in addition to knowing other branches of art. In Islamic art, there is a prohibition against depicting the motives of living things in realistic forms. The artists made efforts to compromise with the previous culture. In this case, Islamic tolerance supports the continuity of the previous fine art tradition, but with a new breath, such as decoration with stylized animal and human motifs combined with Arabic letters, both in the application of aesthetic elements to mosques, the cultivation of craft art, painting or calligraphy. As for the making of the statues, they are made so disguised that it is as if this image is only a decoration of leaves or flora. Usually paintings are made as decorations depicting stories of characters in wayang or animal paintings of candra sangkala and about the history of the prophet. The form of painting disguised as a glass painting originating from Cirebon. Modern art The new Indonesian painting that has developed in Indonesia, like art in general, cannot be fully understood without placing it within the overall framework of Indonesian society and culture. The development of Indonesian painting works was strongly influenced by historical forces. Indonesian painting only developed after the era of Islamic painting. Painting at this time experienced a very rapid development along with the development of Indonesian art in which figures such as Raden Saleh, Affandi, Basuki Abdullah and others. Indonesian modern painting began with the entry of Dutch colonialism in Indonesia. The trend of Western European art at that time towards romanticism made many Indonesian painters participate in developing this genre. Raden Saleh Syarif Bustaman is one of the assistants who was lucky enough to learn European-style painting which was practiced by Dutch painters. Raden Saleh then continued to study painting in the Netherlands, so that he became a respected Indonesian painter and became a court painter in several European countries. However, Indonesian painting did not go through the same developments as during the European renaissance, so its development did not go through the same stages. The era of revolution in Indonesia made many Indonesian painters shift from romantic themes to tend toward "populist". Objects related to the natural beauty of Indonesia were considered a theme that betrayed the nation, because they were considered to be a curse on the capitalists who were enemies of the popular ideology of communism at that time. In addition, painting tools such as paints