MOOI INDIE




 

Mooi Indie
Beautiful Indies

Characteristics of Mooi Indie





















Avatar

[TITLE] Netherlands Indian State Railways Java Night-Limited [AUTHOR] —— [DATE] 1930s [MEDIUM] Lithograph print [SIZE] 51.5 x 90 cm | 20.2 x 35.5 in



Avatar

[TITLE] Luggage Label Staatsspoorwegen [AUTHOR] –– [YEAR] 1930s [MEDIUM] –– [SIZE] 12.7 x 10.2 cm | 5 x 4 in

Avatar

[TITLE] Visit Java and Bali [AUTHOR] Travellers Bureau of the Netherland Indies [YEAR] 1930s [MEDIUM] Photolithography on paper [SIZE] ––

[ID] Mooi Indie Diserang Lalu Disayang

Darma Ismayanto


Takjub oleh keindahan alam Hindia Belanda, para perupa Belanda melukiskannya di atas kanvas. Sejumlah perupa sbumiputera juga menganut gaya romantisme ini antara lain Abdullah Surio Subroto, Mas Pirngadi, Wakidi, dan Basuki Abdullah.
   Kritikan datang dari S. Sudjojono, yang menyebutnya sebagai lukisan mooi indie. Lewat tulisan-tulisannya, Sudjojono mengkritik lukisan mooi indie yang serbamolek melenakan masyarakat bumiputera dari keadaan sesungguhnya: terjajah. Dia menganggap lukisan mooi indie tak lebih hanya untuk “menghibur” orang-orang asing.
   “Benar mooi indie

[ENG] Mooi Indie: Hated Then Loved

Darma Ismayanto


Amazed by the natural beauty of the Dutch East Indies, Dutch artists painted it on canvas. A number of native artists also embraced this romantic style, including Abdullah Surio Subroto, Mas Pirngadi, Wakidi, and Basuki Abdullah.
   Criticism came from S. Sudjojono, who called it an Mooi Indie painting. Through his writings, Sudjojono criticized the painting of the indolent Mooi Indie bumiputera society from the real situation: colonized. He considers Mooi Indie paintings no more than to "entertain" strangers.
   "It is true Mooi Indie for the stranger, who has never seen coconut trees and rice fields, it is true mooi indie for the tourist

bagi si asing, yang tak pernah melihat pohon kelapa dan sawah, benar mooi indie bagi si turis yang telah jemu melihat skyscapers mereka dan mencari hawa dan pemandangan baru, makan angin katanya, untuk menghembuskan isi pikiran mereka yang hanya bergambar mata uang sahaja,” tulis Sudjojono dalam tulisannya di Majalah Keboedajaan dan Masjarakat, Oktober 1939.
   Bagi Sudjojono, kesenian –seni lukis khususnya– seharusnya tidak terpisah dari realitas kehidupan masyarakat sekitarnya. Semestinya, perupa “…menggambar juga pabrik-pabrik gula dan si tani yang kurus, mobil si kaya dan pantalon si pemuda; sepatu, celana dan baju garbadin pelancong di jalan aspal. Inilah keadaan kita. Inilah realiteit kita,” tulis Sudjojono. Sudjojono menyebutnya realisme.

who has been tired of seeing their skyscapers and looking for new air and scenery, eating the wind, he said, to blow away the minds of those who are only pictured in currency. legitimate, "Sudjojono wrote in his article in Keboedajaan and Masjarakat Magazine, October 1939.
   For Sudjojono, art - especially in the art of painting - should not be separated from the reality of the life of the surrounding community. Supposedly, artists "... also draw sugar factories and the thin peasant, the rich man's car and the young man's pantalon; shoes, pants and garments of travelers on the asphalt road. This is our condition. This is our reality, "Sudjojono wrote. Sudjojono calls it realism.
   As a form of resistance, Sudjojono founded the Indonesian Image Experts Association (Persagi) in 1937. He held this

   Sebagai bentuk perlawanan, Sudjojono mendirikan Persatuan Ahli-Ahli Gambar Indonesia (Persagi) pada tahun 1937. Dia tetap memegang pandangan realisme ini setelah Persagi bubar serta kemudian terlibat dalam perkumpulan Seniman Indonesia Muda dan Lembaga Kebudayaan Rakyat (Lekra).
   Pada 1950-an, Sudjojono jadi anggota Parlemen dari Partai Komunis Indonesia. Namun, dia kemudian dipecat karena poligami yang tidak diperkenankan oleh partai. Menurut Ajip Rosidi dalam Mengenang Hidup Orang Lain, setelah mengucapkan selamat tinggal pada dunia politik, Sudjojo rupanya meninggalkan pula realisme. Setidaknya, tidak lagi menganggapnya sebagai satu-satunya aliran seni yang dianutnya.
   Menurut Onghokham, “Hindia yang Dibekukan: Mooi Indie

view of realism after Persagi broke up and later became involved in the association of the Young Indonesian Artists and the People's Cultural Institute (Lekra).
   In the 1950s, Sudjojono became a member of Parliament from the Indonesian Communist Party. However, he was later fired for polygamy which was not permitted by the party. According to Ajip Rosidi in Remembering the Life of Others, after saying goodbye to the political world, Sudjojo also apparently abandoned realism. At least, he no longer regards him as the only school of art he adheres to.
   According to Onghokham, "Frozen Indies: Mooi Indie in Fine Arts and Social Sciences," in Kalam, 3rd edition, 2005, Sudjojono finally also painted indie mooi because it turned out that this school was very

dalam Seni Rupa dan Ilmu Sosial,”dalam Kalam, edisi 3, 2005, Sudjojono akhirnya juga melukis mooi indie karena ternyata mazhab ini sangat kuat berakar di masyarakat. Selain itu, salah satu sebabnya adalah patron Sudjojono pada masa pascakolonial, yakni Presiden Sukarno, adalah seorang kolektor dan patron utama mazhab mooi indie.
   “Sudjojono memang seniman unik,” kata kolektor seni Syakieb Sungkar kepada Historia. “Di satu sisi dia pernah habis- habisan menyerang mooi indie, tapi di akhir-akhir hidupnya dia melukis dengan gaya tersebut. Ini menunjukkan, sehebat- hebatnya dia, tetap manusia biasa. Bisa tidak konsisten juga.”

strongly rooted in society. In addition, one of the reasons is that Sudjojono's patron in the post-colonial era, President Sukarno, was a collector and main patron of the indie school of thought.
   "Sudjojono is indeed a unique artist," art collector Syakieb Sungkar told Historia. "On the one hand he never completely attacked mooi indie, but at the end of his life he painted in that style. This shows, as great as he is, still human. Can be inconsistent too. "

🡫 Print Version