Tonkonon drawing on board, 24 x 35 cm Aleksander Panimba 2016

The act of drawing is a balancing act between different forces, drives and reasons. In its broadest understanding drawing can be perceived as either subjective or objective (Betti, 1980). More recently western notions of drawing as an artistic expression have evolved further in simplifying this binary interpretation of what is a truly fundamental human act as either conceptual or informal, where many primary expressions of human experience (intimacy, informality, narrative, subjective, memory) are bundled together as either comparative or oppositional to the formalistic determination of a conceptual model. Unlike painting and sculpture drawing has not been over theorised. Unlike painting ‘no one ever declared that drawing was dead’, (Dexter, 2005). Masuda (2008) identifies understandings of an aesthetic experience as differing between East Asian and American preferences (Masuda, 2008). Different perspectives are emphasised or privileged in the context of an image or a subject situated within a frame. How ‘we’ consider or perceive an image differs according to cultural understandings and contextual emphasis.

The grandfather of western artistic conceptualism Marcel Duchamp, was not interested in metaphysical systems. He was very interested in metaphysical thinking, the kind of thinking that moves the mind beyond duality towards what he described as "regions which are not ruled by time and space." Duchamp directly expanded upon this concept throughout his life (Graham, 2002).

Within the act of drawing, whether a line is singular or multiplied, suggests movement, change of mind, the struggle to express form, volume or perspective a multiplicity of potential interpretations are possible. How an image is interpreted is dependent upon the viewer’s understanding of that perceived and their contextual relationship with the image. Certain characteristics of fluidity, energy, sensitivity of a line, its direction, rhythm and flow, or its relationship to the ground (the support or material) of the work can be universally understood and appreciated. Within the act of drawing ideas or observations are made visible in a primary way whether seeking permanence or ephemerality these documentations from the eye, hand and mind unite our sensibilities in a simple yet direct expression which may convey delicacy and precision or violence and gesture. Dexter acknowledges contemporary drawing’s links to the shamanistic, pagan and atavistic past.

 

Detia Kwaca Pralaya, acrylic on canvas, 104 cm x 135 cm I Made Sesangka 2012

 

 

Newman cited in Dexter (2005) posits the notion of drawing always being incomplete as it relates directly to thought and ideas as part of a continuum. Notions of the unfinished in art have prevailed for centuries, where many artists have exposed and made obvious their understanding of the inability to fully realise what is conceived or observed (MET, 2016). In this century we will witness the melding and friction of the digital with the fundamental craft of preserved and refined cultural expression through drawing across cultures and around the world, as networks and databases develop deeper resources and documentation of past and emergent practice.

Betti, C & Sale, T. (1980). Drawing; A Contemporary Approach (3rd ed.). Florida, USA: Harcourt, Brace, Jovanovich.
Dexter, E. (2005). Vitamin D New Perspectives in Drawing (E. Dexter Ed.). London, UK: Phaidon.
Graham, L. (2002). Duchamp & Androgyny: The Concept and its Context. 2016(09/09/2016). http://www.toutfait.com/issues/volume2/issue_4/articles/graham/graham2.html
Masuda, T. Gonzalez, R. Kwan,L & Nisbett, R.E. (2008). Culture and Aesthetic Preference: Comparing the Attention to Context of East Asians and Americans. PERSONALITY AND SOCIAL PSYCHOLOGY BULLETIN, 34(9), 1260-1275. doi: 10.1177/0146167208320555
MET, The. (2016). Unfinished: Thoughts Left Visible. Retrieved 09/09/2016, 2016, from http://www.metmuseum.org/press/exhibitions/2016/unfinished

To Mepare, Batik 90 x 55 cm Aleksander Panimba 2016

 

 

 

 

 

 

 

 

 

The old belief in Toraja is Aluk To dolo. And it is still exist until now. Aluk means rituals, custom
or norms. To dolo means people from the old age or ancestors. So Aluk To dolo means belief of
the old or rituals of the ancestors. Thus religion is a complex mixture of ancestor cult, myth, and ritual. Toraja people believe that there is a power direct from the gods or goddesses.

Aluk To dolo is divided equally between life and death, it teaches how to respect and how to live
in the way of tallu lolona. Tallu means three, lolona is literally translated as basic or root. There
are three kinds of tallu lolona. They are lolo tau (human), lolo patuan (animals) and lolo tananan
(plants). For this reason in the old times, people would always pray in front of the big tree, river
or big rock.

Although, now most of the Torajan people are Christians the values of Aluk To dolo still influence people in Toraja. This is evidenced in the two main cultural events in Toraja rambu tuka’ (wedding, thanks giving-happy celebration) and rambu solo (funeral ceremony). In conducting these events Christian people in Toraja are still influenced by the old belief. They adopt some rituals from old belief in regards to the new belief as Christian. For example, Torajan people believe that there is a life after death. When someone dies and is kept in a Tongkonan (traditional house) they will be saved in the south part of the building. Before the funeral ceremony is held the tomate or deceased person will be kept in that room as asick personand not as the deceased. They will be treated as a person who is still alive before the funeral ceremony.In the old belief if someone dies the spirit of the dead will go to Puya or Heaven. It is believed that Puya is located in the south part of the earth.

When the funeral day arrives, all of the family will sacrifice many buffaloes and pigs. Those animals will be considered as stocks (guarantee) for a place in Puya. During the funeral ceremony, many people can come although they are not invited. In daily life the belief is that unexpected or additional guests are a blessed. Hospitality to the uninvited guests is always extended as they are always welcome for the blessing they bring.

 

 

Funeral place with Tau-tau, effigies of the dead on the cliff wall, Batutomonga Toraja 2016 (photo Judith Ratu)

 

 

 

The funeral will take place over a period of several days and the body is taken to the final resting place or Liang. (plants). For this reason in the old times, people would always pray in front of the big tree, river or big rock.
Although, now most of the Torajan people are Christians the values of Aluk To dolo still
influence people in Toraja.

This is evidenced in the two main cultural events in Toraja rambu tuka’ (wedding, thanks giving-happy celebration) and rambu solo (funeral ceremony). In conducting these events Christian people in Toraja are still influenced by the old belief. They adopt some rituals from old belief in regards to the new belief as Christian. For example, Torajan people believe that there is a life after death. When someone dies and is kept in a Tongkonan (traditional house) they will be saved in the south part of the building.

Before the funeral ceremony is held the tomate or deceased person will be kept in that room as asick personand not as the deceased. They will be treated as a person who is still alive before the funeral ceremony.In the old belief if someone dies the spirit of the dead will go to Puya or Heaven. It is believed that Puya is located in the south part of the earth.

When the funeral day arrives, all of the family will sacrifice many buffaloes and pigs. Those animals will be considered as stocks (guarantee) for a place in Puya. During the funeral ceremony, many people can come although they are not invited. In daily life the belief is that unexpected or additional guests are a blessed. Hospitality to the uninvited guests is always extended as they are always welcome for the blessing they bring.

The funeral will take place over a period of several days and the body is taken to the final
resting place or Liang.

Puya or Heaven. It is believed that Puya is located in the south part of the earth.

 

Tau-Tau, carved wooden figures and woven cloth, dimensions vary. Aleksander Panimba 2016

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Tri Taksu Copyright © 2016