Sumarah pioneers ceramic art studies

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.