亨德拉·古拿溫

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The work is in good condition overall. The canvas is clear and sound. There are indications of light wear and handling on the margins, along with associated gentle and soft craquelures, particularly on the sky (mainly located on the top, left and right register). Upon close observation, there are a few scattered pin-sized paint losses, primarily located on the margins, the left center of the sky, the right side of the mountain and on a figure's face (lower left). Under ultraviolet light examination, indication of restoration was not evident. Framed.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

亨德拉·古拿溫是印尼現代藝術誕生時極具影響力的藝術家，他目睹了國家政局動盪不穩，並在印尼爭取自治時出一分力。

古拿溫經常通過其作品反映人與環境既矛盾又相互依靠的關係，《默拉皮火山腳下的市集》便道出這種兩分的心理狀態。畫中村民生活如常，但背後的火山卻暗暗威脅著這片祥和，藝術家畫出處於政治過渡期中百姓的沉默。

由於古拿溫曾參與共產黨資助的人民文化協會，在1965年九三零事件後蘇哈圖政府下被囚禁十三年。雖然藝術家在獄中繼續作畫，但其不少作品已遺失，現存畫作應不足二百幅，所以說，《默拉皮火山腳下的市集》不僅顯示出畫家的精湛技巧，更是印尼近代政治運動的寫照，彌足珍貴。

古拿溫原為舞台設計師，自學繪畫，1939年認識印尼表現主義畫家阿凡迪，在他啟發下開始運用大量鮮明色彩與搶眼負張力的筆觸，加之藝術家本身的創意，其作品耐人尋味。古拿溫在人民藝術家工作室認識到蘇加那·克爾頓，其充滿革命性的藝術主題不僅影響古拿溫的畫風，更刺激了他的政治觀。

《默拉皮火山腳下的市集》是生活的寫照，水果販、水牛車，還有孩童在路上嬉戲，沒有誰被忽略。火山可能象徵對未來的種種不確定，一方面代表自然界無處不在的強大力量，另一方面也是人們藏於心中的激情。

此作描寫面臨革命前夕的鄉村生命力，強調國家在現代化時社會團結的重要性。最終，這也是人類與自然和社會間關係的探討。