A Thematic Analysis of Halaman Sidr’s Wooden Sculpture

A Thematic Analysis of Halaman Sidr’s Wooden Sculpture

¹Mohammad Fahmi Abdul Hamid, ^*2Hisammudin Ahmad, ¹Khairul Azhar Meerangani, ¹Siti Nurul Izza Hashim, ²Mohd Saharuddin Supah@ Supar and ²Mohd Shaharudin Sabu

¹Academy of Contemporary Islamic Studies, Universiti Teknologi MARA Cawangan Melaka, Alor Gajah, Melaka, Malaysia

²College of Creative Arts, Universiti Teknologi MARA Cawangan Melaka, Alor Gajah, Melaka, Malaysia

^*1Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2024.807199

Received: 17 July 2024; Revised: 24 July 2024; Accepted: 27 July 2024; Published: 17 August 2024

ABSTRACT

In the Islamic spiritual tradition, Ulu al-Absar refers to an individual who has deep inner vision and spiritual wisdom. His observations are sourced from all the creations of Allah SWT in heaven and earth, to improve the intellectual, spiritual and physical competence of a human being. Thus, this study aims to analyze the implementation of the concept of Ulu al-Absar in the artwork of Halaman Sidr wooden sculpture. Through a qualitative approach that involves text analysis and the study of wooden sculpture, this study seeks to highlight the integration of the concept of Ulu al-Absar in the interpretation of the sculpture’s architecture. Halaman Sidr’s wooden sculpture was chosen as the subject of the study because it reflects a combination of modern aesthetics with deep spiritual symbolism and its connection with Sufism values. Analysis was done on the composition of the sculpture, the use of space, as well as the symbols applied in this work. The results of the study concluded that Halaman Sidr’s wooden sculpture art offers a new perspective related to the application of Islamic spiritual concepts in visual art. In addition, it is also able to promote a deeper appreciation of the art of sculpture in the spiritual and cultural context of Islam. This study also adds to the knowledge in the field of Islamic art and provides inspiration to artists to incorporate spiritual elements in their work.

Keywords: Ulu al-Absar, Wood Sculpture, Halaman Sidr, Tasawuf, Islam

INTRODUCTION

Sculpture art is a branch of modern visual arts discipline that is growing nowadays. Nevertheless, the field of visual arts is a challenging field in terms of knowledge and skills in the era of globalization without borders. Therefore, high knowledge and skills need to be possessed by artists in producing creative works and innovations. According to al-Attas (1978), knowledge is the arrival of the meaning of something to oneself, as well as the success of oneself absorbing it.  This statement clearly shows that knowledge is true information and brings meaning to the life of every human being so that they can transform themselves into knowledgeable human beings (Sabri, 2017). The ambiguity of the concept of knowledge led by the secular Western view has led to tyranny in human life and nature. Humans today know a lot of information. However, most of the known information does not include important facts in life such as the existence of God, the day of retribution, the human spirit and others that can only be known through the source of revelation (Hisham, 2011).

Generally, Islamic scholars agree that all sources of knowledge come from one source (Sabri, 2017). Islam requires its people to master knowledge and skills because Allah SWT has provided the potential ability to receive knowledge in humans. Accordingly, the Qur’an has debated three main concepts namely Ulu al-Albab, Ulu al-Absar and Ulu al-Nuha in guiding the ability of the mind and human potential. In the context of this study, the subject of the study that is used as a reference axis is the artwork of Halaman Sidr. This work was chosen as the subject of study because it reflects the combination of modern aesthetics with deep spiritual symbolism and its connection with Sufism values. Analysis was done on the composition of the sculpture, the use of space, as well as the symbols applied in this work. Therefore, this article formulates the concept of Ulu al-Absar to display the beauty and subtlety of meaning and aesthetic values ​​through the sculpture of Halaman Sidr.

RESEARCH METHODOLOGY

This study uses a qualitative research approach through narrative design to collect information, data and reference materials from the right sources. Narrative studies emphasize understanding and generating meaning based on stories, experiences and observations (Potteiger & Purinton, 1998). In this study, this approach is implemented through two forms of analysis, namely content analysis and visual semiotic analysis. Content analysis focuses on the process of analyzing the content of previous studies to formulate the meaning of Ulu al-Absar theory according to Islam. Next, a visual semiotic analysis method was performed on the Halaman Sidr sculpture to connect the interpretation of this work with the concept of Ulu al-Absar. According to Chandler (2007), visual semiotic analysis is a study related to signs that exist visually, the procedure of interpreting the meaning of those signs. A design and painting have an intrinsic meaning that can be formulated into loose principles to help the researcher’s evaluation in understanding the meaning of the image or sculpture produced (Soikun & Ibrahim, 2018). Thus, both analytical approaches can summarize the implementation of the concept of Ulu al-Absar in the Halaman Sidr wooden sculpture as determined in the study.

Ulu Al-Absar Concept in Al-Quran

The term Ulu al-Absar is expressed in the Qur’an through surah Ali Imran, al-Nur, al-Sad and al-Hashr to describe the group that takes reminders from natural events and occurrences (Nazneen & Syaidatun, 2019. However, the concept of Ulu al-Absar or ‘those who know the heart’ are not explained in detail in the Quran. Accordingly, the word basirah is seen to be closely related to the principles contained in the concept of Ulu al-Absar. Etymologically, basirah means heart conscience or insight. The word basirah comes from the word basara or absara which means eyes of the heart (Azyumardi, 2008). According to Farid (1971), basirah also means intellect, intelligence, lesson and testimony, while Ibrahim (2004), in Mu’jam al-Wasit explains basirah refers to the power of vision accompanied by inner intelligence or intuition that contains the truth. Although the word basar means to see, it is very rare that the word basar only explains vision without being accompanied by the sight of the heart.

In the context of Sufism, the term basirah refers to deep spiritual vision or intuition based on the ability to see the essence of something with the eyes of the heart and go beyond the outward view that is limited to the physical senses. In fact, basirah is also closely related to the wisdom and spiritual acuity bestowed by Allah SWT to those who have faith and piety. Ibn Ajibah (2005) argues that basirah refers to the eyes of the heart by seeing deep meaning, while the gross eyes can only see things that are felt by the senses. When the eyes of the heart have been opened and the light comes out to dominate the gross eyes, the gross eyes will see what the eyes of the heart see through musyahadah. In addition, Sufis explain that basirah refers to those who have a keen eye, intelligence, stability and faith in religion (Azyumardi, 2008). Furthermore, people who have wisdom can understand the true reality when carrying out God’s commands and abandoning His prohibitions because the eyes of his heart are able to see something secret behind the promises and threats from God SWT. Evidence related to basirah which refers to the conscience is revealed in the Qur’an ie:

Translation: But lo, man is well aware of himself, even though he might make up excuses.

  (Surah al-Qiyamah 75:14-15)

If examined, basirah is divided into three levels, namely syu’a al-basirah (light of basirah), ayn al-basirah (testimony of basirah), and haqq al-basirah (reality of basirah). Syu’a al-basirah refers to the initial rays or rays of spiritual vision. The first stage the individual begins to feel the light of truth and gains some spiritual enlightenment. Individuals at this level begin to understand and feel the signs of God’s greatness through reflection and meditation. Indirectly, individuals begin to distinguish between truth and falsehood, good and bad (Azyumardi, 2008).

The second stage, ayn al-basirah, refers to a deeper and sharper spiritual vision. At this level, a person not only receives the rays of the light of truth but is also able to clearly see the truth behind all events. Individuals at this level could see the truth clearly and understand the deeper meaning behind the events in life. Indirectly, individuals can see the signs of God in all aspects of life and have a deep understanding of God’s laws and wisdom (Azyumardi, 2008). The third level, Haqq al-basirah is the highest level where a person achieves the essence of spiritual vision. At this level, this individual sees the truth clearly, is confident without any doubt until reaching the level of ma’rifah which is deep knowledge about Allah SWT and has a very close relationship with Allah. In addition, individuals at this level not only understand but appreciate and practice Divine truth in every aspect of life. Indirectly, at this level the individual will have peace and deep inner satisfaction, understand the purpose of life and always be in a state of zikrullah (remembering Allah), be a source of inspiration and role model for others, radiate wisdom and wisdom in every action and speech (Azyumardi, 2008).

Therefore, these three levels describe Ulu al-Absar’s progressive spiritual journey from the early stages of enlightenment until he has a deep understanding and finally reaches the essence of truth. Al-Maraghi (1946) explains that Ulu al-Absar has a keen eye that always reflects and improves himself. They realize that nothing is hidden from God. Therefore, they strive to do good and sincere deeds. This realization led to a deep realization, where Ulu al-Absar always reflected and tried to improve their weaknesses. This is proven through surah al-Nur which explains about the Ulu al-Absar group ie:

Translation: Allah alternates the night and the day. Indeed, in that is a lesson for those who have vision.

(Surah al-Nur 24:44)

Based on the verse above, Ulu al-Absar refers to people who have sharp vision, not only physically but also spiritually. Ulu al-Absar is an individual who can see and understand the wisdom behind natural events and events in life (al-Maraghi, 1946). This term is often associated with people who have wisdom and a deep understanding of religious teachings and God’s creation. Through these two proofs prove that Ulu al-Absar takes lessons from every fact that happens and tries to always improve himself, act honestly and sincerely in every aspect of life. In fact, Ulu al-Absar has reached such a high spiritual maturity that he inspires others.

Ulu Al-Absar and Malays Local Wisdom

The concept of Ulu al-Absar is based on research and in-depth observation of something to create benefits in life. Allah SWT has blessed human beings with intelligence and clarity of conscience as a source of generating Ulu al-Absar values ​​in oneself. For the Malay community, the concept of Ulu al-Absar can be seen through elements of local wisdom. Local wisdom is defined as all local wisdom that is full of the values ​​of goodness, decency and intelligence, and is practiced as a community culture and practice (Giska, 2013). According to Suhartini (2009), local wisdom is closely related to the environmental wisdom that exists in every community based on the values ​​and behavior of the community, not only in living daily life, but in interacting with humans and the environment. For Aslan (2017) on the other hand, local wisdom also involves culture and traditions that are inherited, held and practiced by the community, both in the form of religion, customs, ethics and daily practices.

Nunung & Muslim (2016) see local wisdom as a procedural manual produced by a society, based on their research on the environment to offer a solution to problems resulting from the interaction of humans and nature. This manual is then handed down from one generation to another as a guide and legacy of life. This unique knowledge is further cultured in the community and used as a guide in making various decisions and considerations, both involving aspects of agriculture, animal husbandry, traditional customs, health, and the management of natural resources (Flavier, 2003) This element of local wisdom is also found in knowledge traditional, handicrafts, sculpture art, polite manners and the pure values ​​of society (Miranita, 2017). Local wisdom is also linked to local wisdom, which refers to the skills and abilities of a community based on life experience and cultural characters practiced in the environment. It is built through the critical and creative thinking of the first generation, which is then passed on to the next generation according to the suitability of their environment (Warren, 1996). Therefore, Sillitoe (1998) has divided local wisdom into two forms, namely something that can be touched and seen (tangible) such as monuments, manuscripts, traditional houses and cultural symbols; as well as something abstract (intangible) such as tips, advice and taboos.

Thus, this element of local wisdom not only reflects the superiority of a society’s culture and tradition, even according to Islam, it is closely related to the concept of Ulu al-Absar itself, which is the main basis for the appointment of humans as caliphs in the world. In fact, the concept of Ulu al-Absar is also a guide in straightening the elements of local wisdom based on Islamic principles, without neglecting the traditional values ​​of the community. According to Rahimin et.al (2013), Islam has strengthened the elements of local wisdom in the Malay world through six approaches. The main approach is through the application of the Islamic world-view in Malay society, with an emphasis on the meaning of life, the purpose of life and the end of life. Therefore, it provides a new paradigm in facing the two dimensions of life, namely fellow creatures (horizontal) and with the Creator (vertical). This view of life results when humans understand the reality of their own existence (the microcosm) as well as the environment and the supernatural (the macrocosm) (Uthman, 2001).  Therefore, humans need to know the reality of the existence of these two worlds through authentic and authentic sources, that is, the reality of the world through the source of reason (al- ‘aql), while the reality of the unseen world is through the source of revelation (al-naql).

In addition, Islam also plays a role as a formula for the development of human capital, which is the axis of the element of local wisdom in the Malay community. Islam has explained the fact of the creation of every human being from three main elements, namely spirit, body and mind. These three elements need to be developed in an integrated manner to create a civilized society that has a strong sense of identity and tradition (Rahimin, 2005). Therefore, the application of the concept of Ulu al-Absar is not only focused on the element of reason but is also influenced by the element of spirit and body. Thus, to ensure that the Malay community is balanced in physical and spiritual development, the community education process based on family institutions has played an important role. The term budiman, which highlights the balance, and the best human character (qudwah hasanah) is based on the traditional values ​​and courtesy of the Malay community. It is translated through the appreciation of the values ​​of character, courtesy, discretion, common sense and high and noble manners (Hashim, 2001). The instillation of these values ​​makes the element of local wisdom that exists in the Malay community not merely external in nature but has an internal strength in giving meaning to life in this world and the afterlife. In fact, it is also not limited to relationships between people and the environment, even more importantly it is able to strengthen the value of servitude to Allah SWT through the axis of faith and piety.

Implementation of Ulu Al-Absar in Halaman Sidr’s Wooden Sculpture

The production of a work of art is a perspective from the artist himself regarding evaluation and consideration of a meaning and truth (Anwar, 2007). Humans usually tend to give impressions and perceptions related to something without researching the truth. This perception is built only depending on the perception of the senses, without the logic of the mind. Thus, when this notion begins to spread, various confusions and misunderstandings can potentially arise in society. So, based on the attitude and behaviour of the community in the face of rumours and fabricated information, there is an awareness to take advantage of the advantages of human creation through the combination of senses, mind and heart. The combination of these three elements not only optimizes the function of human creation but is even able to form a healthy and harmonious relationship with their environment.

The human mind needs the guidance of Islamic Shari’a to judge the truth. It becomes the basis for determining and evaluating a matter whether it meets or contradicts Islamic law. The human heart is the axis of the basic belief in the principles of faith. It requires people to align their beliefs (Aqidah) with Islamic law (Sharia), further ensuring that their actions reflect good ethics (Akhlak) (Muhammad, 1993). These meanings have been applied through the production of Halaman Sidr’s sculptural artworks for this to benefit the physical appearance and spiritual meaning to the observer and art appreciator. This wooden sculptural is designed so that it can be perceived as part of a book page, an information board, an inscribed stone character that can be read visually and has a meaning and order that are interrelated in function between the image of each surface and its manufacture.

Figure 1: Front View                                                         Figure 2: Inside View

(Source: Hisammudin Ahmad, 2023)               (Source: Hisammudin Ahmad, 2023)

The word ‘Halaman’ in the title of the work can refer to the book’s function as an intermediary for conveying and storing knowledge. The yard can also be seen as part of the external and internal physical space of the house. Window objects, interior and exterior spaces as an object of thought focus in producing works because they think windows have a mechanism that has the potential to create a space and boundary barrier between two spaces, namely outside and inside (Faizah et.al, 2008). The wood is perforated to create a space that can be stalked, seen, perceived, cursed, exposed, looked at. What is being watched is two chairs that cross each other (ambigious) creating a two-dimensional space that refers to a view as if it were a discussion, with a reminder of words of wisdom. In this sculpture, traditional Malay houses reflect local wisdom in the use of natural wood materials. Windows are the most important part of the Malay house structure showing a deep understanding of the surrounding atmosphere, with good ventilation to ensure effective air flow. Stairs as a symbol of the connection between the outside world and the inner world (personal space). This is a general concept of the relationship between humans, the environment and the creator (Faizah, et.al, 2008).

Picking up the bidara tree (Sidr) as the main study reference in producing new motifs for traditional carvings. Traditional carving motifs often depict nature, flora, fauna, and aspects of daily life. This tree is taken because of the unique nature of the thorny tree and the Muslim community believes in its physical and spiritual function in treating and protecting humans with the permission of Allah SWT. The function of healing, treating and preventing is confirmed by reference to hadith and the history of companions. This motif is not only beautifying, but also often has a symbolic meaning. This motif means trust and protection from the creator of nature (Yusri et.al, 2017). The nature and character of the bidara tree (Sidr) is processed into a pattern (embossed carving) and placed on the window leaf as a suggestion of its function as a source of protection from Allah SWT. The bidara tree is a symbol of the fortress between the physical world and the supernatural world. Placing a pattern between the outside and the inside of the house is like a guardian of the boundaries of the nature created by Allah SWT. Painting the base colour with gold and covering it with a construction colour commonly used in carpentry gives the meaning of something that we may not know the value of because it is covered by something else.

In the context of the implementation of the Ulu al-Absar concept, this Halaman Sidr’s sculptural artwork also emphasizes the appreciation and meaning of human nature, as well as its interaction with the environment. The summary of the implementation of this concept is as follows:

Table 1: The Meaning of Ulu al-Absar in Halaman Sidr’s Sculpture Artwork

(Sources: Hisammudin Ahmad, 2023)

Table 1 has summarized the three main aspects in this Halaman Sidr sculpture artwork, namely elements in the work, visual processing, materials and techniques and implied meaning. This work has given a new perspective in highlighting manners and ethics, as well as a subtle warning against the collision of those ethics. However, this perspective requires an appreciation of the concept of Ulu al-Absar, which is an in-depth observation and knowledge related to local wisdom to ensure that the desired message can be properly understood. Thus, Halaman Sidr’s sculptural artworks also provide added value to existing sculptural artworks, further making their own contribution in applying the values ​​of morals and decency in oneself, as the axis of the identity of the Malay community.

CONCLUSION

Ulu al-Absar is a concept conceived by Islam, through the sources of al-Quran and al-Hadith to create a holistic human being, with a blend of senses, intellectual, emotional and spiritual. This concept is translated in the Malay community through elements of local wisdom that have become the traditional identity and heritage of treasures in the Malay World for ages. Therefore, the production of Halaman Sidr’s sculpture artwork, which combines elements of the local wisdom of the Malay community to convey the message of morals and character of every human being, provides benefits for artists and the public. However, this message can only be perceived based on the value of Ulu al-Absar, which is the generation of an intellectual mind and a clear conscience to ensure that it can be put into practice in everyday life. Emphasis on the element of maintaining confidentiality, as well as ensuring the truth of any information is the main basis for the existence of a harmonious and prosperous society.

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