Sumarah pioneers ceramic art studies
By Irawati Wisnumurti
JAKARTA (JP): Sumarah Adhyatman, a self-taught ceramics enthusiast, has emerged as Indonesia's ceramic expert whose books on Indonesian ceramics and beads have become national treasures as the first of their kind.
Tempayan Martavans (1977), which she co-wrote with Abu Ridho Sumoatmodjo, and Ancient Ceramics Found in Indonesia (1981), which she wrote, are the most comprehensive studies of Indonesian ceramics around and have become valuable references.
She also wrote Kendi (1987), and Beads in Indonesia (1993). She edited Earthenware Traditions in Indonesia: From Prehistory until the Present (1996), written by Dr. Santoso Sugondo. This October, Majapahit: Terracotta Art, written by Hilda Sumantri and edited by Sumarah, will be launched.
In her works, Sumarah studied ceramics not only by documenting their places of origin and describing their types, which had been the norm of ceramics experts, but also to study and explain the functions of each art piece.
"I was particularly interested in exploring the functions of the pieces. Where there is a need, there is high demand. That is why porcelain pieces were made in great volume and exported. Some were made in China exclusively to be exported to Indonesia, and were never actually used in China itself," she said.
"Many of the porcelain pieces in Indonesia originated from China," she continued. In the 10th century, trade relations brought the Chinese to Indonesia to trade ceramics for spices. Europeans also brought ceramics in the 18th century.
Ceramics originating from Indonesia are mostly earthenware. Coveted ones are from the Majapahit kingdom in East Java, dated between the 14th and 16th centuries.
"Before the Tempayan book was written, not many ceramic experts and collectors were particularly interested in Indonesian ceramics. People tended to assume that jars (guci) were used only as containers, when traditionally they have very unique functions," said Sumarah, who is nicknamed Mara.
Jars in Kalimantan are used not only as containers for food or drinks, but also as dowry and for second burial ceremonies. "This is when the bones which were buried, were removed and placed in the jars," she said. These ceremonies in Central Kalimantan are called Manalampas.
The jars are then placed in a sandung, a wooden container, which is then put in front of a house, on an elevated place or in the forest.
After Tempayan was published, international museum curators began collecting from Indonesia, and ceramic art was recognized not only for its aesthetic qualities, but also for its functions, which can be practical or even spiritual.
Praise
Bernard Grosslier, a French archeologist who specializes on Southeast Asia, praised Sumarah's accomplishments in writing these valuable books. He urged more Indonesians to write about their own cultural heritage.
"What has made me most excited is that ceramic art has gained popularity and is appreciated by both Indonesians and foreigners," Sumarah said. "Scholars are studying Indonesian ceramics more closely. Many pieces are reproduced in all parts of Indonesia, and people are discovering that there is a broad market for them.
"Local artisans who reproduce these ancient earthenware, stoneware and porcelain are profiting from this home industry, and they help preserve this art which in the era of globalization, would have disappeared as they cannot compete with plastics and other manufactured materials," she continued.
Areas which export such art pieces to the United States and Europe are Singkawang, Bandung, Plered, Dinoyo and Bali.
"We should record our cultural heritage or the data would simply disappear abroad. That was what motivated me to write in the first place," she said.
Her concern for preserving this precious cultural heritage and helping prevent more ceramics going abroad, led her to establish the Ceramic Society of Indonesia in 1973 with her husband T.K Adhyatman and former foreign minister and vice president Adam Malik.
The society holds exhibitions of works by local artists and organizes lectures and outings to archeological sites. It also cooperates with the National Research Center of Archeology in sponsoring and organizing excavations. The first excavation of ceramics was in 1970 in South Sulawesi.
Sumarah Adhyatman, the fifth of ten children, was born on 21 May 1929 in Pekalongan and was immersed in the Javanese culture from a young age. This was reinforced by her parents. Her father was the regent of Pati in Central Java. Her mother taught her history and culture and she learned Serimpi dance and about batik.
Sumarah started as a volunteer at the National Museum, where she learned about ceramic art from Abu Ridho Sumoatmojo, the curator who is now advisory councillor of the Ceramic Society of Indonesia. Abu Ridho's mentor was Orsoy de Flenes who began collecting 5,000 ancient ceramic pieces in 1920 before handing them over to the National Museum.
In the 1970s and early 1980s, her husband and Adam Malik, who encouraged her passion for ceramics and were also avid enthusiasts, often brought books and photographs of the ceramic pieces they saw in their travels.
In 1983, Adam Malik sent her to Taipei on a scholarship to study ceramic art for six months.
She frequently accompanied her husband and Adam Malik to the United States, Canada, Mexico, Europe and Asia. Traveling extensively in Indonesia to discover many ancient ceramic pieces, she also attended archeological excavation trips organized by the National Research Center of Archeology in Jakarta.
Her knowledge of English, French, German and Dutch was an asset in her work.
She found it challenging to learn about ceramic art, especially when she was researching on beads. It was particularly difficult because there were no books available in the National Museum or anywhere, so there were no references she could use. She had to collect the information herself.
When she met Dr. Peter Francis from the Center of Bead Research in the United States who indicated that there were certain beads that only existed in Indonesia, they exchanged information and learned from one another.
"Cultural awareness seems very low in Indonesia. Too many people focus on what is trendy and western. We must remember that our culture is our identity, it gives us self-confidence and should be cultivated from a young age," she said.
"Otherwise, they would not be able to identify with their own culture. It is the role of the mother as main educator in the family to instill this in her children. Also, if we know our own culture, we will be more respected by foreigners. We must not forget our heritage," she said.
Sumarah is now the Director and Curator of the Adam Malik Museum. She is also an honorary chairperson of the Ceramic Society of Indonesia.
The eldest of her two children has inherited her love for ceramics, even though it is more as a hobby for she is a medical doctor.
Sumarah has tried to make porcelain, to study the process. But "it did not turn out very well," she said, laughing.