Ahmad Su'udhi believes that when by describing a child's world, he is in fact representing the world's people. The conviction is clearly illustrated through his paintings. Indeed, prior to the process of forming images on the canvas, he observed children from various angles, from poor children to those who grew up in middle and upper class urban areas. So, while removing misconceptions that people are just "ordinary people", all the layers that are approached by Ahmad Su'udhi are the people in the truest sense.

　　Children are human beings who form elements that make up a nation. To Ahmad Su'udhi, children are the real basis of people's hearts. Therefore, paintings of the world of children that appear in his works are inspired by regular folks. Thus, taking the heard phrase "the people's voice is the voice of God (vox Populi vox Dei), Ahmad Su'udhi expanded it into the "child's voice is the voice of God". And child's voice of the people is dedicated to the people in his own community. Art is always popular in the lives of regular folks.

　　This understanding is evolutionary (even revolutionarily) as it follows the old paradigm of classical art. In classical Nusantara, paintings were always appreciated and exalted at the highest level, as art for the devotion and venera- tion for all that is exalted, like God, like Nature. Similar to the understanding that once existed in the world of Western painting and sculpture, in which all the works were created for God, the churches and the king. The concept is similar to Michelangelo's dome of the Sistine chapel, Rome, or Diego Velasquez's specially commissioned portraits of nobles.

　　In terms of calligraphy and art, the nature of this cult worship would have been the same with the creation of Islamic art, which grew out from the Middle East region and developed in Indonesia. In Islamic art, the most important values are tied to morality and aspirations. These values are required of the artists to reflect on their faith (dhikr) and submit to a reflection (musyahadah) of the Lord.

　　If modern Indonesian art was founded by Hendra Gunawan ( 1918-1983), it was then developed by Ahmad Su'udhi who is well known for his "painting of the people". At about the same time, artists all over Europe are inspired with everyday lives of regular citizens. Together with other artists and sculptors, a radical British artist William Hogarth (1918-1983), British was inspired by the French revolution and began to try portraying the lives of ordinary peo- ple. Generally, these ordinary people were depicted in a setting that produces the story. All of these can then be connected with the Industrial Revolution with entrepreneurs, administrators and workers as the dominant figures.

　　For Ahmad Su'udhi with his thematic children's paintings appear in many different facets. His works become new source of discourse in the field of Indonesian art.

　　To close this chapter, let us refer to Ahmad Su'udhi's paintings entitled Fail Making Sewu Temples (2006). On his canvas, a beautiful lady known as Loro Jonggrang can be seen standing with a shocked expression on her face. In the flower garden behind the house, some are girls pounding a mortar. In the midst of the shadow, sacred temples look grand and elegant. The sky which is accentuated with a thin crescent is still quite dark. Dawn is approaching, a new day is coming.

　　This painting tells the legend of the temple located in the area of Sewu Prambanan, on the border between Yogyakarta and Surakarta. According to the legend, a powerful man named Bondowoso is believed to have many supernatural powers for he is a knight who had been raised by the gods. Bondowoso's grand- father is a royal king who is the enemy of King Bosto. Once, Bondowoso was ordered to fight the ruling of King Boko at Prambanan, near Pengging, where he emerged as victor.

　　After winning the war, Bondowoso chanced upon the beautiful daughter of King Boko, known as the princess Loro Jonggrang. Mesmerized by her beauty, Bondowoso wanted to marry her. Loro Jonggrang rejected his proposal by setting an impossible task in which Bondowoso had to build a thousand temples in one night. Bondowoso accepted the task willingly. With divine help, he was able to build the temples quickly. The next day, Loro Jonggrang was very surprised by the development and quickly ordered her ladies in waiting to hit the mortars before dawn arrived. The sound of the mortars would cause the rooster to crow, indicating the rising of the sun. Loro Jonggrang was successful in her attempt.

　　Though he had created 999 shrines, Bondowoso knew he had failed to complete the last and was disappointed. However, there came a time where he found out that he had been cheated. Feeling angry, he condemned Loro Jonggrang to turn into the last temple. Indeed, it is the thousandth temple! Therefore the main temple in the east of the main complex Sewu is known as Candi Loro Jonggrang which has become a popular destination of Candi Prambanan.

　　From Ahmad Su'udhi's colourful paintings, parents are stimulated to re- peat these folklores to their children, who in turn begin to probe intelligently, as they enjoy the collections and are curious to know the content of these stories.