COLLEGE OF ARTS AND SOCIAL SCIENCES Research School of Humanities and the Arts SCHOOL OF ART VISUAL ARTS GRADUATE PROGRAM DOCTOR OF PHILOSOPHY SAFRIZAL SHAHIR Gravestones as Mirror: A Visual Discourse on Batu Aceh EXEGESIS SUBMITTED IN PART FULFILMENT FOR THE DEGREE OF THE DOCTOR OF PHILOSOPHY OF THE AUSTRALIAN NATIONAL UNIVERSITY FEBRUARY 2017 1 Declaration of Originality I, Safrizal Shahir hereby declare that the exegesis here presented is the outcome of the research project undertaken during my candidacy, that I am the sole author unless otherwise indicated, and that I have fully documented the source of ideas, references, quotations and paraphrases attributable to the authors. …………………………………….. 2 Acknowledgements syukur A lot of (thanks) to Allah, Awlhoamgdivuelsillmahe the strength and wisdom to write and complete the research project. (praise be to Allah). Thanks to my supervisors, Ruth Waller and Chaitanya Sambrani, for their knowledge, guidance and support throughout the course of this project. Thanks also to my advisors John Pratt and Patsy Payne for the studio guidance and support. A particular thanks to my advisor Helen Ennis for the kindness and support that she has given me. Thanks also is due to my brother Shahrun Nizam Shahir for the whole hearted support that you have given me throughout my study and research. My deepest thanks go to my beloved wife, Nawal Amimi Mokhtar, for her help, support, inspiration and patience. I also would like to put on record my thanks for the use of the Australian National University Library (Art & Music, Chiefly and Menzies), National Gallery of Australia Library and National Library of Australia. Thanks are also due to the Malaysian Public Service Department and Universiti Sains Malaysia which have granted me the Academic Staff Higher Education Scheme Scholarship (ASHES), which gave me the opportunity to pursue my post- graduate research at the Australian National University. 3 CONTENTS Abstract ………………………………………………………………………………… 5 List of Illustrations ……………………………………………………………….…… 6 Introduction ………………………………………………………………..………………. 9 Research Question ……… ………………………………………………………….... 21 Chapter Summary and Research Methodology …..………………….… 23 Main References …………………………………………………………………..……. 25 Chapter One ………………………………………………………………………………... 31 Realistic Approach ………………………………….……………………………….. 31 Erasure ……………………..……..………………………………………..…………….. 37 Opaque Black …………………………………………………………………………… 45 Chapter Two …………………………………………………………….…………………. 57 Linear Exploration 1 …………………………………………….…………………... 57 Linear Exploration 2 ………………………………………….…..………………… 65 Bitumen ……………………………………………………….………………………… 72 Chapter Three …………..……………………………………………………..…………. 92 Ballad of The Lost Map …………………………………………………………….. 92 Ambiguous Map …………..………………………………………………………….. 100 Layers of Context .……………………………………..,……………………………. 106 Conclusion ………………………………………..……………………………………… 121 Bibliography ………………………………………………….………………………… 130 4 BATU ACEH GRAVESTONES AS MIRROR: A VISUAL DISCOURSE ON Abstract This practice-led reBsaetaurcAhcephroject was conducted to recognise the artistic and cultural significance of the from sBeavteuraAlcpeehrspectives and interpretations through the use of drawing and printmedia. gravestones were created betBwaeteunActhehe thirteenth to nineteenth centuries by Muslim communities in Southeast Asia. have special characteristics which lie in their Bfoartmu Aacnedh socio-cultural context. In my studio research I explore the various forms of , and their ornamentation, via multiple series of drawings employing aBraatnugeAocefhexperimental processes, materials and techniques. My engagement with the is personal and subjective and my reflections and speculations on them have evolved over my period of study. Drawing was chosen as the medium for perceptual disclosure and artistic interpretation due to its own visual characterBisattiucs,Ascuechh as directness, spontaneity and modesty of means. Through drawing, the subject is perceived and interpreted using three approaches, which are representational-realistic, subjective-intuitive and contextual- schematic. As a result, the drawings have higBhalitguhAtecedh my personal experiences pertaining to the quality and formation features of as well as spatial, temporal and socio-cultural contexts that relate to their existence. The idea underlying this project is significant and relevant as it suggests that artistic interpretation could bBraotuadAecnehthe appreciation, experience and perception towards historical objects like . 5 List of Illustrations All images not otherwise attributed are of the author’s own work Fig. 1. The gravestone of Sultan Malik al-Salih. The first Epigrafi Islam Terawal di Nusantara Sultan of Samudra-Pasai (east coast of Sumatra, Indonesia). The oldest known Batu Aceh, dated c.1297. From , Dewan Bahasa dan FPiugs.t2ak. a, Kuala LumBpautur,A1c9e9h0. Batu Aceh: Early Islamic gravestones in Peninsular Malaysia Parts of the . From Fig. 3. , Museum AsLsoacwiatniognKoufrMi alaysia, Kuala Lumpur, 1988. Anonymous, , c. 1700, wood, 280 x 88 cm, Art Gallery of South AFiugs.t4ra. lBiaa, tAudAeclaeihde. Fig. 5. Batu Aceh in Biloy, Aceh, Indonesia. Fig. 6. Batu Aceh: iSnlaPbutri Jalang, Kota Tinggi, Malaysia. Fig. 7. Monk and Novic, e20S1er2i,eps:eNncoivliocne Pphapouerv,a6n1h.4 x 45.7 cm. , 2006 - 2008, graphite on paper, 35.6 x F2i7g.9. 8c.mBatu Aceh: Motif 1 Fig. 9. Un, t2i0tl1ed2,(p1e0n/c1i5l o/0n8p)aper, 61.4 x 45.7 cm. Robert Longo, , 2008, charcoal on mounted paper, 177.8 x F2i8g9..160c.mB.atu Aceh: Monument 1 Fig. 11. Untitled Tool,S2e0r1ie2s, (cDharyr-cWoaallol nHapmapmere,r1) 51 x 99.7 cm. Jim Dine, , 1973, Charcoal and graphite Fonigp. 1ap2e. rE,r6a5s.u1rex 150.2 cm, Private collection. Fig. 12. Batu Aceh: Slab , 2013, pencil and graphite on paper, 61.4 x 45.7 cm. Fig. ,1230.13, pencil on paper, 61.4 Exr4a5se.7dcDme. Kooning Drawing Robert Rauschenberg, , 1953, Traces of drawing media on paper with label and gilded frame, 64.14 x 55.25 x 1.27 cm, Collection of San Friga.n1c4is.cBolMacuks2eum of Modern Art. Fig. 15. , 2014, CharcoBaal doankpaper, 151 x 99.7 cm. Ahmad Zakii Anwar, , 2006, Charcoal on paper, 101 x 224 cm. 6 Fig. 16. LE 1: Bebas Fig. 17. LE 1: Konto,u2r013, Ink on paper, 29.7 x 42 cm. Fig. 18. , 201Fo4r, mInkanodn Sppaapceer,N7o6. 1x 56.5 cm. Tajuddin Ismail, , 2011, Pastel and charcoal on paper, 125 Fxi9g5. 1c9m.. Lift Fig. 20. LIbEra1h: GimarHisu1ssein, , 2001, Acrylic on canvas, 152 x 152 cm. Fig. 21. LE 1: Garis 2, 2013, Pen on paper, 41.2 x 28.7 cm. Fig. 22. LE 2: Garis A,c2eh013, Pen on paper, 41.2 x 28.7 cm. Fig. 23. A, t2la0n1t3i,cIrWisapllr, iPnittcohnepraPplaern,t212.5 x 114 cm. Claude Heath, , 2003, acrylic inks on triacetate film, Fmiogu. 2n4te.dLEon2t:oGpaerrisspKeaxs,a3r0 x 30 30 cm. Fig. 25. LE 2: Garis Ruang, 2013, Iris print on paper, 212.5 x 114 cm. Fig. 26. Bitumen: Kecil , 2013, Iris print on paper, 212.5 x 114 cm. Fig. 27. Bitumen: Kecil, 2013, Bitumen on paper, 41.9 x 29.3 cm. Fig. 28. , 2013, BiPtuagmoe-npaognop, Bapaenrg,k4o1k.9 x 29.3 cm. Abdul Latiff Mohidin, , 1967, ballpoint pen on paper, 15 x F1i1gc. m29. Ombak Fig. 30. JBailtauimnieAnb: SueHdearshsan,a , 2014, Bitumen and acrylic on canvas, 213 x 213 cm Fig. 31. , 20Je1j3a,kBWituamkteun…oBnilapha-pbeilra, h10y0a.n5gxp7a0ta.5hcm. Awang Damit Ahmad, , 2014, 153 x 244 cm, Fmiigx.e3d2m. Beidtuiamoenn:caBnevsars. Fig. 33. B,a2t0u1A3c, Behitumen on paper, 151 x 99.7 cm. Batu Aceh: Early Islamic gravestones in Peninsular Malaysia Location of along Perak River, Malaysia. From , Museum Association of Malaysia, Kuala FLuigm. 3p4u.r,U1n9t8it8le.d Fig. 35. Ballad o,f2th0e14L,oIsmt Magaeptransfer on paper, 62 x 46 cm. Fig. 36. Ballad of the Lost Map, 2014, Image transfer on paper, 29.7 x 42 cm. Fig. 37. Ambiguous Map , 2014, Image transfer on paper, 29.7 x 42 cm. , 2014, Image transfer on paper, 76 x 56.5 cm. 7 Fig. 38. Through the other side and Back to front Susanna Castleden, , 2013, Screen print, FGiegs.s3o9a.nd Watercolour oDnivridaignpgaLpinere,s75 x 110 cm. Fig. 40. Zarina Hashmi, Sky Ga,r2de0n01(S, WtonoeoddcMuot oonn)paper, 65.4 x 50.2 cm. Robert Rauschenberg, , 1969, Lithograph and Screen pFirgin. t4o1n. Lpaaypeerrs,o2f2C6o.1ntxex1t016.7 cm. Fig. 42. Lingka, 2ra0n14, Image transfer on paper, 76 x 56.5 cm. th Fig. 43. Anonymous, Mogama,Pca. 2rt02 C., Jati wood, 50 x 50 x 2 cm. Julie Mehretu, , 2012, ink and acrylic on canvas, 457.2 x 365.8 cm. 8 Introduction This practice-led research project takes the form of several series of drawings and print media works whBiacthu eAxcpelhore and interpret the personal and cultural meaningmsetmhoartyI, eaxspsoecrieantecewaintdh loss, themes. oTfhdeasrekneexspsl,otrhaetiuonnksnoawren roerlathteeduntofatthhoemiadbelaes, of issues of erasure, identity, and place. and In this context, drawings and print media are created in BoradtuerAtcoehpoetically explore my emotions and to record my thoughts and reflections on . RDeuarliinsgticmAypcparnoadcidhatEurraesuI rheavOepcarqeuaeteBdlaocvkerLoinneearhuEnxdprloerdatairotnwo1rkLsi,nienarniEnxeplaorrtastieornie2s: Bitumen Ballad of,the Lost ,Map Ambiguou,s Map Layers of C,ontext , , , , and . The significant artworks in each series were showcased in my examination exhibition. This introduction concludes with a chapter summary outBlianteu oAfcethhe three focal stages of my research: the first is related to the physical form of , next is the exBparteussAiocnehof my inner voice, and finally my visual and metaphoric interpretation of ’s context. Batu Aceh 1 Batu Aceihs a type of gravestone used by Muslim