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All Journal Jurnal Kajian Seni Paradigma: Jurnal Kajian Budaya
Krisnambudi, Dionisius
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Arts Humanities Education Languange, Linguistic, Communication & Media Library & Information Science Social Sciences

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TRANSFORMATION OF ‘MOOIE INDIË’ VISUAL DISCOURSE THROUGH RADEN SALEH’S PAINTING ‘MERAPI, ERUPTION BY DAY’ Krisnambudi, Dionisius; Habsari, Sri Kusumo; Farhah, Eva
Jurnal Kajian Seni Vol 12, No 2 (2026): Jurnal Kajian Seni Vol 12 No 2 April 2025
Publisher : Universitas Gadjah Mada

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jksks.104551

Abstract

This study examines the transformation of the “beautiful Indies” (mooie Indië) visual discourse through Raden Saleh’s painting “Merapi, Eruption by Day”. The “beautiful Indies” style celebrated an idealized vision of the Dutch East Indies, raising questions about the influence of late-romantic European on Indigenous artists such as Raden Saleh. The research employs a qualitative and interpretive design grounded in Pierre Bourdieu’s theory of structuration. This framework enables a deconstruction of colonial aesthetic orders and the dynamics of symbolic power embedded in the ‘mooie Indië’ tradition. Methodologically, the study integrates heuristic and source criticism to contextualize colonial discourse, and montage analysis to reinterpret art elements of Raden Saleh’s painting, thereby exposing tensions between colonial ideology and artistic agency. Findings reveal that “Merapi, Eruption by Day” both appropriates and subverts the ‘mooie Indië’ aesthetic. Through the lens of Pierre Bourdieu, the painting demonstrates how Raden Saleh’s artistic practice can negotiates structures of domination while asserting symbolic capital for the colonized subject. At the same time, the Mount Merapi motif embodies the romantic sublime, destabilizing orientalist expectations of harmony and exotic natural beauty. Raden Saleh’s work thus transforms the colonial discourse of “the beautiful Indies” into a site of symbolic struggle, where visual strategies articulate resistance and intellectual agency within the colonial field of power.
MAKNA ‘INDAH’ LUKISAN ‘KEBAKARAN HUTAN’ RADEN SALEH SEBAGAI PERLAWANAN KONSEP PEMIKIRAN ‘<i>MOOIE INDIËM</i>' Krisnambudi, Dionisius; Habsari, Sri Kusumo; Farhah, Eva
Paradigma: Jurnal Kajian Budaya
Publisher : UI Scholars Hub

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Abstract

The concept of "beautiful Indies" (mooie Indië) is understood as a project of visual discourse transformation in the Dutch East Indies. This study highlights Raden Saleh's painting "Forest Fire", which represents a romantic manifestation while simultaneously challenging colonial narratives about nature and society in the Indies. The aim of the research is to reveal the trans-cultural visual strategies employed by Raden Saleh in constructing a counter-discourse to colonial representation. The study adopts a qualitative-interpretative approach using heuristic methods, source criticism, and montage analysis, contextualized within Pierre Bourdieu's theoretical framework. Montage analysis is applied by juxtaposing and reassembling visual, symbolic, and socio-political elements of the painting, producing new readings of colonial power relations. Pierre Bourdieu's concepts of habitus, field, and capital are then used to interpret these montage findings, showing Raden Saleh's position as a Javanese artist shaped by European experience within the colonial art field. The results demonstrate that "Forest Fire" not only depicts nature, humans, and animals but also articulates a critique of colonial structures through symbolic construction. This work underscores the role of visual art as a medium capable of reshaping colonial representation by combining montage strategies with the social dynamics explained through Pierre Bourdieu's framework.
Co-Authors Eva Farhah, Eva Sri Kusumo Habsari