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Kunst der Wereld
The Art of Indonesia: The Art of an Island Group
Frits A. Wagner of the Royal Institute for the Tropics, Amsterdam, here gives a clear and profound picture of an art that is highly diversified. His book is one of the first to study as an entity the many islands which lie between India and China. "Indonesia" traces step by step the historical development of the art of the islands and shows how it reflects the influences of the numerous Indian and Chinese groups that traded with the islands as well as the impact of Hinduism, Buddhism and ultimately that of Islam. Almost a hundred illustrations, including 64 in full color, illustrate the sculpture, painting, metalwork, architecture, bronzes, ceramics, and textiles discussed in the text.
- GenresArt
256 pages, Paperback
First published January 1, 1959
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Displaying 1 - 3 of 3 reviews
August 4, 2022
First published in 1959 in German, "The Art of Indonesia" is a remarkable introductory work that describes the civilisation of Indonesia from its Neolithic beginnings to the mid-twentieth century written by Frits A. Wagner KIT Royal Tropical Institute (Koninklijk Instituut voor de Tropen) of Amsterdam. Forty-eight (48) of the book's colour illustrations are objects from the collection of the KIT. In addition to an analysis of the art, the author has chapters or lengthy sections on the literature, textiles music, and dance of the archipelago. He writes an outstanding commentary on Wayang puppet theatre and brilliantly describes the traditional Indonesian harmonic system and musical instruments.
In his opening chapter, Wagner analyzes the Weltanschauung or worldview of the Neolithic Indonesian. The early Indonesians perceived that they lived in a mystical collectivity (mana) that encompassed nature, the supernatural, human social systems and art. Magical thinking prevailed. Ritual and art were used to control the mana. Wagner argues that the magical thinking would dominate the collective mentality of Indonesia until the cataclysm of World War II"
Unfortunately Wagner fails to analyzes the art of the Neolithic era in the most cursory fashion imaginable. He mentions that many impressive megaliths from the era have survived but provides no illustrations.
Around 500 BC, immigrants from Northern Annam brought to Indonesia its first decorative arts (sculpture, weaving, plaiting and dyeing). Wagner refers to two different waves of Chinese influence, Dong-Son and Late-Chou.
During the 3rd to 6th century AD, a wave of Indian(primarily Gujarati) immigration began that brought first Hinduism and then Buddhism to Indonesia. Many Indian-style temps were built. New artistic methods and motifs also arrived. According to Wagner Indian like Indonesian civilization was undifferentiated; that is to say, art did not exist outside of the religious or social context. Hence the Indian art simply melded into the Indonesian synthesis.
In the 16th century, Islam arrived in the archipelago. Its influence was greatest on the island of Java where Islamic elements entered the architecture and literature. The arrival of Islam also coincided with significant developments of areas of armour and music.
Wagner devotes a special chapter to Bali where Islam never established itself. As a consequence, the Hinduism continued to be dominant religion into the 20th century and art remained resolutely in the Hindu tradition.
The fall of the Dutch colonial regime during the Japanese occupation and the subsequent creation of the independent republic caused a sudden and dramatic change in archipelago. After millennia of dominance the ethos of mana or magical thinking came to an abrupt end. Indonesians suddenly became modern and with this transformation their traditional arts withered away. At the time of writing, Wagner noted that the Indonesians had shed a venerable civilisation and worried that they would have a difficult time creating a new one of equal splendour.
In his opening chapter, Wagner analyzes the Weltanschauung or worldview of the Neolithic Indonesian. The early Indonesians perceived that they lived in a mystical collectivity (mana) that encompassed nature, the supernatural, human social systems and art. Magical thinking prevailed. Ritual and art were used to control the mana. Wagner argues that the magical thinking would dominate the collective mentality of Indonesia until the cataclysm of World War II"
Unfortunately Wagner fails to analyzes the art of the Neolithic era in the most cursory fashion imaginable. He mentions that many impressive megaliths from the era have survived but provides no illustrations.
Around 500 BC, immigrants from Northern Annam brought to Indonesia its first decorative arts (sculpture, weaving, plaiting and dyeing). Wagner refers to two different waves of Chinese influence, Dong-Son and Late-Chou.
During the 3rd to 6th century AD, a wave of Indian(primarily Gujarati) immigration began that brought first Hinduism and then Buddhism to Indonesia. Many Indian-style temps were built. New artistic methods and motifs also arrived. According to Wagner Indian like Indonesian civilization was undifferentiated; that is to say, art did not exist outside of the religious or social context. Hence the Indian art simply melded into the Indonesian synthesis.
In the 16th century, Islam arrived in the archipelago. Its influence was greatest on the island of Java where Islamic elements entered the architecture and literature. The arrival of Islam also coincided with significant developments of areas of armour and music.
Wagner devotes a special chapter to Bali where Islam never established itself. As a consequence, the Hinduism continued to be dominant religion into the 20th century and art remained resolutely in the Hindu tradition.
The fall of the Dutch colonial regime during the Japanese occupation and the subsequent creation of the independent republic caused a sudden and dramatic change in archipelago. After millennia of dominance the ethos of mana or magical thinking came to an abrupt end. Indonesians suddenly became modern and with this transformation their traditional arts withered away. At the time of writing, Wagner noted that the Indonesians had shed a venerable civilisation and worried that they would have a difficult time creating a new one of equal splendour.
November 28, 2018
I read this before, during, and just after, my recent trip to Indonesia (I found it at a 2nd hand stall just before my trip, how lucky!) and it really enriched my experience - it allowed me to appreciate and understand the Borobudar and Prambanan temples, and Javanese dance and puppetry, so much more.
This book is beautifully crafted, with color illustrations printed separately and pasted in! But unfortunately the words aren't so well crafted (or perhaps they are but are badly translated) - the sentences are long and unwieldy, making this a difficult read.
When I read a pre-1970s book, I brace myself for it to be at least a little racist, but this one isn't at all - the author seems to truly respect Indonesian culture (the word 'primitive' is used a bit, but I think that for art historians that's just a technical term, without pejorative connotations).
I think that if you're really interested in art this is a great pre-trip read, but if you're only casually interested you should stick to Lonely Planet!
This book is beautifully crafted, with color illustrations printed separately and pasted in! But unfortunately the words aren't so well crafted (or perhaps they are but are badly translated) - the sentences are long and unwieldy, making this a difficult read.
When I read a pre-1970s book, I brace myself for it to be at least a little racist, but this one isn't at all - the author seems to truly respect Indonesian culture (the word 'primitive' is used a bit, but I think that for art historians that's just a technical term, without pejorative connotations).
I think that if you're really interested in art this is a great pre-trip read, but if you're only casually interested you should stick to Lonely Planet!
Displaying 1 - 3 of 3 reviews