Lot 12: RISTYO EKO HARTANTO

RISTYO EKO HARTANTO B. 1973 POST-NORTH-KOREA NUCLEAR TEST (THE PRICE OF FREEDOM IS ETERNAL VIGILANCE) SIGNED AND DATED 2008 LOWER LEFT; SIGNED, TITLED POST-NORTH-KOREA NUCLEAR TEST (THE PRICE OF FREEDOM IS ETERNAL VIGILANCE), INSCRIBED SIGNATURE CODE: 2008 / SHEET1 / B10 AND DATED 2008 ON THE REVERSE OIL ON LINEN 250 by 200 cm.; 98 1/2 by 78 3/4 in.

The Loro Blonyo

The two figures in this painting come from illustration of traditional symbol of good hope of the Javanese, the Loro Blonyo, the wedded couple. Originally come from Indian Hindu mythology, the Loro Blonyo can be traced back as far as the Mataram Kingdom of Java during the reign of Sultan Agung (c. 1476), a Hindu kingdom. The bride is Śrī literally means 'light', originally the goddess Lakshmi in India), the goddess of fertility & prosperity. In the enculturation process, Śrī found her soulmate, the bridegroom: Vishnu, the God Himself. Their unionship is only natural and inevitable for Śrī (in her two manifestations, are the representation and the totality of both material and the spiritual world) is the power of Lord Vishnu and they are actually One. Centuries later, as Java turned more plural with the influence of Islam and modernism, what remains of this understanding has been simplified to a mere couple in traditional Javanese wedding dress ('the basahan') representing hope & harmony, mostly in form of small painted wooden statues. Traditional Javanese house loves to have these statues as a hope to bring children, wealth and harmony within the household.

Different from any other model posing for R.E. Hartanto's Post-North-Korea Nuclear Test series which are more political, this piece stands afar in appearance. The traditional look and conservative gesture of these figures might be in contrast to the provoking South-Korean soldier bearing a high-tech riffle in a camouflage uniform but the message remains the same. Fear transcends time and space. Looking at the couple of child posing as the Loro Blonyo shocked in awe before the threat of nuclear power, this piece only reminds us of ancient Hindu mythologies where too many times the Gods have to descend in humanly manifestation in order to eradicate evil superiors armed with super-weapon on Earth, bringing peace after a thousand years of suffering. When there is threat, there is no harmony. When the threat is in power, hope fades to eclipse. This painting suggests the perturbation of the equilibrium in traditional Javanese context.