The Practice of Intuitive Painting Navigates Changes in Socio-Cultural Reality
Authors
-
Tri Aru Wiratno
Institut Kesenian Jakarta
https://orcid.org/0009-0006-9550-4595
DOI:
https://doi.org/10.56741/jardin.v1i01.1255
Keywords:
Artistic Expression, Bergson, Cognitive Process, Intuitive Painting, Visual Representation
Abstract
This study explores the concept of intuitive painting, emphasizing its cognitive and philosophical dimensions through the works of Indonesian artists Nashar, Srihadi Soedarsono, Ahmad Sadali, and Mochtar Apin. Intuitive painting is rooted in Henri Bergson’s philosophy, which posits intuition as a deeper, more direct form of understanding compared to rational analysis. By examining these artists’ intuitive approaches, the study highlights how their works reflect Bergsonian principles, capturing the fluidity and continuity of existence. Recent advancements in neuroaesthetics reveal how the brain processes art, supporting Bergson's theories. Research by Semir Zeki and V.S. Ramachandran underscores the active construction of aesthetic experiences by the brain, aligning with the spontaneous nature of intuitive art. This interdisciplinary perspective demonstrates how intuitive painting engages complex cognitive processes, eliciting profound emotional and cognitive responses. The study also discusses the impact of cultural and technological influences on intuitive painting in Indonesia, comparing Eastern and Western approaches to highlight universal and unique aspects of artistic intuition. The findings suggest practical applications for artists and educators, advocating for the integration of intuitive methods to enhance artistic creativity and viewer engagement. Overall, this research underscores the transformative potential of intuitive painting in modern art, bridging cognitive science, philosophy, and artistic practice.
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