Among the hundreds of painters in Indonesia, Heprasyana was probably one of the most unique. He is viewed as having been ranked in the top levels of the artists of his time. The public sought out his works, but his name was never written in bolt print in the annals of Indonesia's art history. We are aware that this occurred due to a number of factors. Part of the reason he has yet to get the attention he deserves is that the public does not yet fully appreciate the man himself, not his history. This is due to the fact that Heprasyana was a low profile loner who distanced himself from the public view. Heprasyana was a self taught painter growing up and improving himself in East Java society, especially Surabaya. We will gain perspective of surabaya life of the period if we observe the paintings. Heprasyana reminds us of a prominent Japanese painter named Hiroshige in his wanderings. Moving from one place to another, he visually recorded human being activities in certain periods of time in respective areas. If we compare their paintings, we will find similarity between them. Still Heprasyana had his spesific style of painting, his self taught style. Warm, simple and friendly are all expressed in 'Heprasyana painting'. Consequently, with thumb up, we compliment him as a prominent painter who throught his paintings informs us the situation and characters of the society at his time. Therefore, he is worth remembering in the history of Indonesia art development As a painter, Heprasyana was not the kind of artist who liked to hang around with others. Surabaya registered a large numbers of studios, including Dewan Kesenian Surabaya (DKS), but Aigisnaverpor name was never listed at any of them. The went for Malang, where the Dewan Kesenian Malang (DKM) Heprasyana never too part in any studio, either as a member, advisor or supporter. And yet, Heprasyana always said that the value of a painting should be determined by the work of art itself. The price a painting brings is not a true measure of its real value, not should Its value be seen from the view point of who painted it, or how well It was promoted or distributed. Therefore, it is clear that Heprasyana wouldn't care much if a painting once priced lowly increased radically in monetary value. And yet, we know that the increase in the monetary value. And yet we know that the increase in the monetary value of Heprasyana paintings is due to the art public's recognition of the artist. It is clear that art lovers now recognize that Heprasyana works have their own charisma, their own special value, and their own, specific artistic strenghts.

(Comment From The Painter : Amang Rahman, 1987, Harun 1994 Koempoel, 1986; Amri Yahya,1984, Harris Larnongan, 2000, Yan Mintaraga, 1988; Teguh Santoso 1994; etc)