Pity the casual tourist seeking the offbeat attraction, the
singular artifact, the exceptional craftwork.
In Bali – no problem. Signs to ‘studios’, ‘workshops’ and
‘artists’ centers’ clutter the streetscape, though seldom deliver. Time-pressed visitors rarely get to meet the
originator; only staff whose sole contact with the artisan is through unpacking
deliveries from her or his hills hideaway.
It’s different in Java – particularly in the villages and
towns where the locals consider outsiders as curious pale-hued humans and not
walking wallets. Don’t expect to find without much asking. In this zone Google isn’t helpful, as little
has been recorded.
Cirebon, on the north coast of Java and about 220 kilometers
east of Jakarta, is billed as a tourist town.
This is a stretch of hyperbole, though it has some locations for selfies
and a few magnets for historians.
These include the little Red Mosque of Panjunan (1480) (leeft) which
appears well maintained though built of timber; the people must have been
smaller in that era as it’s stoop or suffer a cracked head.
It’s linked to Sunan Gunung Jati, one of the nine ‘Muslim
saints’ known as the Walisongo who are reputed to have brought Islam to the
archipelago.
They were Arabs, or descendants of Arabs; some may have
arrived from India as traders and started proselytizing.
There are two kraton (Sultan’s palace) - Kasepuhan (1447),
and Kacirebonan (1807) - and the Dutch wharf signal tower (1918), incongruous
among the modern shipping. Although made
of teak, its ladders wouldn’t pass a safety audit, so best viewed from outside.
These are the dead relics.
The live crafters are elsewhere. Like in Gegesik, a 40-minute drive
northwest of the city where Kusdono ‘Dono’ Rastika, 36, maintains the ancient
verre eglomise technique . This is named after the 18th century French artist
Jean-Baptiste Glomy who pioneered the style.
More prosaically labeled ‘reverse glass painting’ it
probably came to the East Indies during the so-called ‘ethical’ Dutch colonial
period early last century; the skill almost disappeared after the Netherlanders
went home.
In Europe it’s normally linked to religious motifs. Though
some have been painted in Indonesia, including Arabic calligraphy, the subjects
tend to be more whimsical.
The paintings have a slight 3D effect and are well
protected. The image is not on the front of the glass which can be wiped clean
of stains, even using chemicals.
Working from a wheelchair – Dono suffered a spinal injury
when a 12-year old playing in the schoolyard – he produces exquisite work
taught by his late father, Rastika.
He learned the craft from other artists in the village.
During his lifetime he’s believed to have produced 2,000 paintings and held 17
exhibitions. The polymath carved puppets and played in gamelan orchestras.
His son is also talented. “First I sketch my ideas on
transparent paper,” he said. “I favor
wayang (characters from ancient stories usually told in puppet shows) which I
used to watch with my fathers, and then start work on the glass.
“I paint upside-down and back-to front. I know how it will
appear from the front through long experience. As I work I add features that
weren’t in the original sketch. It takes about two weeks to finish and frame.”
Dono, a Muslim, has also painted Christ’s Last Supper,
though this is more a copy of the much imitated Leonardo da Vinci mural in
Milan, rather than a Javanese take on the Biblical story.
Dono’s prices range from Rp 1 million (US $15) to ten times
more for the larger pieces. He has exhibited in Surabaya and sold overseas;
packers should work with care - the glass is only three millimeters thick.
He lives in a small kampung with no signage. His presence is known only to connoisseurs
and members of the local art community, like Asep Syaefuddin, 35, just a few
streets distant.
Asep’s artistry also has a French name, though now
Anglicised – papier mache. The art of
using paper and starch goes back to the
ancient Egyptians creating death masks, though they worked with papyrus.
Asep’s specialty also includes masks – though these are huge
and atop extraordinary colorful floats used in parades and special events. They also feature a few wayang characters.
However most are bizarre fearsome figures which would never
hit the cutting-room floor in a low budget sci-fi movie set.
Like Dono he pulls images hot from the furnace of his
imagination stoked by
an eclectic mix of Western fantasy and Javanese
culture. A favorite figure is the burok,
a bird with grotesque head; the word is also a generic term for the art.
Flying horses are
another theme, along with the Singa Barong, an open-jaw well dentured dragon
head. Scholars reckon its provenance
lies in the ancient Chinese lion dance.
Like the reverse glass painting the art may have arrived in
Cirebon early last century where it settled in Kalimaro village.
Prices for a custom-made carriage start at Rp 8 million (US
$520) and come with four wheels salvaged from discarded rubbish carts. The over-the-top designs are brightly colored
and well varnished to protect against rain.
For those seeking a one-off use, Asep (left) will rent a wagon for
Rp 700,000 (US $46) a day. Burok are
hired for ceremonies like circumcision processions and fast-breaking.
They’d also be fine for a fun wedding, provided ceremony and
reception venues are not too distant.
Asep’s burok can carry people, but plump Westerners might want to check
the suspension – and any mythology surrounding the beast, just to ensure its
use is propitious.
Riding a creature famous for devouring maidens might not
lead to future marital harmony.
(First published in Indonesia Expat 22 November 2018)