Kain Hitam Cave (Painted Cave) Niah, Sarawak: The Relationship of Boat-Shaped Coffin and Rock Painting

This paper discusses the relevance that exists in a cave used as a place of residence since the time of Neolithic. This archaeological site contains important artefacts that show modern civilization (homo sapiens) at the end of the Neolithic period. This research focuses on the cultural development of the ancient people through the discovery of artefacts in the Kain Hitam Cave. Preliminary findings show that ritual activities have been practised. Initial conclusions indicate that the ancient people practised animism. The linkages between the two aspects are essential in giving new insight into the cultural elements they were practising years ago. Keywords: Kain Hitam Cave; boat-shaped coffin; cave painting; culture and interpretation. eISSN: 2398-4287© 2020. The Authors. Published for AMER ABRA cE-Bsby e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI3.257

Interpretations of Zoomorphic Images in the Painted Cave at Sarawak, Malaysia

The Painted Cave, located within in the Niah Cave Complex is a cave believed to have been inhabited by the Neolithic people. Inside the cave, there are numerous artefacts including boat-shaped coffins, jewelry made of shells, bones, and ceramics. There are also cave paintings drawn on the cave wall using hematite materials mixed with a mixture of plant liquid material. Zoomorphic refers to images of animals. In this cave, there are several animal images, which have not been adequately interpreted or understood. This paper examines these zoomorphic images which are significant to the community. The paper interprets the zoomorphic images found inside the cave by recording them digitally. The research re-produced the images using Adobe Photoshop’s digital software. By analysing the characteristics, this research identifies these images as being of chicken which it argues could have been important at the time. The paper concludes that the images demonstrate the significance of chicken during the Neolithic period as a source of food. Based on the premise that ancient people drew the images on the cave wall when they believed they are important as part of the history the paper argues that ancient society could have started consuming chicken as their source of protein at that time

Image of Bajau Kubang Sunduk on Omadal Island

The pattern on the sunduk results from the high adaptation and observation by the sunduk maker of nature and its environment as well as the history of the person's life. The sunduk maker has such a high level of creativity that it is able to translate every element of nature around it into a form and pattern that is so unique and able to be conveyed visually to the community. The unique elements of life and beauty are translated through geometric and organic patterns engraved on each of the sunduk planes. The pattern on the exterior carving is used as a decoration and has an implicit meaning and can be understood through visual research. The effectiveness of the patterns is manifested when it is able to stand up for itself and tell a story without a voice. Patterns from the elements of the daily objects are also able to reinforce the story to be conveyed such as tasbih, keris, bujak and the crescent emblem as well as other decorative accessories. As a result, the sunduk maker cannot be different from the elements of manhood and femininity because the sunduk through life and her story as a man and woman will go through the twists and turns of her life as a woman. It is the twists of life that will adorn the sunduk through a pattern engraved on its plane

Imej anthropomorphic dalam gua kain hitam (painted cave) Sarawak

Artikel ini membincangkan imej figuratif yang terdapat di dalam Gua Kain Hitam (Painted Cave) Niah, Sarawak. Beberapa imej figuratif ini dihasilkan dengan gaya dan bentuk yang dinamik. Namun, posisi rupa imej yang amat dominan adalah kedudukan tangan dan kaki terbuka. Imej ini membawa mesej tertentu dan mempunyai hubung kait dengan cara hidup dan kepercayaan masyarakat prasejarah pada ketika itu. Sehubungan dengan itu, kertas kerja ini menjelaskan reka bentuk dan menganalisis makna yang terkandung dalam imej. Penulis menggunakan Teori Ikonografi dalam usaha menganalisis imej prasejarah ini

Shaman Representations in the Painted Cave at Sarawak, Malaysia

An anthropomorphic image is a very significant image in the development of a society, especially in terms of the socio-cultural aspects and early beliefs of that society. In this context, the figurative images produced on the walls of the Painted Cave, Sarawak can be considered as a representation of the ‘shamans’. The Painted Cave was believed to have been used by the prehistoric people at that time as a burial site. A shaman is believed to have acted as the head of the ritual and had led the community at that time in conducting the death ceremony. The objective of this research is to understand the physical features that clearly show this figurative image as a shaman’s image. Based on the appearance and the shape of the images produced, this research identified several shaman images found on the cave walls through observations during fieldwork and numbers of images taken using photography. The paper concludes that the Painted Cave has been a holy place for the people who had lived in the cave because the site houses several boat coffins that play a big role in the death ceremony. The Shaman had acted to accompany the spirit of the deceased to the realm of death by holding a ceremony in the cave. The results of the study prove the existence of the shamanic practices and the early beliefs of prehistoric societies in the Painted Cave. These practices have lasted for several centuries

Boat-shaped coffin dalam Gua Kain Hitam (Painted Cave) Niah, Sarawak

Artikel ini membincangkan artifak boat-shaped coffin atau keranda berbentuk perahu yang terdapat di dalam Gua Kain Hitam (Painted Cave) Niah, Sarawak. Artifak berbentuk perahu ini dipercayai digunakan sebagai keranda pada suatu ketika dahulu. Keranda ini dipercayai dihasilkan oleh masyarakat neolitik yang menghuni sekitar Gua Kain Hitam pada ketika itu. Upacara kematian yang diamalkan ini bersifat primary burial. Mayat disimpan di dalam keranda perahu sehingga reput sepenuhnya. Kemudian, baki tulang tersebut ditanam di tapak pengebumian lain yang terletak di Gua Kain Hitam II. Penyelidikan ini menekankan kaedah pemerhatian secara langsung di lapangan. Subjek penyelidikan difoto dan direkodkan secara terperinci melalui fotografi dan buku lakaran. Hasil penyelidikan ini menjelaskan reka bentuk dan fungsi serta kegunaan boat-shaped coffin pada suatu ketika dahulu. Hasil analisis kandungan terhadap hubung kait keranda dan lukisan gua prasejarah yang ditemui menunjukkan ruangan Gua Kain Hitam berfungsi sebagai death chamber. Justeru, penyelidikan ini dapat mendokumentasi dan memelihara artifak secara kolektif untuk tatapan masyarakat akan datang

Traditional Kinulung Craft Weaving of the Dusun Tindal of Kota Belud, Sabah

Arts and cultural heritage is a potent reflection of the identity of a community. The art of traditional handicraft weaving in any society is dependent on the resources available in his environment and the needs of the particular community. The Dusun Tindal of Kota Belud is rich in weaving craft traditions with kinulung as one of its distinctive products. Kinulung is unique with its own specific purpose and simple design, and has been able to withstand modernisation and change. However, the factors of adaptation, environmental change, and modern technological transformation could pose as threats to the traditional and heritage elements in the production of the kinulung. This study is important as a platform for the promotion of continuity and resilience of the Dusun Tindal heritage. Kinulung documentaton will clarify various aspects of the design and purpose elements of this traditional craft. The study focuses on the design and meaning presented in the kinulung weaving tradition as an object of culture in the community. Material for this study was derived from field work through observations, interviews and notations. The findings of the study indicate that the design and motif of the kinulung reflect the cultural values and local knowledge of the Dusun Tindal

Karya catan sylvester wielding jussem dalam konteks organic unity dan interpretasi imej

Penyelidikan ini merupakan kajian terhadap karya catan yang telah dihasilkan oleh pelukis Sarawak iaitu Sylvester Wielding anak Jussem. Pelukis ini lebih dikenali sebagai Sylvester Jussem merupakan seorang pensyarah di Fakulti Seni Gunaan dan Kreatif, Universiti Malaysia Sarawak (UNIMAS). Beliau telah menceburi bidang seni lukis dari usia muda dan masih aktif dalam menghasilkan karya seni sehingga kini. Memetik nukilan Mohd Johari Ab. Hamid (2008: 10) penghayatan karya seni dan membuat penilaian terhadap satu karya seni visual memerlukan satu disiplin yang khusus. Membuat penilaian terhadap sesuatu karya seni yang tidak mengikut etika yang sebenarnya menjurus penghayat seni kepada satu garis pemisahan yang besar. Dalam pembangunan dan perkembangan seni visual tanah air, kritikan seni dan apresiasi dapat membantu. Karya beliau akan dianalisis dalam mengenal pasti elemen formalistik yang diaplikasikan dalam catan pelukis. Seterusnya, menilai imej catan Sylvester Wielding Jussem dari segi subjek, bentuk dan makna. Penyelidik juga akan menganalisis imej, bentuk dan makna catan Sylvester Wielding Jussem dalam konteks interpretasi. Penyelidik memilih dua pendekatan teori iaitu Pendekatan Formal dan Pendekatan Organic Unity. Hasil kajian menunjukkan pelukis menerapkan elemen seni rupa dan juga memiliki subjek, bentuk dan makna dalam 20 karya yang telah dianalisis

Kajian terhadap perkembangan pelukis tempatan: Sylvester Wielding Jussem

Penyelidikan ini merupakan kajian terhadap karya catan yang telah dihasilkan oleh pelukis Sarawak iaitu Sylvester Wielding anak Jussem. Pelukis yang lebih dikenali sebagai Sylvester Jussem ini ialah pensyarah di Fakulti Seni Gunaan dan Kreatif, Universiti Malaysia Sarawak (UNIMAS). Beliau telah menceburi bidang seni lukis dari usia muda dan masih aktif dalam menghasilkan karya seni sehingga kini. Catannya yang bercirikan abstrak ekspresionisme merupakan identiti beliau dalam industri seni khususnya di bumi Sarawak sendiri. Ekoran karyanya yang bersifat abstrak dan dinamik, penulis memilih beliau dan beberapa karyanya untuk dijadikan sebagai bahan penyelidikan. Apa yang ingin dikupas dalam karya beliau, iaitu isu tema dan makna yang tersembunyi dalam setiap coretan ilham di atas kanvas. Namun, tunjang kepada penyelidikan ini adalah untuk mengenal pasti elemen formalistik dan imej yang diselitkan oleh Sylvester Jussem dalam setiap karyanya. Satu kaedah analisis formal dipraktikkan dan diguna pakai dalam mengenal pasti elemen formalistik dan imej. Setiap karya yang terpilih akan dikupas dan dikenal pasti dengan teliti mengikut struktur analisis formal yang telah diperkenalkan oleh Edmund Burke Feldman. Justeru, penyelidikan ini akan merungkai elemen formal seni dan imej di samping pendedahan makna ikon dalam karya yang dihasilkan oleh Sylvester Jussem