people. But subsequent developments appear personalities, among others:
• Mangku Mura
• Ida Bagus Made Gelgel
• I Nyoman Mandra
• I Wayan Sticky

Painting Pitha Maha
With the influence of 2 people painter who came to Bali. They are Walter Spies and Rudolf Bonnet, influence the development of Balinese painting with the education and training of modern techniques of Western-style painters in Bali at that time.
Then with the help of Cokorda Ngurah Lingsir, in 1935 founded the organization include:
1. Aiming to promote and develop local arts.
2. Aiming to improve the quality of the art.
3. Helping menyelenggaraan exhibition of the works either Pedan commission outside of the region and abroad.
As a general characteristic of this style painting shows a change from traditional classical styles into a new form of a little bit different, but still remains the hallmark of the style of roots.
These reforms in the personal style of the pioneering work of I Gusti Nyoman Lempat in his art. While the Statue of art pioneered by I Tjokot birth "cokotisme". Updates and symptoms of realist sculpture.
During development of the Pitha Maha these symptoms there are two rather different styles of Ubud style of painting and art rock styles. Each addressing different characteristics and shapes according to regional development.

Ubud Style Painting
This style of painting developed in Ubud and surrounding area until now. An outgrowth of classical style modernization. The existence of a personal style that looks.
Characteristics include:
• Engineering is a modern, wearing canvas base material of the blanco, drill, Metting, paper etc..
• The tools used already are like modern painting, such as pencil, pen, brush, etc. china.
• Paint that they no longer use natural materials but the materials production plant, are like watercolor, acrylic paint, oil paint, and has also been put on fixatif (coatings).
• Themes that they take no longer literature but the story of everyday objects such as farmers in the rice, temple ceremonies, the market crowd, dance, etc..
Adherents among others:
• I Gusti Nyoman Lempat
• I Gusti Ketut Kobot
• Ida Bagus Made
• Anak Agung Gede Sobrat
• I Wayan Down

Art Rocks LukisGaya
Modern painting style evolved rocks in the Rock and the surrounding area. Is also a development of classical style of painting which has a typical rock.
In Ubud style of painting still looks stylish puppet, but the style has not revealed this rock painting style puppet anymore. Further highlight the rock style black and white in the background, green in (swimming) for foliage colors, and maroon for the color of human skin. So it appears the night and eerie atmosphere.
Characteristics include:
• The materials used are no different from Ubud painting style.
• The tools are also similar, as well as the paint used
• The theme daiambil of popular folklore and themes of everyday life are free.
• Engineering in style rocks more closely by the decorative motifs are more complicated, it is necessary for the artist working precision.

Adherents among others:
• Ida Bagus Made Wija
• Ida Bagus Made Togog
• I Wayan Diligent

Young Artists Painting
In 1961 appeared the flow with a new style that had not previously been in thought. This style of painting with the decorative style is naive. They appear centered in the village near Ubud Penestan. Being the promoter of this style is a painter from the Netherlands Ari Smith. With guidance and motivation given to children in the village to paint freely. So the children paint freely according to the capabilities and all the fantasies of the painting suggests spontaneity. Decorative painting was born naive and childish, fresh and bright colors so that the painting was named Young Artist Painting Style.
Characteristics include:
• The basic ingredients to use canvas or cloth that has been as in modern painting.
• Paint used oil paint, using the medium of kerosene that is not shiny, use plamir for basic coating of paint and glue.
• The tools used beruupa manufactured as in modern painting.
• The theme is taken everyday life that continues to get carried away, farmers, fishermen, Barong dance, dance, etc. Arja.
Adherents among others:
• I Nyoman Chakra
• I Ketut Soki
• I Ketut Puduh
• I Ketut Tagen
• I Ketut Pugur
• I Ketut Londo
• I Ketut Mujung

Modern painting
IN DEVELOPING THE MAJOR CITIES

As was explained in advance that on this second type of painting developed in the big cities in Indonesia. Especially among other cities: Jakarta, Bandung, Yogyakarta, Surabaya, Medan, Semarang, Ujung Pandang and so on.
In general in the city a lot of availability of facilities and infrastructure that enable the development of modern painting is growing rapidly. Moreover, supported by the existence of formal education, namely artistic academy and the emergence of a diverse group of artists with sanggarnya, or private art studios where artists work.
Similarly, supported the existence of other facilities such factors are easy to transport, communication, and enabling economic, sdang more important is the factor of the needs and views of people living with modern culture.
The change of attitude is what allows the growth of community arts modrn in modern society as it appears in the big city. Although it can not be denied the traditional factors are still taken as a minor trend.
Similarly, in the case of works of modern art that developed in Indonesia still have a tendency to incorporate elements of traditional art. But in essence still remains as modern art.
In the art of painting in the second group, it can be said as a modern form of art that exist in Western countries. Because, basically, the influence of either directly or indirectly.

SECOND PERIOD
At around 1940 has grown with the style of painting reveals experiences in life. There appear to characterization and mood tense and anxious at the painting. Given the feeling or energy of objects described by their

THIRD PERIOD
Took place after the year 1960. In this third period has grown style or abstract style of painting. The object of his paintings have been difficult for enjoyed and known shape.

I. ON THE FIRST Painting 1900-1940
Painting that is growing in Indonesia with berobjek on the landscape. Cause factors such as:
Due to the influence of Dutch painter in the era of the Dutch East Indies. The painting has grown from three to four centuries ago in Europe.
The existence of ideals - ideals of the European traders to bring the art of landscape painting in line with the progress and development of entrepreneurs and merchants.
And in fact the painter of that time was pleased to make the object of his paintings took the theme of landscape. Since that time this painting received a good response, especially from the middle class.
Adherents among others:
• Abdullah S.R.
• Mas Pirngadi
• Wakidi

In painting they have tried to create a style by eliminating shadow modern civilization.
With the move and arrange the location and arrangement of trees or grass. As if they improve the state of nature in his paintings. Attention of others is the presence of the color impression of heat, cold etc.. It is indeed trying to change the atmosphere fresh and fun.
Moderate merka painting techniques still use the provisions of Dutch painting. Perspective also receive special attention, in the field is divided into 3, namely the front, middle, and rear.
In the space ditojolkan given the emphasis of light. The color palette has been set in order not to cause a dirty color, then gently and carefully dikuaskan on canvas.

II. ON THE SECOND Painting 1940-1960

In the past this has evolved style of art that express feelings and emotions pibadi style.
Several factors have a tendency:
First, the
Painters with direct face painting and when its object is moved by his emotions close to its object. Tendency to distort the object by changing the shape and color as well proportioned. Thus established a close link between emotion and distortion fused in bentu painting is born. It appears that the dynamic arrangement of a way to pull line and supported the free brushwork, spotan and firm. Therefore it seems dull because of the color is mixed on canvas.
Tergeraknya emotion not only in form but also on the way as the meaning of its object. The relationship between the experiences and thoughts. The experience of the social life of the people in the vicinity of the birth of many inspired paintings. Especially for those who are incorporated in the SIM (Young Indonesian Artists) and the People's painter, among others:
Sujoyono, Affandi, Hendra Gunawan, Surono, Henk Ngantung, Poster, Tarmizi, Otto Jaya, Dullah, Hariyadi, Amrus Natalsya.
Some trends that show the expression of personal emotion, among others: Basuki Resobowo, Sholikin, Oesman Effendi, Zaini, Nashar.

Second,
the Style with greater objectivity is also growing in this period. Painter observing an object, then he had seen his emotions distort. Those who embrace this concept include: Sujoyono, Menk Ngantung, Hariyadi, Dullah, Trubus.
In the development around the year 1940-1960, while many are criticizing the critics of modern painting, due to difficult to understand for ordinary people. They prefer the realistic style of (real). They refused and criticized for that period of painting developed by leaving the object abstraction. But in fact the art of painting still lead to greater abstraction. Similarly, the painter still at the concept of personal style of painting that leads away from realism.

Third,
On the other kencendrungan leads the subjectivity and fantasy. A variety of mental processes such as imagination, daydreams, dreams, myth and so born in art painting.
From a psychological art review showed that it was a protest against the fact that meaningful. But the appearance is not based on the logic of reality when we are in a state of waking.
With the fantasy can bear the image of a fun, tense or fearful that the principle is also irrational.
Beberpa painter who is prone to include: Sudibio, Agus Jaya, Sukirno.

Fourth
Style of painting decorative or ornamental is also developing at this time. Most use the object tree or a stylized or patterned leaves. Character of the line made clear, repetitive rhythms, and patterns of neat and tidy.
The development of this ornamental style is not likely to menggayakan shape of an object as a model, but to codify various elements that form a line, color, texture, the field became a common form. Being the object of human or animal is no longer as we know it. No longer describes the portrait of someone. But the symbolism depicts oyektif but there is also no greater abstraction.
Some adherents among others: Kartono Yudhokusumo, Hendra Gunawan, god Lubis, Widayat, Abas Alibasyah, ponderous Kusudiarjo, Suparto.

III. TOWARDS Abstract Painting 1955-1960

At this time of evolving styles of painting that shows the transition from the existing styles toward the realization of abstract painting style. This style appeared primarily in cities such as Jakarta, Bandung, and Yogyakarta.
In Bandung look at the works of Ahmad Sadali, Mochtar Apin, Srihadi, Popo Iskandar, But Mochtar, Yusuf Effendi. Currently in Jakarta on Oesman Effendi. In Yogyakarta on the work of G. Sidhartha, Dawn Sidik, Handriyo, Abbas Alibasyah.
In this transitional period seems an attempt to recast the forms of objects into the motives of the flat. Occurred from the intersection of straight and curved lines which divide the surface of the canvas, color and geometric areas.
The tendency of this period seem more freely in the preparation of abstract shapes. Preparation of the expressive way in terms of lyrical as well as satisfying a way as to terms of aesthetic feeling. So from this moment has come a transitional phenomenon in the newness of Indonesian art. Then the birth of abstract art form Indonesia.

IV. Painting ON THIRD PERIOD (AFTER 1960)

Developments after 1960, Indonesia has a new form in painting, namely Abstract Painting. The style does not serve the object that we know in reality. Because it is said to be non-objective abstract painting or a non-figurative.
Abstract painting is basically no way apart from the existing relationship. We can not close the curved world vision of the reality around us. We can capture what wrote that exist in the world with many possibilities. Earth seen from space, details of surface soil and stones, objects are viewed from the microscope. The forms are people aware of the richness of a way that could foster diverse ideas.
So the background experience and knowledge of the way, whether it be physiological or psychological factors as an important factor in experiencing the art of abstract painting. And the presence of preparation effort on wealth and depth of experience will form a diverse world.

Development
Growth in abstract painting began around 1960, with marked abstraction of a factor greater than ever.

Srihadi (1960-1962)
Experiments appeared to produce an abstract painting in filling new developments Indonesian art. His paintings form a loose graffiti dynamic and transparent colors.

A. Sadali 1993
Presents a dim colors such as land, ocher, blue inside and black. Texture plays an important role, which is the power of natural processes, such as tension and shrinkage, cracking and breaking, penyobekan, erosion, weathering, aging and destroyed. In fact also puts a melt of the remnants of gold, also in pairs in the form of symbols taken from the holy Quran verse, reminiscent of the black rectangle Ka'bah, the form of mountains, as well as upward movement.

Fadjar Sidik 1963
Produce an abstract painting by presenting the geometric arrangement. Vignet sketched in the spheres, triangles and so on. Also the forms that resemble humans, animals, plants. Using the colors blue, red, bright yellow with a flat.

Oesman Effendi 1960
With away from its natural form, in 1968 brought the art of abstract painting in the presence of contrast, harmony and variety of lines, bright colors and arrangement of the pressure that is open, and move freely and close beriama rhythm in art music.

Popo Iskandar 1970
The painter was performed with a lyrical nature and life. Still use the connection with natural objects such as panati, pemandagan, flowers, cats, etc..
Some of the other painters who came up with improvisations without thinking subject, bringing the object even though we know it is not clear. Painters, among others:
A. D. Pirous, Yusuf Effendi, Rustam Arief, Amri Yahya, D. A. Peransi

O.H. Supono
Painting by bringing the concept of abstract fantasy. By displaying moving objects and figures as well as real-auh of the natural world. Other painters'm trying to experiment with textures, materials and techniques. Sticking pieces of paper, fabric, glass, metal, with a sewing techniques, welding, punching holes in the canvas. Assemble a variety of goods and materials and techniques developed rapidly. They include: Sapto Hudoyo, Abas Alibasyah, Amri Yahya, Bagong Kusudiardjo, Mujita, Mustika.

V. OVERVIEW Abstract Painting

Abstract painting that developed during this third lead to the shades 'Lirisme'. Is an expression of emotions and feelings of painters in the world.
Painting as an expressive field to project a sense of emotion and feeling vibrations. The field of painting as an imaginary world that has its own nature.
Being in 1970 Indonesia abstract painting appears a tendency of the anti 'lirisme'. Have a tendency, among others:

First
They get rid of associations with nature and life. Basically adhered to the principle of orderly mathematical sense and rationality in a way sni.
Painting as a mathematical structure with geometric forms. Painting is a research, analysis, measuring, counting to cause symptoms in the structure of the optical collection system.
Proponents of this understanding include: Harsono, Nanik miRNA, Anyyol Subroto, Sugeng Santoso. In 1970-1973 appeared the New Art Indonesia which actually is the impact of Pop Art.
Then in the know, 1973, Danarto the exhibition presents a blank canvas in large size and without pigora. From his experiments, he gave the philosophy that the painting becomes the environment for the viewer. No longer isolated in an imaginary world with limited pigora wall.

Second
Anti 'lirisme' of this second tendency manifested in the form kekongritan. If 'lirisme' filter and then transforming the experience and emotions in an imaginary world.
However, the anti 'lirisme' did not seem to filter out of the natural transformation. It's no longer the picture it presented, but the object itself. Not a sense of disgust that were served to the satisfaction of an imaginary, but a sense of disgust that sediri served without limit, so it creates a feeling of disgust when people see it.
Because they argue that art is not a piece of imaginary worlds with the distance but must direnungi meampilkan concrete object that can involve physical observer.
This is evident in the exhibition 'painting 74' by B. Munniardhi, Harsono and Nanik miRNA. New Art movement also Indonesia in 1975 by Jim Supangat, Hardi, Harsono, B. Munniardhi, Siti Adyati.

A. BACKGROUND Art INDONESIA

In the development of a New Painting Indonesia is inseparable from social and cultural association Indonesia itself. It would require cultural inheritance in human nature Indonesia, on the basis of human relationships and the reality around her own, so interwoven intuition, emotion, and reality.
The development of civilization Indonesia still show the persistence of elements of the old culture, has given its own breath in the development of Indonesia New Painting. Especially apparent motive of decorative effects. Where previously a part of the traditional arts.
Similarly with the forces of history in the social life around the artist, has a great influence, such as political upheaval, struggle, renewal, the ideals of community mental health consequences are tense and agitated.
In 1928 when the outbreak of the Youth Pledge, is a huge influence on the rise Painting Indonesia has its own strong personality. Nor does daat denying that future history of the Dutch colonial power led to the contiguity Painting Painting Indonesia with the West (Europe). However, not all styles of Western painting has an influence on Indonesian art. But it is clear acculturation occurs between them.
Paintings are born and grow and breathe in Indonesia is owned by the Indonesian nation. Similarly, educational institutions supported by the birth of artistic, studios, and the movement that led to the development of Indonesian Arts. Also need the motivation to evoke feelings of love and have a painting itself.

A. SUMMARY OF EVENTS ART INDONESIA

Period TIMES I: Raden Saleh and MOOI INDIE

1807 Raden Saleh Sharif was born in Terboyo Bustaman, Semarang regency.
1829 After studying at the Belgian painter A.A.J. Payen in Batavia, sent
to the Netherlands to study at the expense Kingdom government
1839 - 1845 Over the past ten years living in the Netherlands, had the opportunity around Europe.
1848 Raden Saleh is famous for his work 'Between Life and Death' which was painted while in Paris.
Raden Saleh's 1870 painting in Batavia with his work 'Fight With Lions' as a collection of the State Palace today.
1914 House Standing Kunstkring Batavia as a place to hold exhibitions of Dutch society.
Ki Hajar Dewantara 1922 Student Park founded the university in Yogyakarta, growing youths with artistic soul like Rush, S. Sudjojono, Basuki Alibasyah Rosobowo and Abbas.
1923 Society of Arts 'Raden Saleh' stand in Surabaya by worried about, Soepardi, Pik Gan, Joyowisastra.
1926-born German painter Walter Spies arrived on the island of Bali, settled in Campuan, Ubud.
Regnault Ruler 1934 European Painting Exhibition held in the building Kunstkring personal collection of original works of: Chagal, Utrillo, Dufy, Gaugin etc..
1935 Cokorda Gede Agung Sukawati and Walter Spies and Rudolf Bonet established painters and sculptors association Bali 'PITHA ALMIGHTY'
1936 Exhibition for the second time Regnault collection featuring original works from: Campigli, Chirico and Van Gogh.

Period TIMES II: PERSAGI studios PAINTER AND REVOLUTION

1937 Association of Picture Experts Indonesia (Persagi) standing in Jakarta led by Agus Jaya and S. Sujoyono.
1930 Painters Indonesia is allowed to follow the event in Batavia Kunstkring
Indonesia 1941 Painting exhibition organizing the works of artists, Otto Jaya, Emiria Sunarsa, RM Surono and Sujoyono by art circle of Dutch society 'Kunstkring Batavia'
1942 Keimin Shidosho Bunka Cultural Center established government led by artists Dai Sasoe Ono and Yamamoto. Being a member of Indonesia, among others: Agus Jaya (chairman), Otto Jaya, Basuki Resobowo, Sujoyono and Affandi.
1943 Art Institute of Energy Center for the People (Son) was formed under the leadership of Ir. Sukarno, M. Hatta, Ki Hajar Dewantara, and KH Mansyur. The painting is being handed over to the painters Sujoyono, Affandi, Basuki Abdullah, Kartono Yudhokusumo, Surono, Dullah, Hendra etc..
Indonesia Power Center 1945 Painters was founded by Jayengasmoro.
Indonesia Force Arts (ASRI) was established in the city of Medan by Nasjah Jamin.
1946 Indonesia Young Artists (SIM) was established by Sujoyono in Madison and then moved to Solo, then settled in Jogyakarta 1948.
Hendra Gunawan 1947 out of the driver's license and founded the People's painter (PR) where Hendra and Affandi dabbling in the studio.
In this year also held exhibitions in Yogyakarta painters Revolution by displaying as many as 70 pieces of paintings Sujoyono, Affandi, Trubus, Haryadi. At that Ipphos create a complete photo documentation.
In Bandung Institute of Education University Teacher standing image that would become part of art ITB.
1948 Combined Painters Indonesia (GPI) was established in Jakarta by Sutiksna and Affandi with its members: Handriyo, Zaini, Nashar, Oesman Effendy, Suparto, Basuki Rosobowo.
Young artist Indonesia Indonesia (SEMI) was established by Ali Akbar at Bukit Tinggi.
1949 Artists in Madison forming Tunas Muda Sudiyono led by Madison, were members of al. Kartono, Sudibio, Sunindio.
Association formed in Surakarta BudayaSurakarta Murdowo leadership, this set is better known HBS.

Period TIMES III: The emergence-ACADEMY ACADEMY OF ART AND cutting-edge

1950 Academy of Fine Arts Standing Indonesia (ASRI) was established in Yogyakarta with the support of the Central Power Painters Indonesia (PTPI), PIPIM and government. Who's who became the first director of the RJ. Katamsi.
Section of Fine Arts ITB was formed with the leadership of T. Sumarja.
People's Cultural Institute (LEKRA) in the form in Jogyakarta.
Painters Indonesia (PI) was established, among others, olh Kusnadi and Sholikin with members Nasyah Jamin, Gambier Anom, Bagong Kusudiardjo, and Motinggo Busye.
In Surabaya group of artists al: Karyono, Bandarkum and Wiwiek Hidayat Prabangkara artists form bonds with members of Imam Sunaryo, Sunarto East, etc..
With the leadership Widagdo formed in Malang Malang Young Painters Force (APMM). Moderate members Salman Hasan, Joko Irawan, Armand.
1952 Painters Indonesia Muda (PIM) stand with members of G. Sidhartha, Widayat, ASRI force Sayogo and artists in Yogyakarta.
Kartono Yudhokusumo founded "Studio Artist" in the city of Bandung.
In this year also established the National Culture Consultative Body (BMKN).
1953 In Bandung standing "Tjipta Pantjaran Sense" (TPR) by R. Waluyo, Abedy and Angkama.
1954 Top Prakasa Cokorda Gede Agung Sukawati and Rudolf Bonnet founded a Museum "Puri Paintings" in Ubud Bali.
1955 Studio "Sun" was formed by Zaini, Trisno, Sumarjo, Oesman Effendi, Nashar, Alex Wetik, Puranta, Alimin.

1956 Painters Dullah Sukarno appointed as kuraktor collection and published the book "Collection President and Sukarno" in 2 vols.
1958 The establishment of the "Foundation for Art and Design Indonesia" by Goos Harjasumantri, Oesman Effendi, Zaini and Trisno Sumarjo.
1961 On the encouragement of artist Arie Smit then emerged a new style in the style of Balinese painting dekoraktif naive "The Young Artist" in the area Penestanan, Ubud Bali.
1963 On August 17, 1963, the Cultural Manifesto signed by artists and cendekiwan like; HB Yassin, Trisno Sumarjo, Zaini, Taufiq Ismail, Gunawan Muhammad etc..
Painter Le Man Fong was appointed as curator of Fine Arts collection of President Sukarno.
Formed in 1964 the committee publishers paintings and sculpture collection of President Sukarno Sukarno menerbikan book collection into two in five volumes.
1967 Academy of Fine Arts (Aksera) was founded by artists Surabaya at that time.
1968 Governor Ali Sadikin form the Jakarta Arts Council (DKJ) with the first chairman Trisno Sumarjo
Jakarta Art Center "Taman Ismail Marzuki" (TIM) was inaugurated by governor Ali Sadikin.
1970 Education of the Jakarta Arts Institute (LPKJ) in the form by DKI. Then now changed its name to the Jakarta Arts Institute (IKJ)
Indonesia Art Exhibition sponsored by Foreign Minister Adam Malik in Jakarta and New York in the framework of the UN's 25th anniversary.
Formed 1971 Academy Jakarta in Jakarta
1972 R. Bonnet returned to Indonesia in cooperation between cultures of Indonesia, the Netherlands then there is business to expand and complement the museum "Castle Painting" in Ubud Bali.
1976 held a major exhibition of paintings
Paintings by Basuki Abdullah at Hotel Borobudur.
On 20 August to 28 November for 100 days, held art exhibition "Century Indonesian Art" which was followed by fine arts artists across Indonesia.

The Kala-Makara arch

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A type of decoration that frames the doorways and niches of temples in Java. Two naga (water-snake) bodies form the sides of the arch, whose ends rest upon outward-turning Makara (half animal, half fish sea creature) heads. The top of the arch, from which the serpent bodies issue, is a Kala-head (god of death).
The arch symbolizes a rainbow, which connects the mundane world of the earth to the divine world of the sky.

THE CANDI OF INDONESIA

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The candi architecture follows the typical Hindu architecture traditions based on Vastu Shastra. The temple layout, especially in central Java period, incorporated mandala temple plan arrangements and also the typical high towering spires of Hindu temples. The candi was designed to mimic Meru, the holy mountain the abode of gods. The whole temple is a model of Hindu universe according to Hindu cosmology and the layers of Loka.
The candi structure and layout recognize the hierarchy of the zones, spanned from the less holy to the holiest realms. Each Hindu and Buddhist concepts has their own terms, but the concept's essentials is identical. Either the compound site plan (horizontally) or the temple structure (vertically) are consists of three zones:[3]
• Bhurloka (in Buddhism: Kāmadhātu), the lowest realm of common mortals; humans, animals also demons. Where humans still binded by their lust, desire and unholly way of life. The outer courtyard and the foot (base) part of each temples is symbolized the realm of bhurloka.
• Bhuvarloka (in Buddhism: Rupadhatu), the middle realm of holy people, rishis, ascetics, and lesser gods. People here began to see the light of truth. The middle courtyard and the body of each temples is symbolized the realm of bhuvarloka.
• Svarloka (in Buddhism: Arupadhatu), the highest and holiest realm of gods, also known as svargaloka. The inner cortyard and the roof of each temples is symbolized the realm of svarloka. The roof of Hindu structure usually crowned with ratna (sanskrit: jewel) or vajra, or in eastern Java period, crowned by cube structure. While stupa or dagoba cylindrical structure served as the pinnacle of Buddhist ones.

Soekmono, an Indonesian archaeologist, has classified the candi styles into two main groups: a central Java style, which predominantly date from before 1,000 CE, and an eastern Java style, which date from after 1,000 CE. He groups the temples of Sumatra and Bali into the eastern Java style.[4]
Parts of the temple Central Java Style Eastern Java Style
Shape of the structure Tends to be bulky Tends to be slender and tall
Roof Clearly shows stepped roof sections, usually consist of 3 parts The multiple parts of stepped sections formed a combined roof structure smoothly
Pinacle Stupa (Buddhist temples), Ratna or Vajra (Hindu temples) Cube (mostly Hindu temples), sometimes Dagoba cylindrical structures (Buddhist temples)
Portal and niches adornment Kala-Makara style; Kala head without lower jaw opening its mouth located on top of the portal, connected with double Makara on each side of the portal Only Kala head sneering with the mouth complete with lower jaw located on top of the portal, Makara is absent
Relief Projected rather high from the background, the images was done in naturalistic style Projected rather flat from the background, the images was done in stylized style similar to Balinese wayang image
Layout and location of the main temple Concentric mandala, symmetric, formal; with main temple located in the center of the complex surrounded by smaller perwara temples in regular rows Linear, asymmetric, followed topography of the site; with main temple located in the back or furthermost from the entrance, often located in the highest ground of the complex, perwara temples is located in front of the main temple
Direction Mostly faced east Mostly faced west
Materials Mostly andesite stone Mostly red brick
There are material, form, and location exceptions to these general design traits. While the Penataran, Jawi, Jago, Kidal and Singhasari temples, for example, belong to the eastern Java group, they use andesite stone similar to the central Java temple material. Temple ruins in Trowulan, such as Brahu, Jabung and Pari temples use red brick. Also the Prambanan temple is tall and slender similar to the east Java style, yet the roof design is central Javan in style. The location also do not always correlate with the temple styles, for example Candi Badut is located in Malang, East Java, yet the period and style belongs to older 8th century central Javanese style.
The earlier northern central Java complexes, such as the Dieng temples, are smaller and contain only several temples which exhibit simpler carving, whereas the later southern complexes, such as Sewu temple, are grander, with a richer elaboration of carving, and concentric layout of the temple complex.
The Majapahit period saw the revival of Austronesian megalithic design elements, such stepped pyramids (punden berundak). These design cues are seen in the Sukuh and Cetho temples in Mount Lawu in eastern Central Java, and in stepped sanctuary structures on the Mount Penanggungan slopes that are similar to meso-American stepped pyramids.

Candi of Central Java
Borobudur & Kedu Plain
The Kedu Plain lies to the north west of Yogyakarta and west of Gunung Merapi and south west of Magelang, in Central Java
• Borobudur. 9th century Buddhist monument, reportedly the world's largest. Seven terraces to the top represent the steps from the earthly realm to Nirvana. Reliefs of the birth, enlightenment and death of the Buddha. A UNESCO World Heritage Site.
• Pawon. 8th century Buddhist temple.
• Mendut. 8th century Mahayana Buddhist temple.
• Ngawen. Five aligned sanctuaries, one decorated with finely sculpted lions. 8th century Buddhist temple located east from Mendut temple. The name linked to Venuvana, "the temple of bamboo forest".
• Banon. 8th century Hindu temple located north from Pawon temple. The stone building of the temple already destroyed or missing render it impossible to reconstruct the temple. The Hindu gods statue from this temple placed at the Museum Nasional Jakarta.
[edit] Slopes of Gunung Merapi
Western Slopes
• Sengi complex. Three temples, Candi Asu, Candi Pendem and Candi Lumbung, on the side of Mount Merapi. 8th and 9th century. The base of the temple has a climbing plant motif.
Southern Slopes
• Gebang
• Morangan
• Pustakasala
Eastern Slopes
• Lawang
[edit] Near Yogyakarta
North west
• Candi Canggal. 8th century Buddhist complex. A main sanctuary and several smaller temples.
East
• Candi Sambisari. 10th century underground Hindu temple buried by eruptions from Mount Merapi for a century. Discovered in 1966 by a farmer plowing his field.
East of Borobudur
• Gunung Sari. Ruins of three secondary temples and the foot of the main temple remain.
• Gunung Wukir. One of the oldest inscriptions on Java, written in 732 CE, found here. Only the bases remain of the main sanctuary and three secondary temples.
[edit] Dieng Plateau
Main article: Dieng Plateau
Near Wonosobo, Central Java
Eight small Hindu temples from the 7th and 8th centuries, the oldest in Central Java. Surrounded by craters of boiling mud, colored lakes, caves, sulphur outlets, hot water sources and underground channels.
[edit] Gedong Songo
South-west of Semarang, Central Java
Five temples constructed in 8th and 9th centuries. The site highlights how, in Hinduism, location of temples was as important as the structures themselves. The site has panoramas of three volcanoes and Dieng Plateau.
[edit] Klaten Regency
East of Yogyakarta, Central Java
• Candi Merak. Two 10th century Hindu temples, rich in reliefs and decorations, in the middle of a village.
• Candi Karangnongko. Difficult to date because remains are few.
[edit] Mount Lawu
Near Surakarta, Central Java
• Candi Cetho. On the slopes of Mount Lawu. A 15th century Hindu temple 1470m above sea level.
• Candi Sukuh. On the slopes of Mount Lawu. 15th century Hindu complex resembling a Mayan temple. Reliefs illustrate life before birth and sex education.
[edit] Prambanan Plain

The Prambanan temple complex
East of Yogyakarta
• Roro Jonggrang, the main Prambanan complex. 9th century Hindu temple called the "Slender Maiden". Main temple dedicated to Shiva flanked by temples to Visnu and Brahma. Reliefs depict Ramayana stories.
North of main Prambanan complex
• Sewu. Buddhist temple complex, older than Roro Jonggrang. A main sanctuary surrounded by many smaller temples. Well preserved guardian statues, replicas of which stand in the central courtyard at the Jogja Kraton.
• Candi Lumbung. Buddhist-style, consisting of one main temple surrounded by 16 smaller ones.
• Plaosan. Buddhist, probably 9th century. Thought to have been built by a Hindu king for his Buddhist queen. Two main temples with reliefs of a man and a woman. Slender stupa.
South of main Prambanan complex
• Arca Bugisan. Seven Buddha and bodhisattva statues, some collapsed, representing different poses and expressions.
• Sajiwan. Buddhist temple decorated with reliefs concerning education. The base and staircase are decorated with animal fables.
West of main Prambanan complex
• Candi Sari. Once a sanctuary for Buddhist priests. 8th century. Nine stupas at the top with two rooms beneath, each believed to be places for priests to meditate.
• Candi Kalasan. 8th century Buddhist temple built in commemoration of the marriage of a king and his princess bride, ornamented with finely carved reliefs.
• Candi Gana. Rich in statues, bas-reliefs and sculpted stones. Frequent representations of children or dwarfs with raised hands. Located in the middle of housing complex. Under restoration since 1997.
• Candi Kedulan. Discovered in 1994 by sand diggers, 4m deep. Square base of main temple visible. Secondary temples not yet fully excavated.
[edit] Ratu Boko & surrounds

The gate of Ratu Boko Palace compound.

Candi Barong.
East of Yogyakarta and south of Prambanan
• Ratu Boko Built between 8th and 9th centuries. Mixed Buddhist and Hindu style. Partially restored palace auditorium. Ruins of the royal garden with a bathing pool inside.
South of Ratu Boko
• Arca Gopolo. A group of seven statues in a circle, as if in assembly. Flower decoration on the clothes of the largest are still visible.
• Banyunibo. A small 9th century Buddhist complex. A main temple surrounded by six smaller ones forming a stupa. Restoration completed in 1978.
• Candi Barong. Two almost identical temples on terraces. Believed to be 9th century Hindu and part of a sacred complex, of which they were the crown.
• Dawangsari. Perhaps the site of a destroyed Buddhist stupa, now reduced to an array of andesite stones.
• Candi Ijo. A complex of three-tiered temples, but only one has been renovated. A main sanctuary and three secondary shrines with statues. Still under reconstruction.
• Watugudig. A group of pole sittings in the shape of a Javanese gong. About 40 have been discovered, but others may remain buried. Locals believe this to be the resting place of King Boko.
South-west of Ratu Boko
• Candi Abang. Actually a well that looks like a pyramid with very tall walls. In some aspects looks like Borobudur. Unique atmosphere.
• Candi Gampingan. Ruins 1.5m underground of a temple and stairs. Reliefs of animals at the foot of the temple are believed to be a fable.
• Sentono. At the base of Abang temple. Perhaps younger than other regional temples. Complex of caves with two mouths. Statue and bas-relief in left chamber.
• Situs Payak. The best preserved bathing place in Central Java. 5m below ground. Thought to be Hindu.
[edit] Candi of West Java
• Candi Cangkuang, the only one of the few surviving West Java's Hindu temple at Leles, Garut, West Java. Located on an island in the middle of a lake covered by water lilies. Unlike other Javanese temple characteristics by grand architecture, Cangkuang temple is more modest with only one structure still standing.[5] Shiva statue faces east toward the sunrise. Date uncertain.
• Batujaya, a compound of Buddhist Stupa made from red brick and mortar located at Batu Jaya, Karawang, West Java. Probably dated back to Tarumanagara kingdom in 6th century AD.
[edit] Candi of East Java
[edit] Malang area
Malang, East Java
• Candi Badut. Small Shivaite temple dating from the 8th century.
• Candi Songgoriti. Very similar to Candi Sembrada at Dieng, this Hindu temple is located in a valley between mount Arjuna and Mount Kawi, East Java
• Candi Jago. Late 13th century. Terraces decorated with reliefs in the distinctive (Javanese shadow puppet) style with scenes from the Mahabharata epic and underworld demons.
• Candi Singosari. Dedicated to the kings of the Singosari Dynasty (1222 to 1292 AD), the precursors of the Majapahit Kingdom, it was built in 1304.
• Arca Dwarapala.Dedicated to the kings of the Singosari Dynasty (1222 to 1292 AD).
• Candi Kidal.
• Candi Singosari.
• Candi Sumberawan.
• Candi Rambut Monte.
• Candi Selakelir.
[edit] Blitar area
• Candi Penataran. East Java's only sizable temple complex, with a series of shrines and pavilions. Constructed 12th through 15th centuries. Believed to be the state temple of the Majapahit Empire.
• Candi Bacem
• Candi Boro
• Candi Kalicilik
• Candi Kotes
• Candi Wringin Branjang
• Candi Sawentar
• Candi Sumbernanas
• Candi Sumberjati or Candi Simping
• Candi Gambar Wetan
• Candi Plumbangan
• Candi Tepas
[edit] Kediri area
• Candi Surowono is a small temple, of the Majapahit Kingdom, located in the Canggu Village of the Kediri (near Pare) district in Java, Indonesia. It was believed to have been built in 1390 AD as a memorial to Wijayarajasa, the Prince of Wengker.
• Candi Tegowangi
• Arca Totok Kerot
• Candi Dorok
• Candi Tondowongso
• Gua Selomangleng
• Calon Arang Site is a site who inspired Leak dance in Bali Indonesia
• Babadan or SumberCangkring Site
[edit] Sidoarjo, Tretes & Probolinggo areas
• Candi Pari, in Sidoarjo. Dated from 1293 Saka (1371 CE), this Majapahit red brick temple bear similarity with Champa architecture.
• Candi Sumur, in Sidoarjo. Located just a hundred meters from Candi Pari, probably built in the same era.
• Candi Jawi, Tretes. A 13th century funerary temple. Slender Buddhist shrine completed around 1300. Overlooks holy Mount Penanggungan, which has terraced sanctuaries, meditation grottoes and sacred pools, about 80 sites in all. Believed to be the burial site of King Airlangga, who died in 1049.
• Candi Jabung, in Probolinggo, near Paiton. According to inscription on top of temple portal, Jabung dated from 1276 saka (1354 CE).
[edit] Trowulan
• Candi Tikus, Trowulan. Trowulan was once the capital of the Majapahit kingdom, the controller of most of the important ports of the day. Survived thanks to a sophisticated irrigation system. Tikus held run-off water from Mount Penanggungan for sanctification rites. Site also contains parts of the palace gate, entryway and water system.
• Candi Brahu, Trowulan. Location the temple front of Bubat Area in Majapahit Palace environment (7°32'33.85"S, 112°22'28.01"E). Brahu Temple is a budhis temple, built at 15 a.c and restored during 1990 and was finished during 1995. There was no accurate note the function of the temple.
• Candi Gentong, Trowulan. Location the temple 350m east of Brahu temple(7°32'38.05"S, 112°22'40.65"E). Many Ceramic from Ming and Yuan Dynasty founded in this temple area. There was no accurate note the function of the temple.
• Candi Muteran, Trowulan. Location the temple north of Brahu temple ( 7°32'27.72"S, 112°22'29.41"E). There was no accurate note the function of the temple.
• Kolam Segaran, Trowulan. Segaran pond is Majapahit Heritage (7°33'29.55"S,112°22'57.54"E) The Pond was found during 1926 by Ir.Maclain Pont. First restoration was 1966, finished at 1984. The function of this pond was as the place of recreation and to greet the foreign guest. This was the biggest ancient pond founded in Indonesia.
• Gapura Bajang Ratu, Trowulan.
• Gerbang Wringin Lawang, Trowulan.
[edit] Candi of Bali
• Candi Gunung Kawi. Located in Sebatu village, Tampak Siring area, Gianyar regency. It is one of the oldest temple in Bali dated from 989 CE, the five temples is carved on the stone slopes forming grottoes similar to Bamiyan Buddha or Abu Simbel.
• Candi Kalibukbuk. Located in Kalibukbuk village, Buleleng regency. It is one of the few Buddhist temple in Hindu dominated Bali. The temple is tought to be dated from 8th century.
[edit] Candi of Sumatra
• Candi Muara Takus, Riau
• Candi Biaro Bahal, South Tapanuli
• Candi Muaro Jambi, Jambi
[edit] Candi of Kalimantan
• Candi Agung, North Hulu Sungai, South Kalimantan, a Hindu Candi. South Kalimantan was a base of Hindu Kingdom of Negara Dipa, which then inherited by Negara Daha.
• Candi Laras, Tapin, South Kalimantan, a Buddhist Candi. Buddhist Kingdom in South Kalimantan was represented by the kingdom of Tanjung Puri.

Arsitektur candi mengikuti tradisi-tradisi arsitektur khas Hindu yang berdasarkan Vastu Shastra. Tata letak candi, terutama pada periode Jawa Tengah, dimasukkan rencana pengaturan mandala candi dan juga menara menjulang tinggi yang khas candi Hindu. Candi ini dirancang untuk meniru Meru, gunung suci tempat tinggal para dewa. Kuil keseluruhan adalah model alam semesta menurut Hindu Hindu kosmologi dan lapisan Loka.
Struktur dan tata letak candi mengakui hirarki zona, membentang dari kurang suci ke alam suci. Setiap Hindu dan Budha ini memiliki konsep istilah mereka sendiri, namun penting konsep adalah identik. Entah situs senyawa rencana (horizontal) atau struktur candi (vertikal) yang terdiri dari tiga zona: [3]
• Bhurloka (dalam Buddhisme: Kamadhatu), alam terendah dari manusia biasa, manusia, hewan juga setan. Dimana manusia masih binded oleh, keinginan nafsu mereka dan cara unholly hidup. Halaman luar dan kaki (dasar) masing-masing bagian dari candi dilambangkan bidang bhurloka.
• Bhuvarloka (dalam Buddhisme: Rupadhatu), alam tengah orang-orang suci, resi, pertapa, dan dewa-dewa yang lebih rendah. Orang di sini mulai melihat cahaya kebenaran. Halaman tengah dan tubuh masing-masing candi dilambangkan bidang bhuvarloka.
• Svarloka (dalam Buddhisme: Arupadhatu), alam yang tertinggi dan paling suci dari dewa-dewa, juga dikenal sebagai svargaloka. Para cortyard batin dan atap candi masing-masing dilambangkan bidang svarloka. Atap struktur Hindu biasanya dimahkotai dengan Ratna (sansekerta: permata) atau vajra, atau dalam periode Jawa Timur, dinobatkan oleh struktur kubus. Sementara stupa atau dagoba struktur silinder menjabat sebagai puncak yang Buddhis.

Oleh Soekmono, seorang arkeolog Indonesia, telah diklasifikasikan gaya candi menjadi dua kelompok utama: gaya Jawa Tengah, yang sebagian besar berasal dari sebelumnya 1.000 CE, dan gaya Jawa Timur, yang tanggal dari setelah 1.000 Masehi. Dia kelompok candi Sumatera dan Bali ke dalam gaya Jawa Timur [4].
Bagian dari Gaya Gaya Jawa Tengah candi Jawa Timur
Bentuk struktur Cenderung besar Cenderung untuk menjadi langsing dan tinggi
Atap Jelas menunjukkan bagian atap melangkah, biasanya terdiri dari 3 bagian ini beberapa bagian dari bagian melangkah membentuk struktur atap gabungan lancar
Pinacle Stupa (candi Buddha), Ratna atau Vajra (kuil Hindu) Cube (kebanyakan kuil Hindu), struktur silinder kadang Dagoba (kuil Budha)
Portal dan relung perhiasan Kala-Makara gaya; Kala kepala tanpa rahang bawah membuka mulutnya terletak di atas portal, terhubung dengan ganda Makara pada setiap sisi kepala Kala Portal Hanya menyeringai dengan mulut lengkap dengan rahang bawah terletak di atas portal, Makara tidak ada
Proyeksi Bantuan agak tinggi dari latar belakang, gambar dilakukan dalam gaya naturalistik Proyeksi agak datar dari latar belakang, gambar dilakukan dalam gaya bergaya mirip dengan gambar wayang Bali
Layout dan lokasi candi utama mandala konsentris, simetris, formal; dengan candi utama yang terletak di tengah kompleks dikelilingi oleh candi perwara kecil dalam baris yang teratur Linear, asimetris, diikuti topografi dari situs; dengan candi utama yang terletak di belakang atau terjauh dari pintu masuk, sering terletak di tanah tertinggi kompleks, candi perwara terletak di depan candi utama
Kebanyakan Arah menghadap ke timur barat Sebagian dihadapi
Sebagian besar bahan andesit batu bata merah Sebagian
Ada bahan, bentuk, dan lokasi pengecualian untuk sifat-sifat desain umum. Sementara Penataran, Jawi, Jago, Kidal dan kuil Singasari, misalnya, berasal dari Jawa Timur kelompok, mereka menggunakan batu andesit mirip dengan materi Jawa tengah candi. Reruntuhan candi di Trowulan, seperti Brahu, Jabung dan kuil-kuil Pari menggunakan bata merah. Juga Candi Prambanan tinggi dan ramping mirip dengan gaya Jawa timur, namun desain atap Jawa sentral dalam gaya. Lokasi juga tidak selalu berkorelasi dengan gaya candi, Candi Badut misalnya terletak di Malang, Jawa Timur, namun periode dan gaya milik tua bergaya abad ke-8 Jawa Tengah.
Sentral sebelumnya utara Jawa kompleks, seperti candi-candi Dieng, lebih kecil dan hanya berisi beberapa kuil yang memperlihatkan ukiran sederhana, sedangkan kompleks kemudian selatan, seperti Candi Sewu, yang lebih besar, dengan elaborasi lebih kaya ukiran, dan tata letak konsentris kompleks candi.
Masa Majapahit melihat kebangkitan desain Austronesia elemen megalitik, seperti piramida melangkah (punden berundak). Ini isyarat desain terlihat di Sukuh dan candi Cetho di Gunung Lawu di sebelah timur Jawa Tengah, dan dalam struktur tempat kudus melangkah di lereng Gunung Penanggungan yang mirip dengan meso-Amerika melangkah piramida.

Candi Jawa Tengah
Borobudur & Kedu Plain
Dataran Kedu terletak di sebelah barat utara Yogyakarta dan barat Gunung Merapi dan selatan barat Magelang, di Jawa Tengah
• Borobudur. 9 abad monumen Budha, dilaporkan terbesar di dunia. Tujuh teras ke atas mewakili langkah dari alam duniawi ke Nirvana. Relief dari pencerahan, kelahiran dan kematian Buddha. Sebuah Situs Warisan Dunia UNESCO.
• Pawon. Abad ke-8 candi Budha.
• Mendut. Abad ke-8 candi Budha Mahayana.
• Ngawen. Lima selaras tempat-tempat suci, satu dihiasi dengan patung singa halus. Abad ke-8 candi Budha berada di sebelah timur dari Candi Mendut. Nama terkait dengan Venuvana, "kuil hutan bambu".
• Banon. Abad ke-8 candi Hindu terletak di utara dari candi Pawon. Bangunan batu candi sudah hancur atau hilang membuat mustahil untuk merekonstruksi candi. Dewa Hindu patung dari candi ini ditempatkan di Museum Nasional Jakarta.
[Sunting] Lereng Gunung Merapi
Lereng Barat
• Sengi kompleks. Tiga candi, Candi Asu, Candi Pendem dan Candi Lumbung, di sisi Gunung Merapi. Abad ke 8 dan 9. Dasar candi memiliki motif tanaman memanjat.
Lereng selatan
• Gebang
• Morangan
• Pustakasala
Lereng Timur
• Lawang
[Sunting] Dekat Yogyakarta
Utara barat
• Candi Canggal. Budha abad ke-8 yang kompleks. Sebuah tempat suci utama dan beberapa candi yang lebih kecil.
Timur
Candi Sambisari •. Abad ke-10 di bawah tanah kuil Hindu terkubur oleh letusan dari Gunung Merapi selama satu abad. Ditemukan pada 1966 oleh seorang petani membajak ladangnya.
Timur Borobudur
• Gunung Sari. Reruntuhan candi tiga sekunder dan kaki candi utama akan tetap.
• Gunung Wukir. Salah satu prasasti tertua di Jawa, ditulis dalam 732 Masehi, ditemukan di sini. Hanya basis tetap dari tempat kudus utama dan tiga candi sekunder.
[Sunting] Dataran Tinggi Dieng
Artikel utama: Dataran Tinggi Dieng
Dekat Wonosobo, Jawa Tengah
Delapan kecil kuil Hindu dari abad ke 7 dan 8, yang tertua di Jawa Tengah. Dikelilingi oleh kawah lumpur mendidih, danau berwarna, gua, outlet belerang, sumber air panas dan saluran bawah tanah.
[Sunting] Gedong Songo
Selatan-barat Semarang, Jawa Tengah
Lima candi dibangun di abad ke-8 dan 9. Situs ini menyoroti bagaimana, dalam Hinduisme, lokasi kuil itu sama pentingnya dengan struktur sendiri. Situs ini memiliki panorama tiga gunung berapi dan Dataran Tinggi Dieng.
[Sunting] Kabupaten Klaten
Timur Yogyakarta, Jawa Tengah
• Candi Merak. Dua abad 10 kuil Hindu, kaya relief dan dekorasi, di tengah desa.
• Candi Karangnongko. Sulit to date karena masih sedikit.
[Sunting] Gunung Lawu
Dekat Surakarta, Jawa Tengah
Candi Cetho •. Di lereng Gunung Lawu. Sebuah candi Hindu abad ke-15 1470m di atas permukaan laut.
• Candi Sukuh. Di lereng Gunung Lawu. Hindu abad ke-15 kompleks menyerupai sebuah kuil Maya. Relief menggambarkan kehidupan sebelum kelahiran dan pendidikan seks.
[Sunting] Prambanan Plain

Prambanan kompleks candi
Timur Yogyakarta
• Roro Jonggrang, kompleks Candi Prambanan utama. 9 abad ke candi Hindu disebut "Maiden Slender". Candi utama yang didedikasikan untuk Siwa diapit oleh candi Visnu dan Brahma. Menggambarkan relief cerita Ramayana.
Utara kompleks Candi Prambanan utama
• Sewu. Kompleks candi Budha, lebih tua dari Roro Jonggrang. Sebuah suci utama dikelilingi oleh candi yang lebih kecil. Nah diawetkan wali patung, replika yang berdiri di halaman pusat di Kraton Jogja.
• Candi Lumbung. Buddha-gaya, terdiri dari satu candi induk yang dikelilingi oleh 16 yang lebih kecil.
• Plaosan. Buddha, mungkin abad ke 9. Diduga telah dibangun oleh seorang raja Hindu untuk ratu Buddha nya. Dua candi dengan relief utama dari seorang pria dan seorang wanita. Slender stupa.
Selatan kompleks Candi Prambanan utama
• Arca Bugisan. Tujuh Buddha dan Bodhisattva patung, beberapa runtuh, mewakili pose dan ekspresi yang berbeda.
• Sajiwan. Buddha candi dihiasi dengan relief tentang pendidikan. Dasar dan tangga yang dihiasi dengan dongeng binatang.
Barat kompleks Candi Prambanan utama
• Candi Sari. Setelah tempat kudus bagi para imam Buddha. Abad ke-8. Sembilan stupa di puncak dengan dua kamar di bawah, masing-masing diyakini menjadi tempat bagi para imam untuk bermeditasi.
• Candi Kalasan. Abad ke-8 candi Budha yang dibangun dalam rangka memperingati pernikahan raja dan putri nya pengantin, dihiasi dengan relief diukir halus.
• Candi Gana. Kaya patung, pahatan relief dan batu terpahat. Sering representasi anak-anak atau dwarf dengan tangan terangkat. Terletak di tengah-tengah kompleks perumahan. Dalam restorasi sejak tahun 1997.
Candi Kedulan •. Ditemukan pada 1994 oleh penggali pasir, 4m mendalam. Persegi kaki candi utama terlihat. Candi sekunder belum sepenuhnya digali.
[Sunting] Ratu Boko & sekitarnya

Gerbang Ratu Boko Istana senyawa.

Candi Barong.
Timur dan selatan Yogyakarta Prambanan
• Ratu Boko Dibangun antara abad 8 dan 9. Campuran Buddha dan gaya Hindu. Sebagian dipulihkan auditorium istana. Reruntuhan taman kerajaan dengan mandi di dalam kolam.
Selatan Ratu Boko
• Arca Gopolo. Sebuah kelompok dari tujuh patung dalam lingkaran, seperti jika dalam perakitan. Bunga hiasan pada pakaian yang terbesar masih terlihat.
• Banyunibo. Satu abad kecil kompleks Budha 9. Sebuah candi induk yang dikelilingi oleh enam yang lebih kecil membentuk sebuah stupa. Restorasi selesai pada tahun 1978.
• Candi Barong. Dua candi hampir identik di teras. Diyakini 9 abad Hindu dan bagian dari kompleks suci, yang mereka mahkota.
• Dawangsari. Mungkin situs sebuah stupa Budha dihancurkan, sekarang dikurangi menjadi sebuah array dari batu andesit.
• Candi Ijo. Sebuah kompleks candi bertingkat tiga, tetapi hanya satu telah direnovasi. Sebuah tempat suci utama dan tiga candi sekunder dengan patung-patung. Masih di bawah rekonstruksi.
• Watugudig. Sekelompok Sittings tiang dalam bentuk gong Jawa. Sekitar 40 telah ditemukan, tetapi yang lain mungkin tetap terkubur. Warga setempat percaya ini menjadi tempat peristirahatan Raja Boko.
Selatan-barat dari Ratu Boko
• Candi Abang. Sebenarnya baik yang terlihat seperti sebuah piramida dengan dinding yang sangat tinggi. Dalam beberapa aspek terlihat seperti Borobudur. Suasana yang unik.
Candi Gampingan •. Reruntuhan 1.5m bawah tanah sebuah kuil dan tangga. Relief hewan di kaki candi yang diyakini sebagai dongeng.
• Sentono. Pada kaki candi Abang. Mungkin lebih muda dari candi regional lainnya. Kompleks gua dengan dua mulut. Patung dan relief di ruang sebelah kiri.
• Situs Payak. Yang terbaik diawetkan tempat pemandian di Jawa Tengah. 5m di bawah tanah. Dianggap Hindu.
[Sunting] Candi Jawa Barat
• Candi Cangkuang, satu-satunya dari beberapa kuil Hindu Jawa Barat bertahan hidup di Leles, Garut, Jawa Barat. Terletak di sebuah pulau di tengah danau ditutupi oleh lili air. Tidak seperti karakteristik lain candi Jawa oleh besar arsitektur, candi Cangkuang lebih sederhana dengan hanya satu struktur masih berdiri. [5] arca Siwa menghadap ke timur ke arah matahari terbit. Tanggal pasti.
• Batujaya, senyawa dari Stupa Budha terbuat dari batu bata merah dan mortir yang terletak di Batu Jaya, Karawang, Jawa Barat. Mungkin tanggal kembali ke kerajaan Tarumanagara dalam abad ke-6 Masehi.
[Sunting] Candi Jawa Timur
[Sunting] wilayah Malang
Malang, Jawa Timur
• Candi Badut. Candi kecil Shivaite berasal dari abad ke-8.
• Candi Songgoriti. Sangat mirip dengan Candi Sembrada di Dieng, candi Hindu ini terletak di sebuah lembah antara gunung Arjuna dan Gunung Kawi, Jawa Timur
• Candi Jago. Akhir abad ke-13. Teras dihiasi dengan relief dengan gaya khas (wayang Jawa) dengan adegan dari epik Mahabharata dan setan bawah.
• Candi Singosari. Didedikasikan untuk raja-raja Dinasti Singosari (1222-1292 M), prekursor dari Kerajaan Majapahit, itu dibangun pada 1304.
• Arca Dwarapala.Dedicated kepada raja-raja Dinasti Singosari (1222-1292 M).
Candi Kidal •.
• Candi Singosari.
Candi Sumberawan •.
• Candi Rambut Monte.
• Candi Selakelir.
[Sunting] wilayah Blitar
• Candi Penataran. Jawa Timur hanya kompleks candi yang cukup besar, dengan serangkaian kuil dan paviliun. Dibangun 12 melalui abad 15. Diyakini sebagai candi negara Kekaisaran Majapahit.
• Candi bacem
• Candi Boro
• Candi Kalicilik
• Candi Kotes
• Candi Wringin Branjang
• Candi Sawentar
• Candi Sumbernanas
• Candi Sumberjati atau Candi Simping
• Candi Gambar Wetan
• Candi Plumbangan
• Candi Beranda
[Sunting] wilayah Kediri
• Candi Surowono adalah kuil kecil, Kerajaan Majapahit, terletak di Desa Canggu dari Kediri (dekat Pare) kabupaten di Jawa, Indonesia. Hal itu diyakini telah dibangun pada tahun 1390 Masehi sebagai peringatan Wijayarajasa, Pangeran Wengker.
Candi Tegowangi •
Arca Totok Kerot •
• Candi Dorok
• Candi Tondowongso
Gua Selomangleng •
• Calon Arang Situs adalah sebuah situs yang terinspirasi tari Leak di Bali Indonesia
• Babadan atau Situs SumberCangkring
[Sunting] Sidoarjo, Tretes & Probolinggo daerah
• Candi Pari, di Sidoarjo. Tanggal dari 1293 Saka (1371 M), ini candi Majapahit bata merah beruang kemiripan dengan arsitektur Champa.
• Candi Sumur, di Sidoarjo. Terletak hanya beberapa ratus meter dari Candi Pari, mungkin dibangun pada era yang sama.
• Candi Jawi, Tretes. Sebuah kuil penguburan abad ke-13. Slender kuil Buddha selesai sekitar 1300. Menghadap Gunung Penanggungan suci, yang memiliki tempat-tempat suci bertingkat, gua-gua meditasi dan kolam suci, sekitar 80 situs di semua. Diyakini sebagai situs pemakaman Raja Airlangga, yang meninggal pada tahun 1049.
• Candi Jabung, di Probolinggo, dekat Paiton. Menurut prasasti di puncak candi portal, Jabung tanggal dari 1276 Saka (1354 Masehi).
[Sunting] Trowulan
• Candi Tikus, Trowulan. Trowulan adalah pernah menjadi ibukota kerajaan Majapahit, pengontrol sebagian besar pelabuhan penting hari. Selamat berkat sistem irigasi yang canggih. Tikus diadakan run-off air dari Gunung Penanggungan untuk ritual penyucian. Situs juga berisi bagian dari gerbang istana, pintu masuk dan sistem air.
Candi Brahu •, Trowulan. Lokasi depan kuil Wilayah Bubat di Majapahit lingkungan Istana (7 ° 32'33 .85 "S, 112 ° 22'28 .01" E). Candi Brahu adalah candi Budhis, dibangun di 15 ac dan dikembalikan selama tahun 1990 dan selesai pada 1995. Tidak ada catatan akurat fungsi candi.
• Candi Gentong, Trowulan. Lokasi kuil 350m timur Candi Brahu (7 ° 32'38 .05 "S, 112 ° 22'40 .65" E). Banyak Keramik dari Ming dan Dinasti Yuan didirikan di kawasan candi. Tidak ada catatan akurat fungsi candi.
• Candi Muteran, Trowulan. Lokasi utara Candi Brahu candi (7 ° 32'27 .72 "S, 112 ° 22'29 .41" E). Tidak ada catatan akurat fungsi candi.
• Kolam Segaran, Trowulan. Segaran Majapahit Heritage tambak (7 ° 33'29 .55 "S, 112 ° 22'57 .54" E) Kolam itu ditemukan selama tahun 1926 oleh Ir.Maclain Pont. Restorasi pertama tahun 1966, selesai pada 1984. Fungsi kolam ini adalah sebagai tempat rekreasi dan untuk menyambut tamu asing. Ini adalah kolam kuno terbesar yang didirikan di Indonesia.
• Gapura Bajang Ratu, Trowulan.
• Gerbang Wringin Lawang, Trowulan.
[Sunting] Candi Bali
• Candi Gunung Kawi. Terletak di Desa Sebatu, Tampak Siring wilayah, Kabupaten Gianyar. Ini adalah salah satu kuil tertua di Bali tanggal dari 989 CE, lima candi yang diukir pada batu lereng membentuk gua-gua yang mirip dengan Bamiyan Buddha atau Abu Simbel.
• Candi Kalibukbuk. Terletak di Kalibukbuk desa, Kabupaten Buleleng. Ini adalah salah satu candi Budha Hindu sedikit didominasi Bali. Candi ini tought akan tanggal dari abad ke-8.
[Sunting] Candi di Sumatera
• Candi Muara Takus, Riau
• Candi Bahal Biaro, Tapanuli Selatan
Candi Muaro Jambi •, Jambi
[Sunting] Candi di Kalimantan
• Candi Agung, Hulu Sungai Utara, Kalimantan Selatan, sebuah Candi Hindu. Kalimantan Selatan adalah dasar dari Kerajaan Hindu Negara Dipa, yang kemudian diwarisi oleh Negara Daha.
• Candi Laras, Tapin, Kalimantan Selatan, sebuah Candi Budha. Kerajaan Budha di Kalimantan Selatan diwakili oleh kerajaan Tanjung Puri.

THE PENATARAN TEMPLE

2011-11-03T01:54:00.000-07:00

Penataran or Panataran (Indonesian: Candi Penataran) is the largest Hindu temple complex in East Java, Indonesia,[citation needed] located roughly 10 km north of Blitar. Believed to have been under construction from the 12th Century to the 15th Century, the temple played a significant role in the Majapahit Kingdom, especially under King Hayam Wuruk.[1]
Penataran was believed to be dated back to Kediri era. This temple was identified in Nagarakretagama as Palah temple and reported being visited by King Hayam Wuruk during his royal tour across East Java.
The site is being considered to be put on the World Heritage list of sites who have "outstanding universal value" to the world.[2]

THE MENDUT TEMPLE

2011-11-03T01:41:00.000-07:00

Mendut is a ninth century Buddhist temple, located in Mendut village, Mungkid sub-district, Magelang Regency, Central Java, Indonesia. The temple is located about three kilometres east from Borobudur. Mendut, Borobudur and Pawon, all of which are Buddhist temples, are located in one straight line. There is a mutual religious relationship between the three temples, although the exact ritual process is unknown.[1]
Built around early ninth century AD, Mendut is the oldest of the three temples including Pawon and Borobudur. The Karangtengah inscription, the temple was built and finished during the reign of King Indra of Sailendra dynasty. The inscription dated 824 AD mentioned that King Indra of Sailendra has built a sacred building named Venuvana which means "bamboo forest". Dutch archaeologist JG de Casparis has connected the temple mentioned in Karangtengah inscription with Mendut temple[citation needed].
In 1836 it was discovered as a ruins covered with bushes. The restoration of this temple was started at 1897 and it was finished at 1925. Some archaeologists who had conducted research on this temple were JG de Casparis, Theodoor van Erp, and Arisaty Yogaswara.
Architecture
The 26.4 metres tall temple is facing northwest. The stairs projecting from the northwest side square elevated base is adorned with Makara statue on each sides, the side of the stairwall carved with bas-relief of fable narrating the animal story of buddhist teaching. The square terrace surrounding the body of the temple was meant for pradakshina or circumambulating ritual, walking clockwise around the temple. The outer walls is adorned with bas-reliefs of Boddhisattvas (buddhist divinities), such as Avalokitesvara, Maitreya, Cunda, Ksitigarbha, Samantabhadra, Mahakarunika Avalokitesvara, Vajrapani, Manjusri, Akasagarbha, and Boddhisattvadevi Prajnaparamita among other buddhist figures. Originally the temple had two chambers, a small chamber in the front, and the large main chamber in the center. The roof and some parts of the front chamber walls are missing. The inner wall of front chamber is adorned with bas-relief of Hariti surrounds by children, Atavaka on the other side, Kalpataru, also groups of devatas divinities flying in heaven.

Location three Buddhist temples, Borobudur-Pawon-Mendut, in one straight line across Progo River.
The main room housed three beautifully carved large stone statues. The three statues are the Buddhist main divinities revered in Mendut temple which can explain the spiritual purpose of the establishment of this temple. The 3 metres tall statue of Dhyani Buddha Vairocana was meant to liberate the devotees from the bodily karma, at the left is statue of Boddhisatva Avalokitesvara to liberate from the karma of speech, at the right is Boddhisatva Vajrapani to liberate from karma of thought. [2]
Today, during the full moon in May or June, Buddhists in Indonesia observe Vesak annual ritual by walking from Mendut passing through Pawon and ends at Borobudur.[3]

THE BOROBUDUR TEMPLE

2011-11-03T01:14:00.000-07:00

Borobudur

Borobudur, or Barabudur, is a 9th-century Mahayana Buddhist monument near Magelang, Central Java, Indonesia. The monument comprises six square platforms topped by three circular platforms, and is decorated with 2,672 relief panels and 504 Buddha statues.^[1] A main dome, located at the center of the top platform, is surrounded by 72 Buddha statues seated inside perforated stupa.

The monument is both a shrine to the Lord Buddha and a place for Buddhist pilgrimage. The journey for pilgrims begins at the base of the monument and follows a path circumambulating the monument while ascending to the top through the three levels of Buddhist cosmology, namely Kāmadhātu (the world of desire), Rupadhatu (the world of forms) and Arupadhatu (the world of formlessness). During the journey, the monument guides the pilgrims through a system of stairways and corridors with 1,460 narrative relief panels on the walls and the balustrades.

Evidence suggests Borobudur was abandoned following the 14th-century decline of Buddhist and Hindu kingdoms in Java, and the Javanese conversion to Islam.^[2] Worldwide knowledge of its existence was sparked in 1814 by Sir Thomas Stamford Raffles, then the British ruler of Java, who was advised of its location by native Indonesians. Borobudur has since been preserved through several restorations. The largest restoration project was undertaken between 1975 and 1982 by the Indonesian government and UNESCO, following which the monument was listed as a UNESCO World Heritage Site.^[3] Borobudur is still used for pilgrimage; once a year Buddhists in Indonesia celebrate Vesak at the monument, and Borobudur is Indonesia's single most visited tourist attraction.^[4]^[5]^[

In Indonesian, ancient temples are known as candi; thus "Borobudur Temple" is locally known as Candi Borobudur. The term candi is also used more loosely to describe any ancient structure, for example gates and bathing structures. The origins of the name Borobudur however are unclear,[7] although the original names of most ancient Indonesian temples are no longer known.[7] The name Borobudur was first written in Sir Thomas Raffles' book on Javan history.[8] Raffles wrote about a monument called borobudur, but there are no older documents suggesting the same name.[7] The only old Javanese manuscript that hints at the monument as a holy Buddhist sanctuary is Nagarakretagama, written by Mpu Prapanca in 1365.[9]
The name Bore-Budur, and thus BoroBudur, is thought to have been written by Raffles in English grammar to mean the nearby village of Bore; most candi are named after a nearby village. If it followed Javanese language, the monument should have been named 'BudurBoro'. Raffles also suggested that 'Budur' might correspond to the modern Javanese word Buda ("ancient") – i.e., "ancient Boro".[7] However, another archaeologist suggests the second component of the name (Budur) comes from Javanese term bhudhara (mountain).[10]
The references about the construction and inauguration of a sacred buddhist building — possibly refer to Borobudur — was mentioned in two inscriptions, both discovered in Kedu, Temanggung Regency. The Karangtengah inscription dated 824 mentioned vaguely about a sacred building named Jinalaya (the realm of those who have conquer worldly desire and reach enlightenment) inaugurated by Pramodhawardhani daughter of Samaratungga. The Tri Tepusan inscription dated 842 mentioned about the sima (tax-free) lands awarded by Çrī Kahulunnan (Pramodhawardhani) to ensure the funding and maintenance of a Kamūlān called Bhūmisambhāra.[11] Kamūlān itself from the word mula which means 'the place of origin', a sacred building to honor the ancestors, probably the ancestors of the Sailendras. Casparis suggested that Bhūmi Sambhāra Bhudhāra which in Sanskrit means "The mountain of combined virtues of the ten stages of Boddhisattvahood", was the original name of Borobudur.[12]
Location

Straight-line arrangement of Borobudur, Pawon, and Mendut
Approximately 40 kilometres (25 mi) northwest of Yogyakarta, Borobudur is located in an elevated area between two twin volcanoes, Sundoro-Sumbing and Merbabu-Merapi, and two rivers, the Progo and the Elo. According to local myth, the area known as Kedu Plain is a Javanese 'sacred' place and has been dubbed 'the garden of Java' due to its high agricultural fertility.[13] Besides Borobudur, there are other Buddhist and Hindu temples in the area, including the Prambanan temples compound. During the restoration in the early 20th century, it was discovered that three Buddhist temples in the region, Borobudur, Pawon and Mendut, are positioned along a straight line.[14] It might be accidental, but the temples' alignment is in conjunction with a native folk tale that a long time ago, there was a brick-paved road from Borobudur to Mendut with walls on both sides. The three temples (Borobudur–Pawon–Mendut) have similar architecture and ornamentation derived from the same time period, which suggests that ritual relationship between the three temples, in order to have formed a sacred unity, must have existed, although exact ritual process is yet unknown.[9]
Unlike other temples, which were built on a flat surface, Borobudur was built on a bedrock hill, 265 m (869 ft) above sea level and 15 m (49 ft) above the floor of the dried-out paleolake.[15] The lake's existence was the subject of intense discussion among archaeologists in the 20th century; Borobudur was thought to have been built on a lake shore or even floated on a lake. In 1931, a Dutch artist and a scholar of Hindu and Buddhist architecture, W.O.J. Nieuwenkamp, developed a theory that Kedu Plain was once a lake and Borobudur initially represented a lotus flower floating on the lake.[10] Lotus flowers are found in almost every Buddhist work of art, often serving as a throne for buddhas and base for stupas. The architecture of Borobudur itself suggests a lotus depiction, in which Buddha postures in Borobudur symbolize the Lotus Sutra, mostly found in many Mahayana Buddhism (a school of Buddhism widely spread in the east Asia region) texts. Three circular platforms on the top are also thought to represent a lotus leaf.[15] Nieuwenkamp's theory, however, was contested by many archaeologists because the natural environment surrounding the monument is a dry land.
Geologists, on the other hand, support Nieuwenkamp's view, pointing out clay sediments found near the site.[16] A study of stratigraphy, sediment and pollen samples conducted in 2000 supports the existence of a paleolake environment near Borobudur,[15] which tends to confirm Nieuwenkamp's theory. The lake area fluctuated with time and the study also proves that Borobudur was near the lake shore c. 13th and 14th centuries. River flows and volcanic activities shape the surrounding landscape, including the lake. One of the most active volcanoes in Indonesia, Mount Merapi, is in the direct vicinity of Borobudur and has been very active since the Pleistocene.[17]

ABSTRACT THESIS

2011-07-11T08:32:00.000-07:00

ABSTRAK

Hamzah, Sutikno. 2011. Pengaruh Penggunaan Metode Eksperimen dan Demonstrasi dengan Gaya Belajar Siswa terhadap Hasil Belajar senirupa Kelas XI IPS di SMA Nahdlatul Ulama 1Gresik dan SMA Muhammadiyah 1 Gresik. Tesis. Program Studi Teknologi Pembelajaran, Program Pascasarjana Universitas PGRI Adi Buana Surabaya. Pembimbing (I) Prof. Dr.H.Iskandar Wiryokusumo, Msc.(II) Drs. Noor Fatirul ,ST,M.Pd.

Kata Kunci: Metode eksperimen, Gaya belajar, Hasil Belajar Seni Rupa

Tujuan penelitian ini adalah: (1) Untuk mengungkap dan menganalisis secara empirik, ada atau tidaknya perbedaan hasil belajar senirupa antara siswa yang diajar dengan menggunakan metode eksperimen dengan siswa yang diajar dengan menggunakan metode demonstrasi. (2) Untuk mengungkap dan menganalisis secara empirik, ada atau tidaknya perbedaan hasil belajar biologi antara siswa yang mempunyai gaya belajar (a) auditorial, (b) visual dan (c) kinestetik. (3) Untuk mengungkap dan menganalisis secara empirik , ada atau tidaknya pengaruh interaksi antara metode eksperimen dan demonstrasi dengan gaya belajar terhadap hasil belajar senirupa

Metode penelitian ini digolongkan penelitian eksperimen, dengan rancangan “Randomized control group pretes-postes design”. Populasi yang digunakan dalam penelitian ini adalah sebanyak 445 siswa kelas XI IPS, yaitu mereka yang belajar di SMA Nahdhlatul Ulama 1 Gresik dan SMA Muhammadiyah1 Gresik, tahun pelajaran 2010-2011. Dengan cara random undian ditetapkan 4 kelas sebagai sampel penelitian, dengan hasil undian untuk kelas XI SMA Nahdlatul Ulama1 Gresik adalah: kelas XI IPS 1 (kelas yang menggunakan metode demonstrasi, dengan gaya belajar yang berbeda) sebanyak 45 siswa dan kelas XI IPS2 (kelas yang menggunakan metode eksperimen, dengan gaya belajar yang berbeda) sebanyak 45 siswa. Sedangkan untuk kelas XI SMA Muhammadiyah1 XI IPS 3 (kelas yang menggunakan metode demonstrasi, dengan gaya belajar yang berbeda) sebanyak 40 siswa dan kelas XI IPS 1 (kelas yang menggunakan metode eksperimen, dengan gaya belajar yang berbeda) sebanyak 39 siswa.

Sebelum digunakan, instrument tes (tes formatif) terlebih dahulu diuji cobakan pada siswa kelas XI IPS lainnya yang bukan menjadi sampel penelitian, hasil yang diperoleh selanjutnya dianalisis untuk mengetahui nilai validitas, reliabelitas, daya pembeda dan tingkat kesukaran. Sedangkan untuk instrument yang berupa angket, yaitu untuk mengetahui adanya perbedaan gaya belajar siswa, peneliti menggunakan validitas isi (content validity) dengan cara konsultasi dengan pakar pendidikan (Dosen pembimbing), yang selanjutnya dilakukan perhitungan untuk mengetahui validitas dan reliabilitas angket yang digunakan.

Sebelum dilakukan eksperimen, semua siswa yang menjadi sampel penelitian diberi soal pretes dengan instrument yang telah diuji cobakan. Dari perhitungan kedua instrument tersebut di atas, dapat diketahui bahwa semua siswa yang menjadi sampel penelitian, baik siswa yang belajar di SMA Nahdlatul Ulama 1 Gresik maupun siswa yang belajar di SMA Muhamadiyah1 Gresik mempunyai kemampuan awal yang sama atau bersifat homogen.

Setelah eksperimen selesai, selanjutnya dilakukan perhitungan uji hipotesis setiap variable yang telah dirumuskan dalam penelitian ini, yaitu atas dasar hasil belajar siswa yang diambil dari selisih antara nilai postes dan nilai pretes. Dari perhitungan ditemukan bahwa: (1) untuk hipotesis pertama dengan tarap kesalahan 5% Ho ditolak, dengan demikian hipotesis pertama dari penelitian ini diterima. Sehingga dapat disimpulkan, ada perbedaan hasil belajar senirupa antara siswa yang diberi perlakuan dengan menggunakan metode eksperimen dan siswa yang diberi perlakuan dengan menggunakan metode demonstrasi. (2) untuk hipotesis kedua dengan tarap kesalahan 5% Ho ditolak, dengan demikian hipotesis kedua dari penelitian ini diterima. Sehingga dapat disimpulkan, ada perbedaan hasil belajar senirupa antara siswa yang mempunyai gaya belajar auditorial, visual dan kinestesis. (3) untuk hipotesis ketiga dengan tarap kesalahan 5% Ho ditolak, dengan demikian hipotesis ketiga dari penelitian ini diterima. Sehingga dapat disimpulkan, ada interaksi antara metode eksperimen dan demonstrasi dengan gaya belajar siswa terhadap hasil belajar senirupa siswa kelas XI IPS di SMA Nahdlatul Ulama 1 Gresik dan SMA Muhammadiyah 1 Gresik.

ABSTRACT

Hamzah,Sutikno. 2011. The influence of the use of experiment and demonstration method with students style of learning to ward learning achievement for VISUAL ART to students class XI social at SMA Nahlatul Ulama 1 Gresik and SMA Muhammadiyah 1 Gresik. Thesis, study program of Learning Technology, Postgraduate Work PGRI Adi Buana Surabaya University. Advisors (I) Prof. Dr.H.Iskandar Wiryokusumo.Msc. (II) Drs Noor Fatirul ,ST,Mpd.

Key words : Experiment method, style of learning, learning achievement for Visual Art.

The purpose of the research are : (1) to reveal and analyze empirically whether there is the difference in visual art learning achievement between students taught by experiment method from student taught by demonstration method. (2) to reveal and analyze empirically whether there is the different in visual art learning achievement between students who have style of learning as : (a) auditorial (b) visual and (c) kinesthetic. (3) to reveal and analyze empirically whether there is influence of interaction between experiment method and style of learning toward learning achievement for visual art.

The research is classified as experiment research with the plan randomized control group pretest-post test design. The population used in the research are 445 students class XI social namely students school year 2010 – 2011 at SMA Nahdlatul Ulama 1 Gresik and SMA Muhammadiyan 1 Gresik. As sample of the research, it is decided 4 classes in random with the result as follow : demonstration method is given to 45 students class XI social 1 at SMA Nahdlatul Ulama 1 Gresik and experiment method with different style of learning is treated to 45 student class XI science 3. Whereas for student at SMA Muhammadiyah 1 Gresik have been decided 40 students class XI social 3 (class which is treated by demonstration method with different style of learning) and 39 students class XI social 1 (class which is treated by experiment method with different style of learning).

Formative test is done by giving test before to other students who are not sample of the research. Then the result got is analized to get score of validity, reliability, differentiation, and difficulty degree : whereas the instrument used is by quetionaire, mainly to get information whether there is the difference style of learning, research uses content validity by consulting to the expert of education (advisor), and then the scores are counted to get validity and reliability of the instrument used.

Before the experiment is done, all students, who are as the sample, are given pretest by using instrument that has been tried out. From the counting of the two instrument above, it get all student who are the sample of the research, students at SMA Nahdlatul Ulama 1 Gresik as well as students at SMA Muhammadiyah 1 Gresik, have similar beginning competency or homogenous.

After the experiment is finish, and then the counting hypothesis test is done for every variable that has been formulaized in the research, mainly based on students learning achievement got from the difference between post test and pretest scores. From the counting done, there found : (1) for the first hypothesis by 5 % degree mistake Ho is rejected, so that first hypothesis of the research is accepted. So the conclusion, there is the difference on learning achievement for visual art between students who are given experiment method treatment from students by using demonstration method treatment. (2) second hypothesis by 5 % degree of mistake Ho is rejected so the conclusion is there is the difference on visual art learning achievement between students who have auditorial, visual and kinesthetic style of learning. (3) the third hypothesis by 5 % degree of mistake, Ho is rejected so that the third hypothesis of the research is accepted. So the conclusion is, there is interaction between experiment and demonstration method with students style of learning to ward learning achievement for visual art to students class XI social at SMA Nahdlatul Ulama 1 Gresik and SMA Muhammadiyah1 Gresik.

RPP SENI RUPA SMA

2011-07-11T08:29:00.000-07:00

CONTOH RENCANA PELAKSANAAN PEMBELAJARAN (RPP)

SMA/MA. : SMA NAHDLATUL ULAMA 1 GRESIK…………..

Mata Pelajaran : Seni Rupa

Kelas/Semester : XI/2

Standar Kompetensi : 1. Disain Dasar ( Nirmana )

Kompetensi Dasar : 1.1. Menjelaskan gagasan dan teknik dalam Disain

Dasar ( Nirmana )

Alokasi Waktu : tiap materi masing-masing 1 x 45 menit

A. Tujuan Pembelajaran

siswa mampu untuk:

Mencari definisi dan kecenderungan gagasan dalam Disain Dasar
Mempelajari unsur-unsur Disain Dasar
Mempelajari prinsip-prinsip penyusunan dalam Disain Dasar

B. Materi Pembelajaran

· Gagasan dalam unsure dan prinsip penyusunan Disain Dasar

· Teknik membuat karya Disain Dasar

C. Metode Pembelajaran

Pendekatan life skill, pemberian tugas, diskusi, tanya jawab

D. Langkah-langkah Kegiatan Pembelajaran

1. Guru membuka kegiatan belajar dengan menunjukkan sebuah hasil karya Disain Dasar.

2. Guru meminta siswa berdiskusi tentang kecenderungan gagasan yang kira-kira melatarbelakangi penciptaan karya Disain Dasar itu.

3. Siswa mencari informasi di internet tentang proses penciptaan/pembuatan karya Disain Dasar tersebut.

4. Siswa mengidentifikasi dan menyiapkan bahan-bahan yang diperlukan untuk membuat karya Disain Dasar semacam itu.

5. Siswa mempelajari teknik pembuatan karya Disain Dasar tersebut dengan meniru membuat karya tersebut.

6. Siswa mencatat serta membuat deskripsi bahan dan cara membuat karya Disain Dasar tersebut dalam beberapa kalimat ringkas.

7. Siswa dan guru menyimpulkan gagasan dan teknik membuat suatu karya Disain Dasar.

C. Sumber Belajar

· Kurikulum KTSP dan perangkatnya

· Pedoman Khusus Pengembangan Silabus KTSP SMA XI - ESIS

· Buku sumber Seni Rupa SMA & MA kelas XI – ESIS

· Peta konsep

· OHP

· Buku-buku penunjang yang relevan

· Internet

D. Contoh Penilaian

Format Penilaian

Aspek yang dinilai	Nilai Kualitatif	Nilai Kuantitatif
Keragaman data kemungkinan sebab karya Disain Dasar tersebut itu diciptakan
Kemampuan siswa mengidentifikasi dan menyiapkan bahan-bahan yang diperlukan untuk membuat karya Disain Dasari semacam itu
Kemampuan siswa membuat karya serupa dengan karya Disain Dasar tersebut
Kemampuan siswa merumuskan/membuat deskripsi cara membuat karya Disain Dasar dengan jelas
Laporan disusun secara teratur sesuai konvensi penulisan laporan
Laporan ditulis dengan menggunakan bahasa Indonesia yang baik dan benar
Jumlah Nilai

Kriteria Penilaian :

Kriteria Indikator	Nilai Kualitatif	Nilai Kuantitatif
80-100	Memuaskan	4
70-79	Baik	3
60-69	Cukup	2
45-59	Kurang cukup	1

Mengetahui, Gresik ,Juni 2011..............

Kepala Sekolah/Yayasan Guru Mata Pelajaran

Drs. HZ. Fuad Basyir, M.Ag Drs. Kriswanto Adji Wahono

RPP ART SMA

EXAMPLES OF LEARNING PLAN (RPP)

SMA / MA. : High School NU 1 GRESIK ... ... ... ... ..

Subject: Fine Arts

Class / Semester: XI / 2

Competency Standards: 1. Basic Design (Nirmana)

Basic Competencies: 1.1. Explaining ideas and techniques in design

Basic (Nirmana)

Time allocation: each material each 1 x 45 minutes

A. Learning Objectives

students are able to:

* Looking for the definition and the trend of ideas in the Design Basis
* Learn the basic design elements
* Learn the principles of the Design Basis

B. Learning Materials

· The idea of the elements and principles of preparation of Basic Design

· The technique makes the work Design Basis

C. Learning Methods

Life skill approach, giving assignments, discussions, questions and answers

D. Steps Learning Activities

1. Teachers open learning activities by showing a basic design work.

2. The teacher asks the students to discuss the tendency of which is roughly the idea behind the creation of the Basic Design.

3. Students seeking information on the internet about the process of creating / making the work of Basic Design.

4. Students identify and prepare the materials needed to create such works of Basic Design.

5. Students learn the basic technique of making the design work by mimicking the making of the work.

6. Student records and create a description of materials and how to create a work of the Design Basis in a few concise sentences.

7. Students and teachers concludes the ideas and techniques to make a work of Basic Design.

C. Learning Resources

· Curriculum SBC and devices

· Guidelines for school curriculum Special Syllabus Development XI - ESIS

· Book resources & Arts MA high school class XI - ESIS

· Map of the concept

· OHP

· The books of the relevant supporting

· Internet

D. Examples of Assessment

Format Assessment

Aspects assessed

Qualitative value

Quantitative values

Diversity Data Base Design works probably because it was created

Student's ability to identify and prepare the materials needed to create such works of Design Base

The ability of students to create works similar to the work of the Design Basis

Student's ability to formulate / make a description how to make this work clearly Basic Design

Report compiled regularly according to the convention of writing the report

Reports are written by using the Indonesian language is good and true

Number of Ratings

Assessment Criteria:

Criteria Indicators

Qualitative value

Quantitative values

80-100

Satisfy

4

70-79

Good

3

60-69

Enough

2

45-59

Insufficient

A

Knowing, Gresik, June 2011 ..............

Principal / Teacher Foundation Subjects

Drs. HZ. Fuad Bashir, M. Ag Drs. Adji Kriswanto Wahono