AFA 2019 Symposium 2020

4. RUJUKAN

Ahmad Izzat Ahmad Tajjudin, Shahrul Nizam Ahmad Zamzali, H. M. S. S. (2018). An Online Survey
on Gaming Addiction. In Contemporary Issues in Islamic thoughts (1st ed., p. 501). IIUM Press.

Alex Gray. (2018). The explosive growth of eSports. Retrieved July 31, 2019, from World Economic
Forum website: https://www.weforum.org/agenda/2018/07/the-explosive-growth-of-esports/

American Psychiatric Association. (2013). Diagnostic and Statistical Manual of Mental Disorders
(DSM-5), Fifth Edition (5th ed.). Washington, DC.

Brian D. Ng, M.S., Peter Wiemer-Hastings (2005). Addiction to the Internet and Online Gaming.
CyberPsychology & Behavior, Vol 8, Number 2

Chandy, A. M. (2019). Gaming addiction : Winning your life back. The Star. Retrieved from
https://www.thestar.com.my/tech-news/2019/01/28/change-your-game/

Choo H., Gentile D. A., Sim T., Li D., Khoo A., Liau A. K. Pathological video‐gaming among
Singaporean youth. Ann Acad Med Singapore 2010; 39: 822– 829.

Espen aarseth, anthony m. bean, huub boonen, michelle colder carras, mark coulson, Dimitri das, jory
deleuze, elza dunkels, johan edman, christopher j. ferguson, maria c. haagsma, karin helmersson
bergmark, zaheer hussain, jeroen jansz, daniel kardefelt-winther, lawrence kutner, patrick markey, rune
kristian lundedal nielsen, nicole prause, andrew przybylski, thorsten quandt, adriano schimmenti, vladan
starcevic, gabrielle stutman, jan van looy, antonius j. van rooij (2017). Scholar's open debate paper on
the World Health Organization ICD-11 Gaming Disorder proposal. Journal of Behavioral Addictions
6(3), pp. 267–270

FIFA. (2019). FIFA eClub World Cup Overview. Retrieved July 31, 2019, from
https://www.fifa.com/fifaeworldcup/fifa-eclub-world-cup/overview/

Griffiths, M. D., & Pontes, H. M. (2019). The Future of Gaming Disorder Research and Player
Protection : What Role Should the Video Gaming Industry and Researchers Play ?

Griffiths, M. D., van Rooij, A. J., Kardefelt-Winther, D., Starcevic, V., Király, O., Pallesen, S.,

1 Demetrovics, Z. (2016). Working towards an international consensus on criteria for assessing
internet gaming disorder: A critical commentary on Petry et al. (2014). Addiction, 111(1), 167–
175. https://doi.org/10.1111/add.13057

Guan, N. C., & Yen, T. S. (2018). Gaming Disorder. Malaysian Journal of Psychiatry, 27(1), 1–3.
https://doi.org/10.1016/j.pnpbp.2014.10.012.Decreased

Kementerian Kesihatan Malaysia. (2019). Online Gaming Addiction ( Internet Gaming Disorder ).
Retrieved July 31, 2019, from http://www.myhealth.gov.my/en/online-gaming-addiction-
internet-gaming-disorder/

Király, O., Griffiths, M. D., & Demetrovics, Z. (2015). Internet Gaming Disorder and the DSM-
Conceptualization, Debates, and Controversies. Current Addiction Reports, 2(3), 254–262.
https://doi.org/10.1007/s40429-015-0066-7

Laconi, S., Pirès, S., & Chabrol, H. (2017). Internet gaming disorder, motives, game genres and
psychopathology. Computers in Human Behavior, 75, 652–659.

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https://doi.org/10.1016/j.chb.2017.06.012
Latif, R. A., Aziz, N. A., Taufik, M., & Jalil, A.-D. (2017). Impact of Online Games Among
Undergraduate Students. ICOCI Kuala Lumpur. Universiti Utara Malaysia, (028), 25–
27.Retrieved from http://icoci.cms.net.my/PROCEEDINGS/2017/Pdf_Version_Chap11e/PID28-523-
532e.pdf
Muhammad Muhaimin, Norshakirah Aziz, M. A. (2019). Problematic of Massively Online Game

Addiction in Malaysia. In Recent Trends in Data Science and Soft Computing (pp. 749–760).
https://doi.org/10.1007/978-3-319-99007-1
Nancy M. Petry, Charles P. O'Brien (2013). Internet gaming disorder and the DSM-5. Society for the
Study of Addiction, 1186-1187. https://doi.10.111/add.12162
Newzoo. (2017). The Malaysian Gamer | 2017 Consumer Insights. Retrieved July 31, 2019, from
https://newzoo.com/insights/infographics/the-malaysian-gamer-2017/
Newzoo. (2019). Most Popular PC Hardware for Core Gamers | Global per Title.
https://doi.org/10.1044/leader.ppl.24062019.28
Ng, B. D., & Wiemer-Hastings, P. (2005). Addiction to the Internet and Online Gaming.
CyberPsychology & Behavior, 8(2), 110–113. https://doi.org/10.1089/cpb.2005.8.110
Vashnarekha Kumarasuriar, Geraldine Pangiras, Santhidran Sinnapan, Sivan Koran (2011). A Study of
the Relationship between Violent Video Game Playing and Aggression among Adolescents in the Klang
Valley, Malaysia, International Conference on Humanities, Society and Culture IPEDR Vol.20.

99

AFA 2019

11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –

MALAYSIA 2019

24-25 September 2019

PENGGUNAAN UNSUR DAN PRINSIP ASAS SENI REKA
DALAM RAGAM HIAS KITAB MAULID

Salawati Hj Abdul Wahab, Ab Razak Karim , Norazlin bt Hamidon & Muhammad Harriz b Muhammad

1Department of Art Trivium, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
Akademi Pengajian Melayu Universiti Malaya,

Fakulti Seni Lukis dan Seni Reka, Universiti Teknologi Shah Alam
Akademi Pengajian Melayu Universiti Malaya,

Abstrak - Dalam kesenian Islam, selain daripada Al-Quran yang dihiasi dengan pelbagai ragam hias, kitab-
kitab agama juga perlu diberikan perhatian. Kitab maulid merupakan salah satu daripada manuskrip agama
yang terdapat di Kepulauan Melayu. Kitab ini merupakan salah satu kitab yang dipenuhi dengan ayat-ayat
yang memuji baginda Rasulullah s.a.w. Pelbagai ragam hias yang indah dan perbezaan yang ketara antara
satu sama lain digunakan dalam menghiasi kitab ini.Dalam menghasilkan ragam hias yang indah dan
pelbagai, elemen dan prinsip asas rekaan merupakan keperluan utama. Asas utama dalam rekaan ini
diperlukan bagi struktur dan kesempurnaan dapat dihasilkan bagi menarik perhatian umum. Garisan, rupa,
bentuk, keseimbangan , warna, pengerakkan, pengulangan dan harmoni adalah di antara perluannya.
Penggunaan elemen dan prinsip akan menghasilkan ragam hias yang penuh, pelbagai warna dan hiasan
motif memenuhi bahagian tertentu dalam manuskrip tersebut. Motif organik seperti bunga dan daun serta
motif geometrik telah digunakan. Kesemua ragam hias ini merupakan gambaran jelas daya pemikiran dan
kekayaan imaginasi pengkarya dalam gaya setempat.

1 PENGENALAN

Manuskrip Melayu merupakan satu wadah warisan ilmu. Wadah warisan ilmu ini adalah karya-
karya yang bertulis tangan terutama sekali dalam tulisan Jawi atau Rumi berbahasa Melayu. Pada
pertengahan abad ke-13 dikatakan bermula kesusasteraan Melayu. Dalam kajian-kajian lampau, Hikayat
Raja Pasai merupakan manuskrip paling tua dan dihasilkan pada pertengahan abad ke -14.

Di Nusantara, penghasilkan manuskrip agama seperti ‘ sastera kitab’selain daripada al-Quran
(Gallop,2002). Di antara kitab yang terhasil adalah kitab maulid. Kitab yang dihasilkan bagi tujuan untuk
memperingati Nabi Muhammad S.A.W dikenali sebagai ‘Kitab Maulid Berzanji’. Kitab ini bermula
dengan mengingati peristiwa kelahiran Rasulullah.

Dalam menghasilkan ragam hias yang menarik dan cantik satu penyusunan elemen dan prinsip
rekaan bagi tujuan untuk menarik perhatian umum. Proses menghasilkan rekaan yang indah melibatkan
proses perancanganm proses persembahan dan menghasilkan keputusan yang melibatkan kreativiti.
Seorang yang mahir dalam bidang seni perlu memahami cara mengendalikan elemen dan prinsip asas
rekaan. Apabila kesemua ini disusun secara estetik, ia boleh digunakan dalam menghasilkan keindahan
melalui corak, komposisi, struktur dan bentuk.

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.1. KITAB MAULID

Kitab maulid ini memberi impak besar dalam menaikkan lagi rasa sayang dan kecintaan umat
Islam terhadap Rasulullah s.a.w.. Amalan baik ini adalah sempena hari Maulidur Nabi dengan melakukan
kebaikan kepada fakir miskin dan melahirkan rasa kecintaan terhadap Baginda Rasulullah S.A.W.

Al- Faqir Ilallah Al – Qawiy Muhammad Fuad bin Kamaludin Al-Maliki (2009) menyatakan
bahawa masyarakat di Nusantara telah memberikan penghormatan yang hampir sama terhadap kitab ini
dengan Al-Quran. Beliau telah menemui bahagian muqadimah kitab maulid ini bagi tujuan menjelaskan
kedudukan kitab maulid barzanji tidak sama dengan kedudukan Al Quran apabila dibaca. Orang yang
membaca Al-Quran mendapat pahala dari setiap huruf yang dibacanya sama ada difahami atau tidak.
Manakala orang yang membaca kitab maulid barzanji mendapat pahala bukan dari setiap huruf yang
dibacanya tetapi amalannya membaca riwayat Rasulullah.

Kitab maulid ini memberi impak paling besar dalam menaikkan lagi nili rasa sayang dan kecintaan
umat Islam terhadap Rasulullah s.a.w.. Amalan baik ini adalah sempena hari Maulidur Nabi dengan
melakukan kebaikan kepada fakir miskin dan melahirkan rasa kecintaan terhadap Baginda Rasulullah
S.A.W. Keistimewaan ragam hias kitab maulid adalah kerana mempunyai kepelbagaian hiasan yang
bermula dari muka hadapan. Kitab maulid dalam koleksi Perpustakaan Negara Malaysia mempunyai
ragam hias pada satu atau dua muka surat sekaligus.

Dalam hiasan yang dihasilkan tiada kongkongan yang dibuat. Setiap komposisi yang mempunyai
kelainan adalah disebabkan oleh fungsi ayat yang berlainan dan juga dari segi struktur ayatnya berlainan.
Hiasan yang dihasilkan oleh pengkarya seni adalah berdasarkan persekitaran setempat pengkarya

.

MSS1882 MSS1624

MSS2874 \ Koleksi Perpustakaan Negara Malaysia MSS819

101

Gambarajah 1 Menunjuk Pelbagai Jenis Kitab Maulid

Dalam menghiasi kitab maulid, ragam hiasnya masih mengekalkan susun atur yang berstruktur.
Penggunaan elemen dan prinsip asas seni adalah di antara perkara yang diperlukan dalam menilai
keindahan dan keceriaan di dalam karya. Dalam menghiasi kitab maulid ini beberapa unsur dan elemen
seni reka telah dikenapa pasti di dalam hal ini.

1.2 Penggunaan Unsur -Unsur Asas Seni Reka

i. Garisan

Di antara garisan yang dapat ditemui dalam kitab maulid ini adalah seperti garisan lurus dalam
menghasilkan bingkai luar atau bingkai teks. Garisan melengkung juga dihasilkan dalam menghasilkan
hiasan di bahagian luar bingkai. Biasanya garisan lengkungan ini adalah gambaran senibina iaitu gambaran
kubah. Garisan melingkar, beralun, garisan berserabut dan garisan berputar adalah di antara garisan yang
biasa terdapat dalam kitab maulid.¬¬ Garisan yang terjadi dalam kitab maulid terjadi apabila terdapat
perubahan dalam penghasilan mengikut fungsinya. Penggunaan garisan ini sama ada pendek , panjang,
nipis atau tebal adalah bergantung kepada fungsi garis. Pengulangan garisan ini secara berterusan boleh
menghasilkan rupa, bentuk dan permukaan.

Garisan melingkar Garisan Garisan berputar

Garisan lurus Gabungan garisan Garisan lurus
beralun dan lurus

Gambarajah 2 Menunjuk Pelbagai Jenis Garisan Dalam Kitab Maulid

Dalam Gambarajah 3, penghasilan bingkai kitab maulid ini yang dalam rupa segi empat. Malahan
terdapat penggunaan motif yang dikenali sebagai motif potong wajik digambarkan dalam rupa segiempat

102

(MSS2874). Pengunaan garisan melengkung menghasilkan rupa melengkung bagi menggambarkan rupa
kubah. Dalam kitab maulid MSS2895, rupa separuh bulatan terhasil dan berrfungsi sebagai bingkai.

Penggunaan segi empat sebagai Penggunaan separuh bulatan sebagai
bingkai teks bingkai

Hiasan segi empat
tepat bagi motif
potong wajik

MSS2874 MSS2895
Koleksi Perpustakaan Negara Malaysia

Gambarajah 3 Menunjuk Garisan Yang Digunakan Untuk Menghasilkan Bingkai Dalam
Ragam Hias

ii. Rupa

Rupa merupakan pertemuan penghujung garisan dengan titik penghasilannya. Satu kawasan yang
tertutup itulah yang akan melahirkan rupa.

a. Rupa dalam penghasilan motif hiasan

Rupa yang terhasil akan menjadi motif hiasan. Motif yang terhasil akan
menimbulkan rupa yang baru. Penghasilan rupa adalah hasil peniruan terhadap benda di sekeliling
pengkarya. Selepas ditiru akan berlaku ketidaksejadian, penggayaan dan abstrak iaitu penggubahan
daripada rupa asal sesuatu benda bagi menghasilkan motif. Menurut Mohd Johari (2006), rupa yang baru
ini akan kelihatan lebih kreatif,dinamik dan menarik

103

Peniruan dibuat Kesejadian rupa Penggayaan telah
daripada persekitaran – bunga raya yang telah dilakukan pada bunga
dihasil – Rupa organik raya- Rupa geometrik
Bunga Raya

Abstrak – Rupa Bunga Raya yang berubah kepada rupa
geometrik yang hilang sifat asalnya

Gambarajah 4 Menunjuk Salah satu Kaedah dalam Penghasilan Motif
i. Rupa Organik
Rupa organik dari tumbuh-tumbuhan telah lama digunakan dalam karya tempatan.
Dalam kitab maulid MSS2690 adalah contoh rupa daun dan bunga-bungaan yang dinyatakan.
Rupa-rupa tumbuh-tumbuhan telah melalui proses mengubahsuaian kerana pengkarya Melayu berpegang
pada konsep Tauhid iaitu meng-Esakan Allah.

104

Daun
Bunga

Bunga Teratai

MSS2690

Koleksi Perpustakaan Negara Malaysia

Gambarajah 5 menunjuk rupa organik dalam ragam hias kitab maulid

ii. Rupa Geometrik

Rupa geometri bermaksud bentuk asas yang mempunyai sudut-sudut yang tajam.tetap dan sama
rata. Rupa geometrik terdiri dari rupa bulatan, segitiga dan rupa lain yang bersudut.

Di dalam gambarajah 4. rupa geometrik yang digunakan sebagai ragam hias yang terdapat dalam
kolum kitab maulid. Garisan lurus dan rupa yang bersatah dalam hiasan kolum ini menggambarkan
kreativiti pengkarya Melayu. Walaupun kebanyakan hiasan mereka menggunakan alam di persekitaran
mereka namun lakaran geometrik masih mampu dilakukan.

105

MSS2858 MSS2874
Koleksi Perpustakaan Negara Malaysia

Gambarajah 6 menunjuk rupa geometrik dalam ragam hias kitab maulid

iii. Warna

Warna merupakan elemen penting dalam ragam hias ini. Warna yang terdapat pada persekitaran
setempat akan kelihatan menarik dan indah . Setiap hiasan yang dipenuhi dengan pelbagai objek-objek
semulajadi yang sentiasa berwarna-warni. Dalam ragam hias manuskrip pemilihan warna juga
memainkan peranan penting. Warna mampu menjadi bahan komunikasi visual serta menarik perhatian.
Warna bukan sahaja mampu mempengaruhi manusia dan ia juga membantu memberi penekanan kepada
perkara penting (Salawati,2018). Warna merah, hijau,biru, kuning kunyit, emas dan hitam merupakan
warna yang biasa digunakan oleh pengkarya manuskrip (Dzul,2007).Penggunaan warna kuning kunyit
lebih berfungsi menggantikan warna emas dalam sesetengah karya. Penggunaan warna hitam sebagai
fungsi tulisan teks dalam manuskrip Melayu.

Warna merah pun digunakan untuk mewarnakan bunga-bungaan yang melingkar di dalam tiang
tebal. Penggunaan warna hitam yang digunakan sebagai garisan luar adalah sebagai penegasan terhadap
sesuatu rupa contohnya motif bunga-bungaan dalam hiasan di jidar kepala.

Di dalam kitab maulid, penggunaan warna merah digunakan sebagai teks. Teks yang diwarnakan
merah adalah ayat permulaan yang memuji Rasulullah s.a.w. dalam setiap muka surat. Manakala hitam
digunakana dalam ayat bacaan seterusnya. Kesan harmoni wujud dalam Penggunaan ke semua warna ini
telah menimbulkan kesan harmoni di dalam karya tersebut.

106

Biru

Merah
Hijau

Emas
Hitam

Kuning

MSS1624
Koleksi Perpustakaan Negara Malaysia

Gambarajah 7 Menunjuk Penggunaan Warna Yang Biasa Digunakan Dalam Kitab
Maulid

iv. Kontras

Kontras wujud daripada perbezaan antara dua objek. Kontras juga melibatkan
pertentangan dalama element rekabentuk yang digunakan. Saiz, bentuk, ton,jalinan arahan adalah di
antara perkara yang melibatkan perbezaan ini wujud.

MSS219
Koleksi Perpustakaan Negara Malaysia

Gambarajah 8 Menunjuk Kontras Dalam Ragam Hias Kitab Maulid Di Alam Melayu

107

Berdasarkan gambarajah 9 ditunjukkan penggunaan kontras dalam penggunaan warna dalam
menaikan ragam hias agar kelihatan lebih jelas. Nilai intelektual di kalangan pegkarya Melayu jelas
kelihatan dalam susuh atur mereka menghias dan meletakkan karya mereka agar kelihatan cantik .
Pemilihan warna putih sebagai motif hiasan untuk latar belakang berwarna biru telah membentuk
menaikkan motif hiasan lebih kelihatan jelas. Dalam manuskrip MSS219 ini, kaedah tersebut digunakan
untuk menarik perhatian mata.

v. Keseimbangan

Keseimbangan merujuk kepada pembahagian elemen di dalam format estetika yang telah
ditentukan di antara figura dan bentuk. Susunan elemen-elemen komposisi boleh menghasilkan satu
kestabilan visual sama ada aktif atau statik. Keseimbangan visual dalam dihasilkan sama ada dalam bentuk
simetri atau tidak simetri. Keseimbangan yang dapat diperolehi melalui pengolahan visual sesuatu reka
letak melalui pengamatan terhadap warna, jalinan, nilai dan corak. Dalam melihat manuskrip ini, warna
memainkan peranan penting juga dalam menghasilkan keseimbangan. Warna yang gelap dan warna panas
merupakan warna yang agak berat jika dibandingkan dengan warna yang terang dan warna sejuk. Proses
menganalisis manuskrip ini, keseimbangan sememangnya penting bagi mencapai keseimbangan optikal.
Dalam reka letak manuskrip keseimbangan yang simetri atau sama ukur kelihatan pada kedudukan bingkai
yang berada di tengah serta susun atur yang sesuai. Kedudukan keseimbangan ini berada dalam paksi
tengah dalam sesuatu muka surat. Ada sesetengah manuskrip berada dalam keseimbangan tidak sama ukur
iaitu pada manuskrip yang menggunakan dua muka surat dengan hiasan penuh

Dalam manuskrip kitab maulid ini, penggunaan keseimbangan simetri dan tidak simetri digunakan
dalam reka letak ragam hias. Keseimbangan simetri ketara kelihatan pada hiasan dalam satu muka surat.
Kedudukan bingkai hiasan di tengah-tengah manakala bahagian kiri dan kanan yang kosong menjadikan
reka letak ragam hias ini kelihatan lebih stabil. Keseimbangan ini tidak hanya berapa dalam kedudukan
hiasan di hadapan kitab sahaja tetapi juga hiasan di bahagian akhir atau belakang.MSS 219 merupakan
contoh hiasan di bahagian hadapan. MSS287 menggunakan keseimbangan yang sama ukur.

Keseimbangan
sama ukur

MSS 219 Bahagian hadapan MSS2874 Bahagian akhir

Koleksi Perpustakaan Negara Malaysia

Gambarajah 9 Contoh Keseimbangan Sama ukur di Bahagian hadapan dan Belakang Kitab Maulid
108

Keseimbangan sama ukur ini juga terhasil pada reka letak kitab maulid yang mempunyai hiasan
pada dua muka surat. Kedudukan hiasan yang berada di tengah dan kesemua bahagian jidar tidak terdapat
sebarang hiasan.. Manuskrip kitab maulid MSS 1624 merupakan salah satu contoh perkara tersebut.
Keseimbangan ini mampu menjadikan manuskrip ini diletakkan pada satu muka surat sahaja tetapi
kesenimbungan ayat memerlukan hiasan ini diletakkan dua dalam satu muka surat.

Keseimbangan sama ukur

MSS 1624

Koleksi Perpustakaan Negara Malaysia

Gambarajah 10 Contoh Keseimbangan Sama ukur di Bahagian hadapan dan Belakang
Kitab Maulid

Reka letak ragam hias dalam kitab maulid yang menggunakan dua muka surat seperti kitab al-
Quran lebih ketara menggunakan keseimbangan tidak sama ukur. Dalam hiasan seperti ini hanya lengkap
jika kedua-dua hiasan diletakkan sama setara. Hiasan yang memenuhi sehingga ke bahagian jidar luar
menyebabkan hiasan ini akan jadi tidak stabil secara visual.

KeseimbanganTidak sama ukur

MSS 4040

Koleksi PeTridpaukstsaakmaaanuNkuergara Malaysia

109

Gambarajah 11 Contoh Keseimbangan Tidak Sama ukur pada ragam hias dua muka surat

vi. Pengulangan
Pengulangan yang akan memberikan komposisi kesatuan,kesinambungan dan penekanan

terhadap sesuatu objek. Pengulangan bentuk ini akan menghasilkan bentuk yang dominasi dan sama.

Koleksi Perpustakaan Negara Malaysia

Pengulangan bunga

MSS 2437

Gambarajah 12 Contoh Pegulangan dalam ragam hias dua muka surat

Berdasarkan kepada kitab maulid MSS2437 adalah salah satu contoh penggunaan elemen
pengulangan. Contoh elemen ini dapat dilihat pada motif flora yang kelihatan.

v. Pergerakan

Pergerakan melibatkan perubahan secara benar ataupun secara visual.Rekabentuk
boleh menggunakan sama ada satu atau beberapa gabungan pergerakan. Pergerakan adalah satu gabugnan
transisi dalam unit optikal Pergerakan mata dapat ditentukan oeh transisi yang terhasil oleh arah, garisan,
rupa, kontur dan motif dalam persamaannya kerana sifat yang berkait antara satu sama lain. Pergerakan
secara visual sangat penting dalam rekabentuk dari segi fizikal. Ia wujud dalam pandangan mata kita dan
mempunyai pengaruh kepada elemen dan prinsip rekabentuk. Setiap titik atau pun garisan yang terhasil
mempunyai kekuatan tenaga visual. Pandangan mata yang mudah mengikut arah titik dan garisan. Kaedah
ini dipanggil ‘melihat kualiti pergerakan’.

110

Illustrasi motif sulur yang menggambarkan pergerakan

MSS 2437

Koleksi Perpustakaan Negara Malaysia

Gambarajah 13 Contoh Keseimbangan Tidak Sama ukur pada ragam hias dua muka surat

Berdasarkan dari Gambarajah 13 menunjukan pergerakan secara visual. Penggunaan motif sulur
jelas digunakan di bahagian tengah digunakan. Kebiasaan dalam karya Melayu , pergerakan adalah
menggambarkan sifat orang Melayu yang semestinya bergerak atau bersifat aktif.

2 KESIMPULAN

Penghasilan kitab maulid di Kepulauan Melayu telah menggambarkan kebudayaan Islam sebenar.
Kitab maulid untuk mengingati kisah kelahiran baginda Rasulullah S.A.W. Motif-motif bunga atau
tumbuhan serta motif geometrik menghiasi bahagian tertentu dengan halus bagi menggambarkan ketaatan
kepada Pencipta. Elemen dan prinsip asa rekaan penting dalam menghasilkan ragam hias yang merupakan
keperluan dalam karya seni bagi menghiasi kekosongan sebarang rekaletak. Teknik ini tidak hanya
digunakan dalam penghasilkan manuskrip agama tetapi juga manuskrip sekular seperti manuskrip
perubatan, warkah-warkah, syair dan sebagainya. Nilai-nilai estetika dan estetika Melayu yang beragama
Islam digambarkan dengan jelas dalam ragamhias karya. Ragam hias dilukis dengan indah serta mengikuti
kehendak ajaran Islam adalah gambaran tauhid.. Karya-karya yang dihasilkan adalah gambaran
pengabdian kepada Yang Maha Esa.

3 RUJUKAN

Ab.Razak bin Ab.Karim (2013). Warkah Raja-Raja Melayu, Struktur, Stilistik Dan Nilai Estetika.
Kuala Lumpur: Akademi Pengajian Melayu, Universiti Malaya.

Abd Rasid Ismail,2014. Alam Sebagai Motif Kraftangan Fabrik Melayu Tradisi.UiTM Press, Universiti
Teknologi Mara Shah Alam, Selangor.

Al- Faqir Ilallah Al – Qawiy Muhammad Fuad bin Kamaludin Al-Maliki(2009).
Maulid Barzanji. Kuala Lumpur : As Sofa Anwar Din (2016). Asas Kebudayaan dan Kesenian
Melayu.Universiti Kebangsaan Malaysia. Bangi.

Gallop, A.T., 1994. Warisan Warkah Melayu, British Library

Gallop, A.T. (2004). Seni Naskhah Islam di Asia Tenggara dalam buku Bulan Sabit,Seni dan Peradapan
Islam di Asia Tenggara (Bab 5). Adelaide: Art Gallery of South Australia

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James Bennett, 2006. Crescent Moon, Islamic Art & Civilisation in Southeast Asia. Art Gallery of South
Australia,Adelaide and National Gallery of Australia, Canberra.

Dzul Himi Md Zain et.al. ,(2007). Ragamhias Al – Quran di Alam Melayu. Utusan Publications and
Distributors Sdn Bhd.

Katalog Pameran, Persuratan Melayu: Warisan Intelek Silam. ;Sempena Sambutan Bulan Bahasa dan
Sastera 2003. Perpustakaan Negara

Katalog Manuskrip Melayu di Belanda, 1983. Perpustakaan Negara Malaysia, Kuala Lumpur.
………,2010. Kenangan Mawlid dalam dekad Kemerdekaan, Kuala Lumpur.Klasika Media.

Mohd Johari Ab. Hamid (2006). Asas Seni Visual. Tanhung Malim. Universiti Tanjung Malim.

Mubin Shepard (1980). Mekarnya Seni Pertukangan Malaysia. Kuala Lumpur. Eastern Universities Press
(M).

Mu’jizah (2009). Iluminasi dalam Surat-Surat Melayu Abad ke -18 dan

ke -19.Jakarta.Kepustakaan Populer Gramedia.

Otto,G. Ocvirk (2001). Art Fundamentals. Nineth Edition Mc Graw- Hill Higher,New York; Education
Companies

Rozimah Bidin, Salawati Abdul Wahab dan Siti Hajar Abdul Rahman,2009. Kertas Kerja : Simbol Alam
Dalam Ragamhias Melayu Tradisi.

Salawati Abdul Wahab, Ab Razak Ab Karim dan Norazlin Hamidon, 2018. Journal Filologi : Ragam Hias
Kitab Maulid ms 120 -150. Kuala Lumpur. Perpustakaan Negara Malaysia.

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AFA 2019

11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA 2019

24-25 September 2019

THE SERIES OF RETROSPECTION AND PRODIGY: THE
HYBRID SUBSTANCES OF CLAY AND FIBRE IN
PRODUCING CERAMIC SCULPTURE.

M.K. Baharom, S.E.S. Abdul Jamil, N.S. Taharuddin.

1Department of Ceramic, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch
, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch

1Department of Art Trivium, Faculty of Art And Design, Universiti Teknologi MARA, Perak Branch

[email protected]

Abstract - This article aims to discuss studio-based research on the production of a ceramic sculpture titled
Retrospection and Prodigy. The sculptures were formed using the sculptor’s childhood toys and incorporating his
childhood life experience full of emotions and obstacles. The ceramic process using intertwining method for the
large ceramic form is difficult to produce due to the clay material is likely to defect when stressing and pressing hard.
Due to the matter, the study explores the possibility of material to determine the substance quality of the intertwining
process. The studio-based research main objective is to produce a series of sculpture that used hybrid substances of
fibre and clay, which possible to fabricate the sculpture using the intertwining processes. The intertwining process
also signifies the conceptual approach for the sculpture, which is comparable within the subject study. The study
outcome contributes to the new method of progression ceramic process in the fabrication of sculpture and product.

1 INTRODUCTION

Clay has been exploited since ancient times and the material is also one of the oldest art substances
producing artworks. The versatility of clay to produce any form justifies the material utilized by the ancient
society to produce figurines for the social occasion intention (Baharom, 2014). Prehistoric society began
to measure clay for their production purposes to obtain a certain quality achievement. This process has
continued with clay material exploration and combination. The artefacts that have been found by the
archaeologist has proven that they made a sort of clay exploration by combining plants, hays and sands
(Cooper, 2010). The combination of materials in clay had increased the strength of the ceramic body. Rice
(1999) strongly believes that the combination of these organic materials gave advantages for certain
functions such as the porosity of fired pots are able for heating and steaming the food. The heat of fire
easily to penetrate the pot's surface through the porosity and the process is one of the earliest human
technologies.

Nowadays, ceramic experiences many progressions on materials, which becomes the potential
substance in future development. The current development has seen there is a hybrid clay material with a
fibre called paper clay. Paper clay is basically a mixture between three materials of clay, paper pulp and
water, which the portion of clay is greater than paper pulp (fibre) with a certain measurement (Gault, 2005).
Baharom (2014) identified that paper clay has the body strength as it is durable in the green-ware state (the
clay body dry completely), which differs compared to the standard clay. Gaults (2005) emphasized the
ceramic made of paper clay with air pocket trapped during the making practice has survived in the
vitrification process correlated to normal clay. These discussions made the paper clay material has the

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quality potential to be expanded in parallel process and material which this article will justify the process
and the data analysis according to the studio-based research method. The results of the study supported the
research aims in producing a series of sculpture using the development method for the aesthetic data.

2 LITERATURE REVIEW

2.1 Hybrid Materials of Clay and Fibre

The hybrid terminology is about a combination of two or more significance substance to perform
something (Hybrid. n.d.). The term was used in the study because of the use of two different kinds of
substances clay and fibre. The study found the hybrid of two materials has the potential to form the
sculptures intention. Both materials contribute as the major substance for the sculpture. However, the
development method requires an understanding of the physical and technical which a series of experiments
were taken to achieve the successful progression. Baharom (2014) claimed the main materials for sculpture
fabrication requires proper preparation and understanding. Reijnders (2005) agrees that clay should be
prepared for workability state and the process can reduce any defect in the forming process. Gaults (2005)
stresses the understanding of clay through substance exploration can save forming process in many ways,
such as time, defect and amount of material. To obtain hybrid material understanding, the study conducted
a few material tests for achieving the workability hybrid substance for the sculptural forms. The result is
also significant for the sculpture’s aesthetic accomplishment.

2.2 Intertwined Process

The sculptures in the study use intertwining method of forming to establish the original concept of
the subject matter. The process allows the aesthetic evolution occurs in sculpture cause the existence of
fundamental artistic style to the artwork (Baharom 2014). Gronborg (1978) points out that the style
indicated the sculptors’ achievement in artworks are regarding their interpretation. Adams (1996)
elaborates that the establishment of sculpture style derived from the sculptors’ understanding and
interpretation from elements and design principles, which are the basis to the artistic characteristic in
aesthetic. The intertwined form attributes the artistic style of the sculpture and gave significance texture
feeling, which is similar to the subject matter.

2.3 Subject Study and Children Play Concept

The studio project in the study incorporated rural children's self-made toys made of coconut leaves
using intertwining method. The toy is called coconut leaves flute (CLF). The intertwining process of the
toy-making has expressed a significant aspect of Malay culture in art and craft activity introduced for the
Malay since childhood. Baharom (2014) explains the Malay’s children experience their childhood event
in the art and craft by followed the Malay’s adults which adults taught the children created toys using the
craft materials from nature such as coconut leaves, rattans, pandanus leaves and bamboos. Jamal (1994)
concludes that artworks made by the Malays are constructed regarding nature thing in the surrounding
them which nature is a crucial inspiration in Malay’s art and craft. The self-made toy; CLF is one of the
Malay folks’ games and it symbolized the Malay’s culture and tradition.

Children play with toys can create enjoyment environment and enhanced their cognitive
development. Baharom (2014) describes that toy is an essential part of a child’s life which can make them
happy and also can progress their creativity. Napier (2004) agrees on toys can develop children’s physical,
cognitive and creativity through play activities. Lowenfeld (1954) argues on the children who get more
new toys have the potential to demolish the children creativity as they could distract their imagination with

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the toys form set, purpose and function. Piaget (1999) describes the play term is an activity for contentment
or amusement.
3 METHODOLOGY

The research focused on the studio-based research method which incorporated experimental
materials of clay and fibre in discovering of aesthetic impact and the substances potentiality to form a
sculpture based on the intertwining making process of CLF toy. To obtain the similarity of intertwining
process, the hybrid materials of clay and fibre required to be ready in workability state. Several tests have
been conducted to acquire the quality and stability substance. The table below illustrates the hybrid process:

Figure 1: The hybrid process framework
3.1 Substance Development

The young coconut leaves are chosen for the CLF making as they are easy to bend compared to
the old leaves. For the intertwining method, the young coconut leaves can perform well. The intertwining
process requires to remove the young coconut leaves vein for better action. The flatness of each leaf makes
the intertwining texture visible and create the consistency of lines circles.

The research studies the CLF and identified the potential process in the sculpture. The flatness of
the coconut leaf can be processed by using a slab building method in ceramic, however, the standard clay
material used in the method is limited for the sculpture building process due to its lack of plasticity when
thin and bending activity. This process caused the clay defect such as crack, collapse, and unstable when
joining the slab layers.

Ceramic forming involves clay as the main material. The clay develops to enduringly hard when
exposed to heat above 450° Celsius (Savage & Newman, 2000). Although clay has the plasticity to build
any type of forms it also has a certain limitation of forming which it can possible to defect. To achieve the

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quality sculptural form, the study explores the clay potentiality for the form design that can practicable
using the intertwining method.

The aims in the ceramic sculpture fabrication that based on CLF requires a clay material that has
several features such as thin, light, durable, easy to bend and flex. Paper clay has the similarity
characteristic but still, display some limitation of processes for instance; it will crack or break when
bending too far using a thin slab. This material shows the capability to work in a thin layer, light and
durable. Thus, the study used paper clay as a reference in the process of creating a new material
development in order to produce the intention sculpture efficiently.

Paper clay simple properties contain clay dan paper pulp which is able to hard when dry completely
(Gault, 2012). The material has the potential to produce many kinds of form especially aesthetic form using
the hand-building method rather than the slip casting method due it is easy to stick and problematic for
releasing the form from the mould. Due to the paper clay using the paper pulp as one of the main materials,
the paper pulp is a fibre which performs as the clay binder agent that can strengthen the body of the
sculptural form (Gault, 2012). For this reason, the research experiments another binder agent which is cloth
fibre that is similar to the paper pulp. The physical substance exhibits the fundamental quality as required;
thin, light, durable, easy to bend and flex. Regarding the physical quality, cloth fibre shows identical effects
as paper pulp which is the substance's ability to mix and absorb the clay slip.

3.2 Experimentation

In the preliminary experiment, the hybrid materials of clay and fibre were developed. Gault (2012)
introduced the process of paper clay with a certain ratio of clay and paper pulp. The process vitals the
balance ratio of clay and paper pulp which is crucial to obtain the workability state of progression material.
To obtain the workability state in the hybrid of clay and fibre, the series of experiments have been made
to determine the substance quality achievement.

The materials selection is regarded as the type of clay and fibre. For the clays, there are three kinds
of clays used in the experiment; terra cotta, stoneware and porcelain. The fibre used in the experiment is
the one that can easily absorb water and has a plain texture on the surface. The study found a kitchen cloth
obtains the intended quality and it has also achieved the thickness and texture as preferred. The pilot study
also carried out a test of using paper clay slip and combined with a cloth which is to discover the substance
workability when the fibre ratio was higher than clay. The type of materials (clay and cloth type) used also
essential to consider that could prospective to obtain in the market and sustain to research further in future.
The Table 2 below shows the parts of the experiment conducted in the study.

Table 2: The experiment of the hybrid substances (clay and fibre) using different types of clay slips.

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The Table 2 shows the earthenware and stoneware clay almost success in forming but, they were affected
after the firing process. The porcelain displays to be the potential materials that can be used for the
sculptural form as intention. Although all the clay materials perform almost the same but the sustainable
test after firing determined the porcelain quality for the sculpture fabrication as the CLF intertwining
process.

4 RESULTS AND DISCUSSION

The porcelain substance had through several tests to explore its possibility and material understanding. The
material successfully displayed variety results such as durability, sustainability, and flexibility that
complies with the sculptural form design. The intertwining process using the hybrid of cloth and clay
produced impressive form and the material allowed the variety difficult ceramic forms become an easy
work such as the bending form part, ability to lift or move certain part in the sculpture form also advantage.
To obtain the best form, the process can be used with the structural material as a form of support to achieve
the intention sculptural form, which the hybrid material is not shrunk and cause break, crack or damage to
the form. The hybrid material should be fired in high temperature (above 1200 degree Celsius) compared
to bisque firing temperature (range 900 to 1000 degree Celsius) due it is fragile and easily damaged.

5 CONCLUSION

The hybrid material performs better in producing sculptural form using the intertwining process.
The porcelain in the developmental substance cause it much durable compared to others which enhanced
the aesthetic value of material in the sculpture. The process of sculpture building becomes easy and saving
time compared to using the standard method. The series of sculpture titled; Retrospection and Prodigy, are
produced using the hybrid material as the main materials and the structural materials used the combustible
substances such as cardboards and pool noodles for support the building process. The sculpture forming
experimentation in the studio-based research has been seen as a playful concept in determining the best
artistic effect for the form. It was similar to the childhood which children always experiment with the
environment and surrounding substances to play with. For a child, anything is possible to be as a toy and
play.

6 REFERENCE

Baharom, MK. (2014). Retrospection and Prodigy: A Studio Research Project Incorporating Memory and
Childhood as a Construct for Generating New Ceramic Sculpture. Caulfield: Monash University.

Cooper, E. (2010). 10,000 Years of Pottery. London: The British Museum.

Gault, R. (2005). Paper Clay. London: A&C Black.

Gault, R. (2012). Paper Clay for Ceramic Sculptors: A Studio Companion. Seattle: New Century Arts,
Inc.

Gronborg, E. (1978). ”Viewpoint: Ceramic 1977.” In Ceramic Art: Comment and Review 1882-1977,
edited by Garth Clark, 185-192. New York: E.P Dutton.

Hybrid. (n.d.) In Merriam-Webster dictionary. Retrieved from https://www.merriam-
webster.com/dictionary/hybrid

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Jamal, S.A. (1994). Form and Soul. Kuala Lumpur: Dewan Bahasa dan Pustaka.
Lowenfeld, V. (1954). Your Child and His Art. New York: The Macmillan Company.
Napier, N. (2004). Toys and Games. In Childhood Studies; An Introduction, edited by Dominic Wyse,
215-218. Oxford: Blackwell Publishing.
Piaget, J. (1999). Play, Dreams, and Imitation in Childhood. London: Routledge.
Reijnders, A. (2005). The Ceramic Process, a Manual and Source of Inspiration for Ceramic. London:
A&C Black.
Rice, P.M. (1999). On The Origins Of Pottery, Archaeological Method and Theory. 6/1.
Savage, G. & Newman, H. (2000). An Illustrated Dictionary of Ceramics. London: Thames & Hudson.

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AFA 2019

11th ASIA FIBER ART EXHIBITION AND SYMPOSIUM –MALAYSIA 2019

24-25 September 2019

Application of Chinese Traditional Natural Dyeing in Fiber Art
—— Take Indigo dyeing and Persimmon Lacquer dyeing as
examples

Yang Jianjun 1*, Cui Yan 2

1 Department of Textile and Fashion Design, Acedemy of Arts and Design, Associate Professor, Tsinghua University, China

2 Dunhuang Costume Culture Research & Creative Design Center, Lecture, Beijing Institute of Fashion Technology, China

Abstract: Natural dyeing in China has a long history and has made important contributions to human civilization.
Fiber Art is a new concept originated in the United States in the 1970s. It includes both practical and aesthetic
traditional fiber art, and modern fiber art, which mainly reflects the creator's thoughts and feelings. In Chinese 5000-
year history, exquisite natural dyeing has always been accompanied by the development of traditional fiber arts such
as weaving, printing and dyeing, embroidery, and has constructed an important part of Chinese civilization. Among
them, indigo dyeing and persimmon lacquer dyeing, as ancient dyeing techniques of color expression, are widely used.
They not only create a large number of precious traditional fiber art, but also play an active role in modern fiber art.
Keywords: China; indigo dyeing; persimmon lacquer dyeing; fiber art; tradition and modern

Natural dyeing in China has a long history. As early as about 50,000 to more than 100,000 years
ago, the Caveman began to use red natural mineral pigments. In the Neolithic Age about six or seven
thousand years ago, the technology was more mature, and hematite powder could be used to dye red linen.
At the same time, natural plant dyes have also been used and developed. Through long-term practice and
exploration, the technology of dye extraction and dyeing has been continuously improved, and a rich and
colorful ancient fiber art has been created. Among them, indigo dyeing and persimmon lacquer dyeing, as
ancient dyeing techniques of color expression, are widely used. They not only produce a large number of
precious fine traditional fiber art, but also play an active role in modern fiber art.

Fiber Art originated in the United States in 1970s. It is a new art form developed on the basis of the
ancient dyeing and weaving art. It is characterized by the use of fiber materials as a medium for artistic
creationi. Therefore, fibre art includes both practical and aesthetic traditional fibre art, and modern fibre art
which mainly reflects the creator's thoughts and emotions.

1. The Application of Indigo Dyeing in Fiber Art

Indigo was planted early in China for dyeing. The earliest existing agricultural calendar "Xia
Xiaozheng"(《夏小正》) records: "Indigo in planted in May." The earliest collection of poems, The Book
of Songs, Xiaoya, Cailu(《诗经·小雅·采绿》), also records that: "Indigo-picking is not worth a penny
at the end of the day." The fifth book of the Spring and Autumn Period of Lushi(《吕氏春秋·仲夏纪第
五》) in the Qin Dynasty also records: "In the midsummer, the people have no indigo to dye." It can be
seen that the cultivation of indigo and dyeing were quite common at that time. Indigo species include
Polygonum, Isatis, Strobilanthes, Indigofera and so on. According to Xia Xiaozheng(《夏小正》),
Polygonum indigotica was first planted in China. Looking up the ancient books such as Qi Min Yao Shu(
《齐民要术》) in the Northern and Southern Dynasties, Four Times Codification(《四时纂要》) in the
Tang Dynasty, Tiangong Kaiwu(《天工开物》)and Compendium of Materia Medica(《本草纲目》) in
the Ming Dynasty, with the continuous accumulation of production and labor experience, people also find

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that the indigo, except Polygonum, can be also used for dyeing. The book has detailed records, leaving a
rich cultural heritage.

Ancient fibre art mainly includes weaving, printing and dyeing, embroidery and so on. For the
application of indigo dyeing in traditional fiber art, printing and dyeing art is the most typical, among which
the insist-dyeing arts such as Batik, shibori, wood block dyeing are the most distinctive.

1.1 Traditional Fiber Art
1.1.1 Batik

Figure 1 Indigo Print Cotton Fabric in Eastern Han Dynasty of China

Batik is wax-insist dyeing, which is an insist-dyeing printing process with wax. It uses wax knives, wax
models and other tools to paint or print melted wax on fabrics to achieve the purpose of insist-dyeing. After
dyeing, the wax is boiled to show patterns. In China, batik dyeing technology in Qin and Han dynasties has
been quite mature. In 1959, the figure pattern batik cotton cloth unearthed at the ancient quintessential
national site of Niya(尼雅) in Minfeng(民丰) County, Xinjiang Uygur Autonomous Region was a batik
product of the late Eastern Han Dynasty. However, because the figure depicted in the cloth has foreign
characteristics, there are many statements such as the Greek goddess Tikha or the goddess of harvest in
Central Asia, and so on. It can be inferred that the batik cotton cloth was probably introduced into Xinjiang
by Kushana Dynasty in the Eastern Han Dynasty, which can not be used to prove the batik achievements
in the Han Dynasty in Chinaii. Even so, it should be an indisputable fact that the advanced batik technology
had been widely used among the people and developed rapidly at that time. Because in 1984, "Indigo
Printed Cotton Cloth" (Figure 1), unearthed from the Han Tomb in Shanpula, Hetian Luopu County,
Xinjiang Uygur Autonomous Region, is obviously a batik product, with skilled techniques and excellent
production. Exquisite batik dyeing techniques continue to circulate. In 1967, an "Indigo Ground Ridge
Batik Valerian" was unearthed at Tomb 85, North Astana District, Turpan, Xinjiang Uygur Autonomous
Region, the Sixteen Kingdoms of Northern Liang Dynasty. On the blue ground, seven petals of small
flowers were displayed in the form of straight dots, neat and orderly, reflecting the superb craft level. In the
Tang Dynasty, Chinese batik art entered its heyday, which was confirmed by the ancient tombs of the Tang
Dynasty in Xinjiang Uygur Autonomous Region, the Batik objects excavated in Mogao Grottoes in
Dunhuang, Gansu Province, and the collections in Shosoin of Japan.

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Figure 2 Batik Dyeing in Guizhou Province, China

Figure 3 Shibori fragments of the 4th to 5th centuries unearthed from Xinjiang, China
Although China's batik technology declined in a large scale in the Central Plains after the Song
Dynasty because of the rapid development of printing technology and the gradual shortage of wax raw
materials, batik has been continuously inherited among the people in the vast remote areas of Southwest
China, such as Yunnan, Guizhou, Sichuan, and so on. Taking Guizhou as an example, there are many
minority nationalities such as Miao, Shui, Buyi and Gelao living in the mountains. Because of the
differences in history, culture, religious belief, living environment, lifestyle, customs, aesthetic psychology
and so on, have formed different style. It is famous for its uniqueness, aestheticism and universality (Figure
2).

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1.1.2 Shibori
Shibori is now known as tie-dyeing. It knots cloth and silk by needle stitching, thread bundling,

binding and other methods to achieve the purpose of insist-dyeing. After dyeing, it forms patterns with halo
dyeing and infiltration effect. During the Wei Jin, Southern and Northern Dynasties, indigo dyeing was
widely used in the art of Shibori. The Shibori fragment (Figure 3), unearthed from No. 1 Tomb in the Sixth
District of Astana, Xinjiang Uygur Autonomous Region, is a fine indigo dyed Shibori product from the 4th
to 5th centuries. With the development of the Tang Dynasty, the techniques of indigo dyeing and Shibori
were more diverse and the artistic style was more abundant. The Shibori fragments and indigo silk, which
were excavated in the Dunhuang Cave, were all representative art treasures.

After continuous development, Shibori is still retained in Chinese folk art, of which Dali, Yunnan
Province is the most famous. Because the process of sewing and twisting fabric is called tie-dyeing by the
people, tie-dyeing is often referred to as shibori, which makes shibori widely known. Dali between
Cangshan and Erhai in Yunnan Province, China, is known as the " shibori town". The Bai and Yi ethnic
minorities living here inherit and develop exquisite valerian craftsmanship from generation to generation
with their wisdom. Nowadays, shibori in Dali has become an important part of national culture with regional
characteristics. Local women with exquisite hands tied flying birds, butterflies, exotic flowers and plants,
through indigo dyeing to fully present, add endless fun to life, showing a free, fresh, simple and beautiful
artistic style (Figure 4).

Figure 4 Shibori in Yunnan Province of China

1.1.3 Wood Block Dyeing

Wood block dyeing is also called clip dyeing. It uses two pieces of woodcut carved into symmetrical
concave and convex pattern. The folded silk cloth is clamped between the wood blocks, and the convex
part is tightened to achieve the purpose of insist-dyeing. After dyeing, the pattern appears. Wood block
dyeing can be dyed multicolored by isolating the insist-dyeing areas. Ancient wood block dyeing began in
Qin and Han Dynasty and flourished in Sui and Tang Dynasty. There are a large number of fine wood block
dyeing art works in Shosoin of Japan in Tang Dynasty. In the long course of historical development, the
multi-color wood block dyeing technique has faded out of people's sight, leaving a mysterious phantom,
which is fascinating.

Unlike the color wood block dyeing, the indigo wood block dyeing are still difficult to survive
through generations, surviving in remote folk areas such as Yueqing, Cangnan and Pingyang in Wenzhou,

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Zhejiang Province, China. It is limited by the process of engraving pattern, and the prominent feature is
that the pattern is symmetrical layout. After folding cloth between the wood blocks, dyeing with indigo, a
unique continuous pattern of orderly and graceful is formed. It has strong sense of rhythm, expresses
freedom and joy fully in rigor, combines motion with static, and is harmonious and perfect (Figure. 5).

Figure 5: Wood block dyeing of Zhejiang Province, China

1.1.4 Printing Indigo Dyeing
Printing indigo dyeing belongs to alkali insist-dyeing printing, which is called printing indigo dyeing
by later generations. It mixes soybean powder and lime powder into paste insist-dyeing pulp, scrapes the
cloth through hollow paper plate, so as to achieve insist-dyeing purpose. After dyeing, the insist-dyeing
pulp is removed to show patterns. Printing indigo dyeing technology started in Tang Dynasty, and became
more mature in Song Dynasty, which was called "medicinal spot cloth"(“药斑布”). In Volume 14 of
Wang Gu's Records of Gusu (Zhengde) in the Ming Dynasty, it is recorded that:" The medicinal spot cloth
also came out of Jiading County and Anting Town. Dyeing indigo with cloth plaster, waiting for drying,
and removing gray medicine are blue and white. There are different kinds of terrace characters, flowers and
birds, poems, which serve as curtains. During the Ming and Qing Dynasties, printing indigo dyeing spread
all over Zhejiang, Jiangsu, Hubei, Hunan, Fujian, Sichuan, Shandong, Henan, Hebei and other vast areas
of China, with far-reaching impact.

In printing indigo dyeing cloth, there is one kind of blue ground white effect by using one hollow
paper plate, and another kind of white ground blue effect by using two hollow paper plates (front page,
cover plate). The former is blue lined white, the latter is white lined blue, blue-white interlaced and varied.
No matter which kind of cloth is made by indigo dyeing, it is a typical example of the application of indigo
dyeing in traditional fiber art. Indigo printed cloth is mostly dyed dark blue. After the insist-dyeing slurry
is removed, the blue-white contrast is strong. It is simple, honest, sparse and lively. It has a pure and unique
aesthetic feeling and a strong local flavor (Figure 6).

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Figure 6 Indigo Printed Cloth, Jiangsu Province, China

1.2 Modern Fiber Art
Modern fiber art emphasizes ornamentality. It uses fiber material as the medium to convey the

creator's thoughts, feelings and aesthetic ideas. Modern fiber art can be traced back to the 1970s. At that
time, some American artists were not satisfied with traditional artistic concepts. In the process of breaking
through traditional materials and exploring new artistic carriers and artistic expressions, the term "fiber art"
came into being. Therefore, modern fiber art is a new art form with a sense of the times, which is developed
on the basis of traditional fiber art. Its artistic language is broader, its artistic connotation is more diverse,
and its artistic form is more colorful.

Indigo dyeing, an ancient dyeing process, has always played an important role in the development
of traditional fiber art. In the development of modern fiber art, it also provides many possibilities for the
exploration of modern fiber art with its unique tone, color order and color charm. At the same time, the
variety and nature of modern fiber materials are different, and the affinity difference between different fiber
materials and indigo dyes also brings a wide space for exploration, practice and creative expression of
modern fiber art (Figure 7).

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Figure 7 Memory, Chen Min(China)

Figure 8 Sexual persimmon and green fruit
2. Application of persimmon lacquer dyeing in fibre art

Persimmon is divided into sweet persimmon and astringent persimmon. The content of soluble
tannin in mature fruit is more than 0.5% in astringent persimmon and less than 0.5% in sweet persimmoniii.
Persimmon lacquer is extracted from astringent persimmon, and in summer, astringent persimmon green

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fruit is picked (Figure. 8). It is pounded and soaked in crushed water, or directly pressed and fermented. It
is also known as persimmon oil, persimmon gum, persimmon juice, persimmon water, etc. Because
persimmon lacquer is mainly composed of tannin and organic acid, it has strong water repellency and
toughening function. It has been used as building wood, bamboo and wood utensils, fishing nets, paper
products and other coatings since ancient times. Persimmon lacquer paper fan, paper umbrella and paper
lantern have also continued to this dayiv.

2.1 Dyeing Characteristics of Persimmon Lacquer

2.1.1 Dyeing Properties

Persimmon lacquer dyeing has unique properties. At first, the color is light. After sunshine and
natural oxidation, the longer the dyeing time, the darker the color. This discoloration can last for two years.
This characteristic is determined by the composition and colouring structure of persimmon paint.

The main component of persimmon lacquer is persimmon tannin. Persimmon tannin has high
molecular weight, fast polymerization speed, low solubility, easy precipitation, and strong binding force
with protein. Persimmon tannin belongs to condensation tannin, which has the characteristics of oxygen
condensation to synthesize insoluble macromolecule compounds. It has strong astringency and gradually
shows brown color in the oxidation process. This oxidative condensation and discoloration function of
persimmon paint is the reason why persimmon paint is used as waterproof agent and colorant. However,
persimmon paint, as a colorant, is essentially different from dyes and pigments in the general sense: dyes
are organic compounds, generally soluble in water, which can dye pigments directly or through
intermediaries to fibers; pigments are colored fine-grained powder, generally insoluble in water, and evenly
dispersed in water. Coloring in water, grease, resin, organic solvent, etc. The persimmon lacquer is dyed
by persimmon lacquer's unique hydrophilicity, adhesion and tannin oxidation, as well as reaction to produce
precipitation, and after drying, a film is formed on the surface, which has strong waterproof performance
and high color fastness.

Once exposed to air, persimmon green juice gradually turns brown and exhibits hardening
characterization. This phenomenon stems from condensed tannins in fruits. As persimmon lacquer with
high tannin content, it becomes more viscous after fermentation. If dyed with its raw liquor, the dyed fibers
will harden obviously after drying. Using this characteristic, persimmon lacquer paper clip and seal can be
dyed. However, for textile fibers dyed with persimmon lacquer, in addition to specific requirements, it is
usually necessary to dilute the original persimmon lacquer solution before dyeing, thereby reducing the
degree of hardening.

Persimmon lacquer contains acetic acid, butyric acid and other volatile organic acids, of which
acetic acid content is 2%-3%. Under fermentation conditions, the organic acid content is higher. Persimmon
lacquer has a unique acid odor similar to that of ginkgo fruit decay, which is derived from these volatile
organic acids. Persimmon lacquer dyeing is mainly accomplished by oxidation of persimmon tannin in
contact with air. Volatile organic acids in persimmon lacquer play an auxiliary role in the oxidation process.
Because these volatile organic acids make Fermented Persimmon lacquer have sour odor and release
continuously in the oxidation process after dyeing, the resulting unpleasant feeling has a certain impact on
the affinity of persimmon lacquer and its dyed products. However, after mordant dyeing and washing, it
will weaken and disappear naturally over time.

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2.1.2 Tone Change

Persimmon tannin gradually turns brown in the process of synthesizing insoluble macromolecule
compounds by oxygen condensation, which usually lasts for about two years. With persimmon lacquer
dyeing, different tone changes can be observed in a short time through alkali agent and metal salt
intervention reacting with persimmon tannin (Figure 9).

Figure 9 Diospyros lacquer dyeing with sodium carbonate (right) iron mordant dyeing (left)

Treating with alkali solution can accelerate the change of color concentration and make persimmon
tannin appear brown quickly. Alkaline solutions, such as sodium carbonate, are often used for treatment.
Although sodium ion has no empty orbit and can not be used as reaction center to complex with persimmon
tannin, the alkaline condition of sodium carbonate can make persimmon tannin color rapidly. Metal salt
solutions such as iron salt and titanium salt were used to mordant and chemical reaction between persimmon
tannin and metal salt was used to promote the change of color tone, thus changing the original color of
persimmon lacquer and producing rich colors such as blackening and yellowing. This is because plant
tannins belong to polyphenols, which react with iron salts to form tannin iron, form black precipitation, and
produce color changes with black tone as the main factorv.

2.2 Persimmon Paint Dyeing and Fiber Art
Persimmon lacquer can dye natural textile fibers such as hemp, cotton, silk and wool. It also has
different dyeing power for some chemical fibers. The record of persimmon oil towel in Yunxian Zaji in
Tang Dynasty indicates that persimmon paint dyeing has a long history in China. Qing Dynasty
"Yongzheng" Zhejiang Tongzhi"also records:"People has made persimmon lacquer yarn, quite suitable for
summer wear." According to this, persimmon lacquer yarn was used to make summer clothes in China at
that time. Until the late 1970s, in some villages of Pizhou City, Jiangsu Province, some elderly people used
persimmon lacquer to dye cloth and make clothesvi.
Persimmon lacquer has been used in fibre art since ancient times. The most representative is to dye
monk's clothes with persimmon lacquer. Because of its natural attributes, unique performance and dyeing
characteristics, it is very suitable for the requirements of Buddhist suits in terms of color tonality, color
fastness and color aesthetic charm, showing strong color advantages (Figure 10). In the performance of

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modern fiber art, conforming to the concept of returning to nature and healthy environmental protection,
giving full play to the unique role of persimmon lacquer in sustainable development, will inevitably bring
new opportunities for the development of fiber art.

Figure 10 Persimmon lacquer-dyed monk's robes and gowns

注释：

i Zhao Feng and Qu Zhiren, Editor-in-Chief, History of Chinese Silk Art, Beijing: Foreign Language
Press, 2012, P. 187.
ii Zheng Juxin, Research on Chinese Traditional Textile Printing, Hangzhou: China Academy of Fine Arts
Press, 2008, PP. 121-122.
iii Xie Bixia, He Yehua and Wang Jun. Persimmon. Beijing: Economic Management Publishing House,
1998, pp. 1-36.
iv Sun Jiayi: Rediscovery of Traditional Materials - Persimmon Lacquer. Beijing: Central Academy of
Fine Arts, 2018, P. 2.
v Chen Wuyong, Liu Bo, Liu Jin, et al. The discoloration of plant tannins in reaction with iron salts and
oxidants. Chinese Leather, No. 7, 2003, PP. 11-14.

REFERENCES

Wu Shusheng and Tian Zibing. (1986). History of Dyeing and Weaving in China. Shanghai: Shanghai
People's Publishing House, pp. 27.
Zhang Yizhuang and Lan Suming. History of Fiber Art. Beijing: Tsinghua University Press, 2006, P. 1.
Zheng Juxin, Research on Chinese Traditional Textile Printing, Hangzhou: China Academy of Fine Arts
Press, 2008, PP. 121-122.
Zhao Feng and Qu Zhiren, Editor-in-Chief, History of Chinese Silk Art, Beijing: Foreign Language Press,
2012, P. 187.
Xie Bixia, He Yehua and Wang Jun. Persimmon. Beijing: Economic Management Press, 1998, PP. 1-36.

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Sun Jiayi: Rediscovery of Traditional Materials - Persimmon Lacquer. Beijing: Central Academy of Fine
Arts, 2018, P. 2.
Chen Wuyong, Liu Bo, Liu Jin, et al. The discoloration of plant tannins in reaction with iron salts and
oxidants. Chinese Leather, No. 7, 2003, PP. 11-14.
Li Xueyan: A Case Study of Persimmon-Folk Art in China. Nanjing: Nanjing Academy of Art, 2005, P.
37.
* This paper is a phased achievement of the general project of Beijing Social Science Foundation
"Chinese traditional persimmon lacquer dyeing technology research" (project number: 18YTB013) and
the Ministry of Education's humanities and social science research planning project "Chinese traditional
blue dyeing technology research" (project number: 19YJA760077).[本文为北京市社会科学基金一般项目

“中国传统柿漆染工艺研究”（项目编号：18YTB013）、教育部人文社会科学研究规划项目“中国传统蓝
染工艺研究”（项目编号：19YJA760077）的阶段性成果。]

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