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"Tulisan ini mengkaji corak Mooi Indië pada lukisan Danau karya Wakidi. Metode yang digunakan dalam peneltian ini adalah dengan pendekatan kualitatif. Hasil penelitian memunculkan corak Mooi Indië pada lukisan Danau berdasarkan aspek pemilihan tema, komposisi warna, dan teknik pelukisan.

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This article analyze the complexion of Mooi Indië style in Wakidi‟s painting works, Danau. The method used in this article is a qualitative method by reviewing the complexion of Mooi Indië style in Danau Paintings. The source consist of Danau Paintings. Research result present the complexion of Mooi Indië style of the Danau paintings that can be seen from theme, coloration techniques, and painting techniques."

"Mooi Indië paintings represented the orientalist-colonial imagination of the picturesque Netherlands East Indies, with the obfuscation of the social realities on the ground and the silencing of the adverse effects of colonial capitalism. This article discusses the colonial legacy of Mooi Indië paintings on contemporary environmental policy in Indonesia, with a case study of the policy of the Citarum Harum Taskforce. This Taskforce was formed in 2018 and marked the national government’s attempt to rehabilitate the Citarum after it was declared one of the most polluted rivers in the world. It provides an analysis of several Mooi Indië paintings which depict the Citarum River and were created by European painters (such as Antoine Payen and Isaäc Groneman), before looking at the contemporary effects of the Citarum Harum’s beautification-oriented policy. The article also analyses some particular stereotypes of Netherlands East Indies natives as depicted in Mooi Indië paintings for comparison with the Taskforce’s policy implementation on the residents along the Citarum River. Ultimately, such a comparison demonstrates a form of colonial captivity at work today. The ideas of the Citarum Harum Taskforce demonstrate a captive mind, which continues to hide the socio-environmental problems which persist. This to the exploitation of the environment and people in the wake of the contemporary neoliberal system which dominates our worldview."

"Mooi Indië merupakan salah satu gaya lukisan di Hindia-Belanda yang terkenal di zaman penjajahan Belanda.Istilah Mooi Indiëdipakai S. Sudjojono untuk mengejek pelukis Hindia-Belanda, karena mereka melukiskanpemandangan yang indah disaat Hinda-Belanda sedang sulit karena dijajah. Mooi Indië memiliki objekkeindahan dan kekayaan alam.Muncul kritik-kritik yang menentang gaya Mooi Indië, karena gaya ini tidaksesuai dengan realita. Terbentuknya PERSAGI, Persatuan Ahli-Ahli Gambar Indonesia, adalah awal darikontradiksi terhadap gaya ini. Sudjojono menginginkan seni rupa kembali ke realisme, karya seni yang sesuaidengan realita kehidupan. Terdapat bukti dari beberapa seniman yang memproduksi lukisan MooiIndiëbersamaan dengan perang ataupun peristiwa bersejarah yang penting, seakan-akan mereka tidak pedulidengan penjajahan Belanda yang kejam. Namun, Sudjojono yang melihat secara langsung deritanya masyarakatpribumi melontarkan kritik terhadap Mooi Indië. Dapat disimpulkan bahwakritik untuk lukisan MooiIndiëmemang betul adanya jika dilakukan penyesuaian tahun pembuatan lukisan dengan peristiwa yang terjadidi Hindia-Belanda.

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Mooi Indië was one of the most popular painting styles in the Dutch East Indies era. The term "Mooi Indië" was

XVHGE\66XGMRMRQRWRPRFN'XWFK(DVW,QGLHV¶SDLQWHUVEHFDXVHWKH\SDLQWHGEHDXWLIXOODQdscape while being

colonized by the Dutch. The characteristics of the paintings were the beauty and diversity of natural resources

of Dutch East Indies. There were a lot of criticism against Mooi Indië because the works were contradictory to

the reality. TKHHPHUJHQFHRI3(56$*,ZDVWKHEHJLQQLQJRIWKLVVW\OH¶VFRQWUDGLFWLRQ6XGMRMRQRZDQWHGDUWWR

return to realism, artwork that represents reality. There are evidence of several artists who produced Mooi

Indië along with war or other significant historical events, as if they were not concerned with the Dutch

colonial. However, Sudjojono who saw firsthand the misery of indigenous people, immediately criticized Mooi

Indië. It can be concluded that the criticism truly existed based on the year of the paintings production with

several events that took place in the Dutch East Indies.�����������������������������"

"Berisi tentang hukum dan peradilan pada zaman kolonial di Hindia Belanda (sekarang Indonesia) yang diterapkan sekitar tahun 1848 hingga tahun 1950 dan berpengaruh besar terhadap Republik Indonesia yang lahir di akhir periode tersebut."