Naissances et renaissance de la peinture sous verre à Java

Abstract

Jérôme Samuel, Institut national des Langues et Civilisations orientales, Paris Naissances et renaissance de la peinture sous verre à Java This paper deals with reverse glass painting as a Javanese popular art, mainly in Central Java and in the Cirebon area. First, the author examines the foreign roots of this art (China, Japan, Europe and the Middle East) and the conditions which facilitated its spread in Java during the first decades of the XX th century. He argues that Islam played a significant role, through a wide range of pious pictures, as well as the increasing accessibility of glass as a material for paintings. Reverse glass painting reached a peak during the 1930s, which coincides with the first significant scientific paper devoted to that popular art. The second part of this paper focuses on recent developments of reverse glass painting. Since the late seventies, it seems to be out of favour in popular Java, but the antiquarians and the cultural establishment have shown some interest for it. Nowadays, reverse glass painting is still alive but it has lost most of its traditional features.

Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists

“…This type of art also developed in Senegal as Suwers (Pierce, 2005). Glass painting entered Indonesia from Europe via China at the end of the 19th century (Fischer, 1994;Samuel, 2005;Waluyo, 2006). At first, this art, with its glass which was still a luxury item, was closely related to the royal class of the palace (Cohen et al, 2000).…”

“…At first, this art, with its glass which was still a luxury item, was closely related to the royal class of the palace (Cohen et al, 2000). Indonesian glass painting developed in Cirebon, Jogjakarta, Surakarta, Muntilan, Demak, Kudus, Nagasepaha-Buleleng-Bali, and several other areas with different characteristics of aesthetic tastes, strongly influenced by the cultural system (Samuel, 2005(Samuel, , 2010(Samuel, , 2013Waluyo, 2006;Wisetrotomo, 2012).…”

A la recherche des ateliers perdus. Peinture sous verre et production en série à Java

“…1 L'abondance et la richesse thématique de la peinture sous verre 2 à Java sont aujourd'hui bien établies (Hooykaas-van Leeuwen Boomkamp 1939 ;Samuel 2005Samuel , 2013Samuel , 2014Sasaki 1987Sasaki , 1989, ainsi que l'histoire, dans ses grandes lignes au moins, de ses développements. On sait qu'entre la in du XIX e siècle et les années 1960, elle y a rencontré un immense succès auprès de toutes les catégories sociales, et il est probable que plusieurs millions de pièces y ont été produites, destinées à l'afichage dans les intérieurs privés aux ins de protection, de propitiation, d'édiication, d'afirmation de statut, ou encore de simple ornementation.…”