Flowers in the heart of painter Pande Ketut Taman

Flowers in the heart of painter Pande Ketut Taman

By Amir Sidharta

JAKARTA (JP): What have we achieved in this period of
reformasi? While little progress has been achieved, much has
deteriorated. We are so easily pitted against each other;
divided, disunited and disintegrated. Violence seems to be the
only way we know to solve our problems.

As a result of a simple problem, an unfortunate victim can be
harassed, beaten up and even burned to death. Is our humanity
completely lost? Where is our compassion? Will we be able
to find peace?

Humanity, compassion and peace. Those were the things that
were on the mind of painter Pande Ketut Taman as he created his
works of art over the last few years. With the current political
developments in the country, his works -- on exhibit from Feb. 15
to March 15 at Gallery Inggil in South Jakarta-- seem to be even
more meaningful.

Prahara di Negeri Bunga (Calamity in a Country of Flowers)
shows the disunity of citizens as a result of violence. Many men
can be seen fighting; one strikes another in the jaw, another man
hits his fallen opponent with a wooden stick, three men fight
over a long piece of red-and-white cloth.

All of them trample on white frangipani flowers covering the
land. For Taman, Indonesia is a country of flowers, a land of
beauty, hospitality and peace. He has even painted Indonesia's
national flag as a flaming sky and a vast garden of white
flowers, spanning to the horizon.

As in American artist Andrew Wyeth's Christina's World (1948),
Taman's horizon is placed high. As a result, the background of
the painting is separated from the audience by a vast field. The
woman in Wyeth's masterpiece is his disabled neighbor, who is
glancing toward her house, which she seems to miss. She reaches
out to the house, as if she wants to go home.

In Taman's depiction of Indonesia, there is also the
impression that there is something far away that is missed, that
we want to reach, that we want to achieve.

However, the horizon is so far, so high, and the garden of
flowers has increased the distance. In the painting, the red sky
and the white field comprise what Taman misses: the integrity of
the national flag, Indonesia.

White flowers and women appear often in Pande Ketut Taman's
paintings, not only as common objects, but as symbols of
compassion, peace, maturity and wisdom.

In his Hari Besar Kaum Kecil (Happy Birthday My Country) there
appears a strong woman in a white kebaya, or a Javanese-style
blouse. Her hands are placed on her hips and she is holding a few
colored flowers.

She appears like Joan of Arc leading France against the
British in the 15th century. Perhaps, the figure is Luh Luih. In
Balinese luh means woman and luih means more. "Luh is also
derived from luih," says Taman.

So, etymologically, in Balinese the word for woman
incorporates the connotation of superiority.

Taman does indeed intend to express the beauty of women, but
not in terms of superficial beauty, but instead the beauty of the
heart and soul, and the deeper meaning of their personalities.

The figure in his work Indah (Beauty), for example, is that of
a simple woman. She appears in a simple white nightgown, her face
not yet made up, her hair in braids and wearing a pair of
slippers. Her beauty glows from within.

Taman tries to dig deep into the psychology and character of
the figures in his paintings. A series of his works show men
squatting in four different poses. All of the paintings show
the men with their hands crossed on their knees, but one is
crouching, another more relaxed and one of the men seems
irritated, with his mouth open.

Another figure seems to be paying serious attention to
something, and there is one that seems a little worried. Yet
another figure seems to have just received some sort of
inspiration, and his eyes look off to the side and a smile is
just beginning to play across his lips.

The artist pays close attention to the facial expression and
body language of men. Perhaps that is what distinguishes Taman
from the artists in Yogyakrta and Bali with whom he is often
compared.

Psychology and character also appears in the figures in Suara
Rakyat (People's Voice). Although many of the figures seem
similar, they are by no means stereotypes, and every figure has a
distinct character.

They painting shows people struggling to make music. The
figure playing the banjo glances toward the drummer in confusion.
The bass player seems content, rambling away by himself. There
seems to be the impression of disharmony in their song and their
music, yet there is still an effort to synchronize their
different tunes. Perhaps that is how our "people's voice" is
being expressed at this time.

The male and female figures in Cahaya (Light) seem confused
and disoriented in the darkness. Some struggle toward one
direction while others glance at them, as if uncertain or even
suspicious. Others do not yet know where to head, although they
are very anxious to move in some direction. There are also those
who choose to remain still. Yet, all the figures hold candles.

The candle, the source of light in darkness, has become a new
symbol for Taman. It signifies hope. Indeed, Taman still has hope
that flowers can still blossom in the "garden" (it is interesting
to note that the word taman, means garden) of the heart of every
Indonesian, so that Indonesia can once again become the Country
of Flowers.

The writer is the curator of Pelita Harapan Museum.