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Photo by Bland. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_1.label = A Hotspring in the Selangor Jungle. Photo by Mcgregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_10.label = Cultivation of the Tapioca-Plant and Sugar Cane - Aboriginal Woman in Foreground, Ulu Kali, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_11.label = Dravidian type and Malayan type. Photo by Wray and Knocker. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_12.label = E. Semang (or Pangan), Kuala Aring, Kelantan. Photo R.H. Yapp, Skeat Expedition. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_13.label = Encampment of Aboriginal, Stream Tin Workers, Ulu Klang, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_14.label = Group at Ayer Itam on the Klang River above Damansara, half way between Damansara and Kucheng. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_15.label = Group at Ulu Lul in the Ulu of the Langat Rivier. Photo McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_16.label = Group Bukit Lanjan, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_17.label = Group of Jakuns, showing Negrito and Sakai Blood, at Ulu Batu, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_18.label = Hunting party with blowpipes, Bukit Prual, Kepong, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_19.label = Jakun Betel-Wallets. Skeat Collection. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_2.label = A Jakun Orchestra, showing flute, fiddle, bamboo guitar, and drums of Malay Pattern, Ulu Batu, Selangor. Photo McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_20.label = Jakun group from the Langkap Pass. Photo by T. Gardner, Jelebu. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_21.label = Jakun man in hunting accoutrements, showing bark cloth girdle, blowpipe, and quiver, with bone fastener. Ulu Batu, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_22.label = Jakun walking up a tree, Ulu Batu, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_23.label = Jakun with marked Jakun Strain, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_24.label = Jakun women from Ulu Batu Pahat, Johor. Photo by Machado. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_25.label = Jakuns using Blowpipes, Lubo_ K_lubi, Ulu Langat Selangor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_26.label = Mixed Jakun type, Bukit Prual Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_27.label = Mixed Sakai-Semang Type, Ulu Batu, Selangor. Photo McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_28.label = Negrito Type - Semang of Perak. Photo by Leonard Wray. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_29.label = Orang Laut of Kalang, Singapore. Photo by RH Yapp. Pagan Races of the Malay Peninsula, 1906_01 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_3.label = Aboriginal group at Lubo’ K’lubi, Ulu Langat, Selangor. Men on right with blowpipes, gun, and spear, dog in foreground. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_30.label = Orang Laut of Kalang, Singapore. Photo by RH Yapp. Pagan Races of the Malay Peninsula, 1906_02 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_31.label = Orang Laut of Kalang, Singapore. Photo by RH Yapp. Pagan Races of the Malay Peninsula, 1906_03 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_32.label = Orang Laut of Kalang, Singapore. Photo by RH Yapp. Pagan Races of the Malay Peninsula, 1906_04 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_33.label = Pa_ Nanti, the late Batin of the Besisi, Kuala Langat, Selangor. Photo by Munro. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_34.label = Sakai boy with blowpipie, Ulu Sungkai, Sg Perak. Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_35.label = Sakai Cooking Rice in Bamboo Vessels, Chenderlang (Batang Padang, Perak). Photo by Leonard Wray. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_36.label = Sakai family, showing nose -quills, necklaces, armlets, and leaf-ornaments. Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_37.label = Sakai Girl (showing Negrito Strain) Photo by Machado. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_38.label = Sakai girl of south Perak. Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_39.label = Sakai group, Ulu Kali, Ulu Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_4.label = Aboriginal group at Ulu Kali, Ulu Selangor, showing adoption of Malay dress. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_40.label = Sakai group, Ulu Lui, Ulu Langat, showing women and girls in Malay dress. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_41.label = Sakai in Jungle Accoutrements, Sungei Berang, Seven Miles from Tanjong Malim. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_42.label = Sakai Man_s Grave (Sungai Perak), photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_43.label = Sakai of Ulu Slim (Perak) - Cooking ‘’p’rah’’ fruit with flesh of rats and squirrels, which they are mixing in a bamboo vessel. Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_44.label = Sakai Tree Hut, Sungei Berang, Perak, Seven Miles from Tanjong Malim. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_45.label = Sakai with Trap, Perak - Boy explaining its action. Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_46.label = Sakai Woman_s Grave (Sungai Perak), photo by Cerruti. - Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_47.label = Sakai Women in Malay “Sarongs” showing necklaces, armlets, and bracelets, Ulu Bertang, Perak. Photo by Wray. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_48.label = Semang and Pangan Girdles. Photo in Skeat Collection. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_49.label = Semang combs. Skeat Collection. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_5.label = Aboriginal Women Hhusking Padi (showing End-View of Mortar), Ulu Klau, Pahang. - Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_50.label = Semang of Kuala Kenering Ulu Perak. Photo by Wray. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_51.label = Semang of Siong, Kedah. Photo by Skeat. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_52.label = Semang standing at side of hut (at Sungei Tapah), near Batu Gajah, Kinta, Perak. The hut shows one of the methods of interweaving palm leaves. Photo by Wray. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_53.label = Semang with Girdles of Malay Cloth. Photo by Leonard Wray. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_54.label = Skull of Semang Skeleton, Side View. Skeat Collection. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_55.label = Smallpox Patient in Seclusion, Ulu Slim (South Perak). Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_56.label = Tree Hut, Ulu Batu, About Twelve Miles from Kuala Lumpur, Selangor. Photo by McGregor. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_57.label = Two Sakai women with pet jungle-pigs. Ulu Slim, Perak. Photo by Cerruti. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_58.label = Two semang bows, two quivers, and their arrows. Skeat Collection. Pagan Races of the Malay Peninsula, 1906 album_8B2ECFFC_DBB6_4669_41DA_C8C626B77EA2_59.label = Ulu Berang, Perak. A Very old Sakai. Photo McGregor. 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tetapi jerat tiada melupal(k)an pelanduk adanya..... Shahadan maka kepada suatu hari aku pergi mengajar Tuan Kaesberry maka ditunjukkannya kepada aku ada suatu perbuatan hikmat iaitu ada sekeping tembaga kira2 dua jengkal panjangnya dan sejengkal lebih2 sedikit lebarnya maka adalah dalam tembaga yang tersebut iaitu gambar atau peta negeri Singapura lengkap genap tetapi bayangnya timbul tenggelam maka apabila aku melihat bayangnya itu maka tiadalah bersalahan barang/bayang sedikit jua pun seperti yang kulihat dalam Singapura demikianlah juga ada dalam peta itu juga maka hairanlah aku dengan sebesar2 hairan maka kataku Tuan hikmat apa ini dan siapa tukangnya maka jawabnya ini suatu hikmat baharu di dapat oleh orang puteh maka ada dalam kapal perang Amerikan ini seorang doktornya maka ia ada membawa perkakasnya membuat pekerjaan ini maka sahaya sendiri tidak boleh menyatakan kepada enchek sebab belum pernah sahaya melihat tetapi ada Tuan itu berjanji kepada saya hendak ditunjukkan perbuatan itu kepada sahaya pada hari Isnin ini maka hatiku pun sukacita mengar (mendengar) khabar ini sebab aku pun bolehlah melihat bersama2 adanya. Sebermula maka pada hari Isnin pergilah aku mengajar akan dia maka adalah kira2 pukul dua belas tiba2 datanglah tuan itu maka disambut oleh Tuan Kaesberry akan dia serta dikatakannya lah aku dengan tuan doctor itu katanya ini guru sahaya kemudian aku pun berpegang tangan dengannya serta berkhabar2 duatiga patah maka kata Tuan Kaesberry guru aku ini terlalu hendak sangat melihat akan pekerjaan itu bagaimana hal mendapat peta negeri
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itu maka katanya ini pun boleh marilah kita pergi keatas bukit Tuan Bonham kerana disanalah ada perkakasnya itu maka sebentar itu juga Tuan Kaeberry berbangkit pergi memanggil Tuan Stronach maka katanya kepadaku baiklah enchek pergi menanti dibukit sebentar itu sahaya seorang datang maka berjalanlah aku naik kebukit maka mereka itu pun sampailah maka ku lihat doctor itu pergi masuk kedalam bilik maka dikeluarkannyalah satu peti maka peti ada berteropong maka ada pun cermin teropong itu terkeluar adalah sebesar satu duit maka maka cermin itu pula ada berlapis dua sebelah dalamnya besar ada pun cermin besar yang didalamnya itulah membesarkan barang suatu yang kelihatan dihadapannya maka sebelah peti itu boleh dibuka tutup kemudian pergilah pula ia mengambil sekeping tembaga adalah kira2 sejengkal lebar lebihnya dan tengah dua jengkal lagi lagi nipis dan berkilat maka digosoknya pula tembaga itu dengan satu jenis habu kemerah (merahan) rupa sehingga tembaga itu menjadi seperti cermin cahayanya setelah sudah maka ada pula suatu bekas yang telah berisi dengan satu jenis habu hitam warnanya maka adalah sepelempap jauhnya daripada habuk itu keatas diletakkannya tembaga yang telah digosoknya itu maka adalah sekira2 sepuluh minit lamanya maka diangkatnya tembaga itu telah menjadi warnanya seperti emas kemerah2 an setelah sudah maka dibawanya tembaga itu dimasukkannya kesebelah peti yang ada berteropong itu lalu di hadapkannya kesebelah mana yang hendak diambilnya petanya itu ada pun bayangnya dari tempat itu masuklah kedalam teropong itu memukul kepada tembaga itu katanya kalau cuaca baik dan panas keras
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sebentar ianya juga boleh dapat maka kalau cuaca kurang baik adalah sedikit lambat setelah itu maka
dikeluarkannya tembaga itu maka ada pun tatkala itu kita lihat tembaga itu suatu pun tiadalah kelihatan maka diambilnya tembaga itu dibawanya keteduh maka disapunya dengan suatu jenis ubat setelah itu ada pula seperti sebuah peti maka dibawahnya ada suatu tempat yang berisi raksa maka diletakkannya tembaga itu diatas tempat raksa itu adalah kira2 jaraknya sejengkal tingginya daripada raksa itu kala kian ada pula dibawah tempat raksa itu satu pelita maka dibubuhnya api dipelita itu maka panaslah raksa itu maka adalah jangkanya sampai sekian2 lamanya maka naiklah wap raksa itu kepada tembaga itu ada pun ubat dahulu yang ada ditembaga itu dimakannya segala tempat yang kena cahaya bayang itu maka yang tiada kena cahaya itu tiadalah dimakannya maka setelah sampai jangkanya itu maka diangkatlah tembaga itu maka tiba2 kelihatanlah segala peta gambar negeri Singapura melekat ditembaga itu dengan tiada berselisih sebesar rambut jua pun seperti yang ada itu dengan eloknya ada pun tembaga yang ada berpeta itu dibuat tauladan ditaruh dihadapan maka ditulislah seperti yang ada disitu tiadalah bersalahan lagi dengan senangnya bermula aku bertanya kepada tuan itu bolehlah dibuat lebih besar daripada ini maka jawabnya boleh sebagaimana suka itu pokoknya daripada perkakasnya maka jikalau perkakasnya besar maka bayangnya pun besarlah shahdan ada pun asal2 nya yang mengeluarkan hikmat ini yang amat ajaib ini orang Fransis maka
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kemudian diturut oleh Inggeris dan bangsa2 orang Eropah akan dia maka belumlah lama lagi didapati orang akan kepandaian ini baharu juga empat lima tahun lalu adanya.
Translation from the Hikayat Abdullah (Retrieved Copy for the Governor Butterworth)
1849 Lithographic copy (Digital copy from the British Library Board & the National Library Board of Singapore)
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Translation of the Hikayat Abdullah by A.H. Hill
Journal of the Malayan Branch of the Royal Asiatic Society, Vol. 28, No. 3 (171), The Hikayat Abdullah (June, 1955), pp. 256–258
Published by Malaysian Branch of the Royal Asiatic Society
One day, when I went to give Mr. Keasberry his lesson, he showed me an ingenious device, a copper sheet about a foot long, by a little over six inches wide, on which was a picture or imprint of the whole Settlement of Singapore in detail, the shadows appearing in relief. Looking at the picture, I saw that it exactly reproduced, without the smallest deviation, the view of Singapore as I knew it. I was greatly surprised and said to him, “Sir, what is this marvel and who made it? He replied, "This is a new invention of the white man. There is a doctor on board an American warship here who has with him an apparatus for making these pictures. I cannot explain it to you for I have never seen one before. But the doctor has promised me that he will show me how it works next Monday.” I was delighted to hear this for I could go and see it with him.
The following Monday, I was teaching him when suddenly, at about mid-day, in walked the doctor himself. He was welcomed by Mr. Keasberry who introduced me to him saying, “This is my teacher.” I shook hands with him and we exchanged a few words. Then Mr. Keasberry said, “My teacher here is very keen to see this device of yours, and to understand how you make pictures of Singapore.” He replied, “Then he shall see for himself. Let us go to the top of Mr. Bonham’s hill, for it is there that the apparatus is kept.” At once, Mr. Keasberry rose and went to call Mr. Stronach. He said to me, “Go and wait on the hill. In a few minutes I will come on by myself.” So I walked up the hill, and the others joined us there. I saw the doctor go into a room and bring out a box. The box had an attachment like a telescope. The lens, about the size of a cent piece, could be pulled outwards. It had two components, the larger one inside. This larger lens magnified anything seen in front of it. One side of the box could be opened and closed. Then the doctor went and fetched a metal plate about nine inches long by six inches wide, thin and brightly polished. He rubbed the surface with a certain kind of reddish-coloured powder until it was a dull brown all over. Then he took a bowl which had been filled with another kind of powder, black in colour. He held the polished plate about four inches above the powder.
After about ten minutes he lifted up the plate, and its colour had turned to a reddish gold. He took the plate and put it into the extensible box, which he then placed with the side of the apparatus with a sliding lens in the direction in which he wished to take the picture. The image of the scene passed through the lens and struck the plate. He said, “In strong sunlight it takes only a moment, but in a dull light it takes a little longer.” After this, he took the metal plate out and we noticed that there was nothing visible on it at the time. He then took it to a place in the shade and washed it with a chemical solution. Now, he had a kind of frame with a vessel containing quicksilver fitted underneath it. He mounted the plate in position on top of the vessel, about six inches above the surface of the quicksilver.
Below the vessel, there was a spirit lamp which he lit quicksilver, soon it became hot and gradually its vapour rose and was allowed to condense on the plate for a certain length of time. Now the chemical, with which the plate had been treated, had etched all the parts on which light had fallen, while it had not affected those parts on which no light had fallen. After a timed interval, the plate was lifted out and at once, we saw a picture of the town of Singapore imprinted on it, without deviation even by so much as the breadth of a hair, a fine reproduction of the actual scene. The plate with the picture on it was used as a block, and by contact with its surface prints were easily taken which faithfully reproduced the original without variation.
I asked the Doctor, “Is it possible to make larger pictures than the one you have here?”He replied, “Yes, as large as you like. The size depends on the size of the instrument. If it is large, the image received on it will also be large” This amazing apparatus was originally the invention of a Frenchman. It was then copiedby the English and by other European nations.It was only recently that the art of making pictures in this way was discovered, not more than four or five years ago.
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Books on Photographs
This vitrine largely features books about photography related to East Malaysia. Included here are the photobooks of two prominent photographers who have produced a substantial body of photographic works on East Malaysia —K.F. Wong and Hedda Morrison. K.F. Wong’s photographic practice was also prominently featured in the 1958 edition of the Straits Times Annual, as well as in its 1955 edition that covered Malcolm Macdonald’s visit to Sarawak. Finally, a catalogue of early images of North Borneo by Sandakan-based photographer Philippe Funk. He played a prominent role in the early 20th century, and travelled extensively throughout North Borneo to capture images of the towns, streets, and people. Many of his photographs were subsequently published as picture postcards under the imprint Funk & Sons and later Philippe & Sons.
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Vitrin ini menampilkan pelbagai buku berkaitan dengan Borneo dan juga buku-buku fotografi dari jurugambar terkemuka — K.F. Wong dan Hedda Morrison. Gambar-gambar K. F. Wong juga pernah ditampilkan dalam Straits Times Annual edisi 1958, dan juga dalam edisi tahun 1955 ketika lawatan Malcolm Macdonald ke Sarawak. Vitrin ini turut menyertakan katalog imej-imej awal Borneo Utara hasil karya jurugambar yang berpusat di Sandakan, Philippe Funk. Beliau adalah tokoh yang penting dalam kerja-kerja mendokumentasi Borneo Utara, dan telah menangkap banyak gambar-gambar pekan, jalanan dan penduduk tempatan. Kebanyakan gambar-gambar beliau kemudiannya diterbitkan sebagai poskad di bawah label Funk & Sons dan seterusnya, Philippe & Sons.
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The Apprentice
2015
Mahen Bala & John W. J. Cho
9:06 minutes
Begins at minute 10, 30, & 50 of every hour
Mula pada minit 10, 30, & 50 setiap jam
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The Lost Photographs of Sultan Ismail Nasiruddin Shah
2015
Mahen Bala
9:06 minutes
Begins at minutes 00, 20, & 40 of every hour
Mula pada minit 00, 20, & 40 setiap jam
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美星影社 (Beautiful Star Studio)
2019
Daniel Lim / Uni. Gallery
2:51 minutes
Begins at minute 16, 36, and 56 of every hour
Mula pada minit 16, 36, & 56 setiap jam
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Pomp and Circumstance
Twentieth-century Impressions of British Malaya (1906) was published both as an encyclopaedia and an investment prospectus filled with photographic propaganda that celebrated the many economic, cultural, and political achievements of Malaya under British colonial rule. The handsomely produced book included many studio portraits and landscapes taken by some of the pioneering European photo studios in Malaya. The artful compositions of these photographs conveyed the complex social networks and political hierarchies within a stratified colonial society.
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Gambaran Tanah Melayu British Abad Kedua Puluh (1906) diterbitkan sebagai sebuah prospektus pelaburan yang padat dengan propaganda fotografi yang menyanjungi berbagai pencapaian ekonomi, budaya dan politik Tanah Melayu di bawah jajahan British. Buku yang diterbitkan dengan rapi ini juga mengandungi potret studio dan lanskap yang diambil oleh beberapa studio foto pelopor Eropah di Tanah Melayu, termasuk gambar-gambar yang disusun secara artistik untuk menunjukkan rangkaian sosial berserta hirarki politik dalam masyarakat kolonial yang kompleks.
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Playing with Photographs
This selection of reproductions of collage and photomontage from the early twentieth century includes vastly disparate publications that are written in three different languages. The Jawi- Malay manuscript for Raja Haji Abdullah Abu Muhammad Adnan’s Ghayat Al-Muna (1902) is an adaptation of a popular Bangsawan play into the syair form, while Khatijah Terung’s Perhimpunan Gunawan (1911) is a compendium of love spells. Both of these manuscripts from the Riau islands, were digitised under the British Library’s Endangered Archives Programme. In them, the authors inserted cut-out photographs found in Western magazines and artfully placed them within their manuscripts. Some of these images were modified by the authors with the addition of hand-drawn details. The manuscripts show adaptive recontextualization of photographs
and imagery found in European print culture, that were then given another purpose and meaning through a process of artistic interventions and adapted purposefully into a local knowledge system.
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Seleksi ini merupakan reproduksi kolaj dan montaj foto dari gabungan pelbagai majalah dari tiga bahasa yang dihasilkan pada awal abad kedua puluh. Ia merupakan manuskip Jawi- Melayu Raja Haji Abdullah Abu Muhammad Adnan bertajuk Ghayat Al-Muna (1902) yang diadaptasi dari karya Bangsawan popular ke dalam bentuk syair, manakala Perhimpunan Gunawan (1911) oleh Khatijah Terung ialah sebuah kompendium mantera pengasih. Kedua-dua manuskrip ini berasal dari kepulauan Riau, dan disimpan secara digital oleh British Library di bawah Endangered Archives Programme. Manuskrip ini mengandungi potongan-potongan gambar yang diambil dari pelbagai majalah Barat yang digubah dengan begitu teliti sekali oleh pengarangnya. Sesetengah imejnya diubah suai dengan lukisan tangan. Manuskrip ini menunjukkan pembolehubah konteks foto dan imej dari budaya cetak Eropah, diberi tujuan dan makna baru menerusi intervensi artistik dan dipadankan dengan sistem pengetahuan tempatan.
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Nanyang Imaginary
Sinchew 2nd Anniversary Commemorative
Issue (1931) suggests that the Chinese diasporic community began to draw on new modern design sensibility in their photographic compositions. These highly playful collage and design layouts appear as a whimsical counterpoint to colonial modes of seeing. While they reference established genres such as still-lifes of local plants, cultural events, landscapes and prominent personalities, the use of strong graphic elements creates light-hearted images, which injects a celebratory and vibrant energy into the sombre appearance of black and white photographs.
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Keluaran Kenang-kenangan Ulang Tahun Kedua Sinchew (1931) memperlihatkan bagaimana masyarakat diaspora Cina mula memasukkan kepekaan reka bentuk moden baharu ke dalam gubahan fotografi mereka. Permainan kolaj dan rekaan tata atur ini menjadi kaunterpoin terhadap cara pandang kolonial. Walaupun merujuk kepada genre yang sediakala maklum seperti gambaran alam benda tumbuhan tempatan, acara kebudayaan, lanskap dan tokoh-tokoh utama, penggunaan unsur-unsur grafik yang lantang dapat menghasilkan gambaran keriangan, yang menyuntik semangat keraian kepada foto hitam putih yang selalunya kelihatan suram.
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Photographing Industry
Malayan Industries was a series of collectible cards produced by cigarette company Carreras in 1929. This was a sequel to another series titled Malayan Scenes that was released the previous year and featured more bucolic images of tropical andscapes, built environment and social lives. By contrast, Malayan Industries depicted a range of industries that contributed to the economy of colonial Malaya — rubber, oil palm, coconut and pineapple plantations, tin dredges, sugar cane factories, transportation services, as well as the local and migrant labour force. Each photograph was paired with a description that read like an investment prospectus, suggesting profitable returns for those interested in participating in Malaya’s growing economy.
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Perusahaan Tanah Melayu ialah siri kad koleksi yang dihasilkan oleh syarikat rokok Carreras pada tahun 1929. Ianya lanjutan daripada siri Pemandangan Tanah Melayu, yang dikeluarkan pada tahun sebelumnya dan menonjolkan lanskap tropika desa, serta binaan dan kehidupan sekitar. Perusahaan Tanah Melayu pula menonjolkan pelbagai industri yang menyumbang kepada ekonomi Tanah Melayu di bawah penjajahan — perladangan getah, kelapa sawit, kelapa dan nenas, perlombongan bijih timah, kilang gula, perkhidmatan pengangkutan, selain gambar tenaga kerja tempatan dan asing. Tiap-tiap gambar diiringi penerangan yang berbaur peluang pelaburan dan pulangan keuntungan untuk mereka yang berminat menyertai pertumbuhan ekonomi
di Tanah Melayu.
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tetapi jerat tiada melupal(k)an pelanduk adanya..... Shahadan maka kepada suatu hari aku pergi mengajar Tuan Kaesberry maka ditunjukkannya kepada aku ada suatu perbuatan hikmat iaitu ada sekeping tembaga kira2 dua jengkal panjangnya dan sejengkal lebih2 sedikit lebarnya maka adalah dalam tembaga yang tersebut iaitu gambar atau peta negeri Singapura lengkap genap tetapi bayangnya timbul tenggelam maka apabila aku melihat bayangnya itu maka tiadalah bersalahan barang/bayang sedikit jua pun seperti yang kulihat dalam Singapura demikianlah juga ada dalam peta itu juga maka hairanlah aku dengan sebesar2 hairan maka kataku Tuan hikmat apa ini dan siapa tukangnya maka jawabnya ini suatu hikmat baharu di dapat oleh orang puteh maka ada dalam kapal perang Amerikan ini seorang doktornya maka ia ada membawa perkakasnya membuat pekerjaan ini maka sahaya sendiri tidak boleh menyatakan kepada enchek sebab belum pernah sahaya melihat tetapi ada Tuan itu berjanji kepada saya hendak ditunjukkan perbuatan itu kepada sahaya pada hari Isnin ini maka hatiku pun sukacita mengar (mendengar) khabar ini sebab aku pun bolehlah melihat bersama2 adanya. Sebermula maka pada hari Isnin pergilah aku mengajar akan dia maka adalah kira2 pukul dua belas tiba2 datanglah tuan itu maka disambut oleh Tuan Kaesberry akan dia serta dikatakannya lah aku dengan tuan doctor itu katanya ini guru sahaya kemudian aku pun berpegang tangan dengannya serta berkhabar2 duatiga patah maka kata Tuan Kaesberry guru aku ini terlalu hendak sangat melihat akan pekerjaan itu bagaimana hal mendapat peta negeri
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itu maka katanya ini pun boleh marilah kita pergi keatas bukit Tuan Bonham kerana disanalah ada perkakasnya itu maka sebentar itu juga Tuan Kaeberry berbangkit pergi memanggil Tuan Stronach maka katanya kepadaku baiklah enchek pergi menanti dibukit sebentar itu sahaya seorang datang maka berjalanlah aku naik kebukit maka mereka itu pun sampailah maka ku lihat doctor itu pergi masuk kedalam bilik maka dikeluarkannyalah satu peti maka peti ada berteropong maka ada pun cermin teropong itu terkeluar adalah sebesar satu duit maka maka cermin itu pula ada berlapis dua sebelah dalamnya besar ada pun cermin besar yang didalamnya itulah membesarkan barang suatu yang kelihatan dihadapannya maka sebelah peti itu boleh dibuka tutup kemudian pergilah pula ia mengambil sekeping tembaga adalah kira2 sejengkal lebar lebihnya dan tengah dua jengkal lagi lagi nipis dan berkilat maka digosoknya pula tembaga itu dengan satu jenis habu kemerah (merahan) rupa sehingga tembaga itu menjadi seperti cermin cahayanya setelah sudah maka ada pula suatu bekas yang telah berisi dengan satu jenis habu hitam warnanya maka adalah sepelempap jauhnya daripada habuk itu keatas diletakkannya tembaga yang telah digosoknya itu maka adalah sekira2 sepuluh minit lamanya maka diangkatnya tembaga itu telah menjadi warnanya seperti emas kemerah2 an setelah sudah maka dibawanya tembaga itu dimasukkannya kesebelah peti yang ada berteropong itu lalu di hadapkannya kesebelah mana yang hendak diambilnya petanya itu ada pun bayangnya dari tempat itu masuklah kedalam teropong itu memukul kepada tembaga itu katanya kalau cuaca baik dan panas keras
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sebentar ianya juga boleh dapat maka kalau cuaca kurang baik adalah sedikit lambat setelah itu maka
dikeluarkannya tembaga itu maka ada pun tatkala itu kita lihat tembaga itu suatu pun tiadalah kelihatan maka diambilnya tembaga itu dibawanya keteduh maka disapunya dengan suatu jenis ubat setelah itu ada pula seperti sebuah peti maka dibawahnya ada suatu tempat yang berisi raksa maka diletakkannya tembaga itu diatas tempat raksa itu adalah kira2 jaraknya sejengkal tingginya daripada raksa itu kala kian ada pula dibawah tempat raksa itu satu pelita maka dibubuhnya api dipelita itu maka panaslah raksa itu maka adalah jangkanya sampai sekian2 lamanya maka naiklah wap raksa itu kepada tembaga itu ada pun ubat dahulu yang ada ditembaga itu dimakannya segala tempat yang kena cahaya bayang itu maka yang tiada kena cahaya itu tiadalah dimakannya maka setelah sampai jangkanya itu maka diangkatlah tembaga itu maka tiba2 kelihatanlah segala peta gambar negeri Singapura melekat ditembaga itu dengan tiada berselisih sebesar rambut jua pun seperti yang ada itu dengan eloknya ada pun tembaga yang ada berpeta itu dibuat tauladan ditaruh dihadapan maka ditulislah seperti yang ada disitu tiadalah bersalahan lagi dengan senangnya bermula aku bertanya kepada tuan itu bolehlah dibuat lebih besar daripada ini maka jawabnya boleh sebagaimana suka itu pokoknya daripada perkakasnya maka jikalau perkakasnya besar maka bayangnya pun besarlah shahdan ada pun asal2 nya yang mengeluarkan hikmat ini yang amat ajaib ini orang Fransis maka
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kemudian diturut oleh Inggeris dan bangsa2 orang Eropah akan dia maka belumlah lama lagi didapati orang akan kepandaian ini baharu juga empat lima tahun lalu adanya.
Translation from the Hikayat Abdullah (Retrieved Copy for the Governor Butterworth)
1849 Lithographic copy (Digital copy from the British Library Board & the National Library Board of Singapore)
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Bayangnya itu Timbul Tenggelam, that which appears and recedes from view, is a survey of the cultures that developed around photography and its relationship to Malaysia. The exhibition invites us to discover the different values and meanings that people have invested in the photographic image through the years, in an attempt to explore an alternative understanding of the complex modern history of photography.
‘Photography never seems to merely duplicate the everyday world, but is, rather, prized for its capacity to make traces of persons endure, and to construct the world in a more perfect form than is possible to archive in the hectic flow of the everyday.’
Christopher Pinney, Camera Indica, 1997.
The exhibition does not aim to offer a ‘history’ of photography in the conventional sense. Instead of tracing the ‘evolution’ of camera technology or presenting a chronology of artistic movements, the exhibition instead highlights how photographs gained new dimensions and meanings through the different ways they were used, collected, and displayed.
Each community and subsequent generation, with their own understanding and ideas regarding photography, would often have to negotiate with the conventions and limitations of the photo studio. This gave rise to interesting pockets of cultural practice. By focusing on the photographic cultures that have emerged in Malaysia, the exhibition also hopes to bring into public conversation the ways in which these local interpretive frames and ways of seeing, contributed to a larger global conversation about the staying power of the photographic image.
Although photography is a portmanteau made up of two words of Greek origin that translates to ‘drawing with light’, the exhibition Bayangnya itu Timbul Tenggelam draws out a ‘shadow’ history. This version of history is forefronted by local players who have shaped cultures that sequentially contributed to the reframing of photography. In turn, the exhibition also prompts us to think about how these values and meanings have helped shape our sense of place and the idea of the nation.
Bayangnya itu Timbul Tenggelam, ialah sebuah tinjauan budaya yang dikembangkan sekitar fotografi dan hubungannya terhadap Malaysia. Pameran ini ingin mengundang kita untuk menggali nilai-nilai lain yang ditanamkan melalui citra fotografi selama bertahun-tahun, dalam percubaan untuk meneroka pemahaman alternatif terhadap sejarah kompleks fotografi.
‘Fotografi bukan hanya sekadar menyalin dunia harian, namun sebaliknya, dihargai kerana kapasitinya yang mampu menjejaki beban yang dipikul seseorang, dan membina dunia dalam bentuk yang lebih sempurna dari kehidupan yang sukar untuk diarkibkan.’
Christopher Pinney, Camera Indica, 1997.
Pameran ini tidak bertujuan mengetengahkan ‘sejarah’ lazim fotografi. Daripada menjejak ‘evolusi’ teknologi kamera atau persembahan kronologi gerakan seni, pameran ini sebaliknya menyoroti bagaimana gambar memperoleh dimensi dan makna baru melalui berbagai cara ia digunakan, dikumpulkan dan dipersembahkan.
Setiap komuniti dan generasi selepasnya cuba membawa pemahaman dan idea fotografi tersendiri, selalunya berhadapan dengan batas-batas dan kelaziman studio foto. Ini secara langsung mewujudkan poket amalan budaya yang menarik. Dengan fokus terhadap budaya fotografi yang wujud di Malaysia, pameran ini membuka khalayak kepada wacana umum tentang bagaimana bingkai pentafsiran tempatan dan cara melihat dapat menyumbang kepada wacana global yang lebih meluas tentang daya tahan imej fotografi.
Sebagaimana fotografi ialah portmanteau dari dua perkataan Yunani yang diterjemahkan sebagai ‘melukis dengan cahaya’, pameran Bayangnya itu Timbul Tenggelam pula menarik keluar ‘bayang-bayang’ sejarah. Versi sejarah ini dibintangi watak-watak tempatan dan sumbangan mereka dalam membentuk budaya fotografi. Pada masa yang sama, pameran ini juga mendorong kita memikirkan bagaimana nilai dan makna membentuk rasa sesebuah tempat dan gagasan tentang kenegaraan.
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Curated by K. Azril Ismail, Hoo Fan Chon, and Simon Soon.
Our thanks to all the individuals and organisations whose kind support have made this exhibition possible:
Alex Moh
Depoint Photo Express, Penang Duyong Art Gallery
Farish Noor
George Town World Heritage Institute Joe Kidd
Penang House of Music
Tan Wei Ming
Wang Fook Seek
Yee I-Lann
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Bayangnya itu Timbul Tenggelam, that which appears and recedes from view, is a survey of the cultures that developed around photography and its relationship to Malaysia. The exhibition invites us to discover the different values and meanings that people have invested in the photographic image through the years, in an attempt to explore an alternative understanding of the complex modern history of photography.
‘Photography never seems to merely duplicate the everyday world, but is, rather, prized for its capacity to make traces of persons endure, and to construct the world in a more perfect form than is possible to archive in the hectic flow of the everyday.’
Christopher Pinney, Camera Indica, 1997.
The exhibition does not aim to offer a ‘history’ of photography in the conventional sense. Instead of tracing the ‘evolution’ of camera technology or presenting a chronology of artistic movements, the exhibition instead highlights how photographs gained new dimensions and meanings through the different ways they were used, collected, and displayed.
Each community and subsequent generation, with their own understanding and ideas regarding photography, would often have to negotiate with the conventions and limitations of the photo studio. This gave rise to interesting pockets of cultural practice. By focusing on the photographic cultures that have emerged in Malaysia, the exhibition also hopes to bring into public conversation the ways in which these local interpretive frames and ways of seeing, contributed to a larger global conversation about the staying power of the photographic image.
Although photography is a portmanteau made up of two words of Greek origin that translates to ‘drawing with light’, the exhibition Bayangnya itu Timbul Tenggelam draws out a ‘shadow’ history. This version of history is forefronted by local players who have shaped cultures that sequentially contributed to the reframing of photography. In turn, the exhibition also prompts us to think about how these values and meanings have helped shape our sense of place and the idea of the nation.
Bayangnya itu Timbul Tenggelam, ialah sebuah tinjauan budaya yang dikembangkan sekitar fotografi dan hubungannya terhadap Malaysia. Pameran ini ingin mengundang kita untuk menggali nilai-nilai lain yang ditanamkan melalui citra fotografi selama bertahun-tahun, dalam percubaan untuk meneroka pemahaman alternatif terhadap sejarah kompleks fotografi.
‘Fotografi bukan hanya sekadar menyalin dunia harian, namun sebaliknya, dihargai kerana kapasitinya yang mampu menjejaki beban yang dipikul seseorang, dan membina dunia dalam bentuk yang lebih sempurna dari kehidupan yang sukar untuk diarkibkan.’
Christopher Pinney, Camera Indica, 1997.
Pameran ini tidak bertujuan mengetengahkan ‘sejarah’ lazim fotografi. Daripada menjejak ‘evolusi’ teknologi kamera atau persembahan kronologi gerakan seni, pameran ini sebaliknya menyoroti bagaimana gambar memperoleh dimensi dan makna baru melalui berbagai cara ia digunakan, dikumpulkan dan dipersembahkan.
Setiap komuniti dan generasi selepasnya cuba membawa pemahaman dan idea fotografi tersendiri, selalunya berhadapan dengan batas-batas dan kelaziman studio foto. Ini secara langsung mewujudkan poket amalan budaya yang menarik. Dengan fokus terhadap budaya fotografi yang wujud di Malaysia, pameran ini membuka khalayak kepada wacana umum tentang bagaimana bingkai pentafsiran tempatan dan cara melihat dapat menyumbang kepada wacana global yang lebih meluas tentang daya tahan imej fotografi.
Sebagaimana fotografi ialah portmanteau dari dua perkataan Yunani yang diterjemahkan sebagai ‘melukis dengan cahaya’, pameran Bayangnya itu Timbul Tenggelam pula menarik keluar ‘bayang-bayang’ sejarah. Versi sejarah ini dibintangi watak-watak tempatan dan sumbangan mereka dalam membentuk budaya fotografi. Pada masa yang sama, pameran ini juga mendorong kita memikirkan bagaimana nilai dan makna membentuk rasa sesebuah tempat dan gagasan tentang kenegaraan.
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Translation of the Hikayat Abdullah by A.H. Hill
Journal of the Malayan Branch of the Royal Asiatic Society, Vol. 28, No. 3 (171), The Hikayat Abdullah (June, 1955), pp. 256–258
Published by Malaysian Branch of the Royal Asiatic Society
One day, when I went to give Mr. Keasberry his lesson, he showed me an ingenious device, a copper sheet about a foot long, by a little over six inches wide, on which was a picture or imprint of the whole Settlement of Singapore in detail, the shadows appearing in relief. Looking at the picture, I saw that it exactly reproduced, without the smallest deviation, the view of Singapore as I knew it. I was greatly surprised and said to him, “Sir, what is this marvel and who made it? He replied, "This is a new invention of the white man. There is a doctor on board an American warship here who has with him an apparatus for making these pictures. I cannot explain it to you for I have never seen one before. But the doctor has promised me that he will show me how it works next Monday.” I was delighted to hear this for I could go and see it with him.
The following Monday, I was teaching him when suddenly, at about mid-day, in walked the doctor himself. He was welcomed by Mr. Keasberry who introduced me to him saying, “This is my teacher.” I shook hands with him and we exchanged a few words. Then Mr. Keasberry said, “My teacher here is very keen to see this device of yours, and to understand how you make pictures of Singapore.” He replied, “Then he shall see for himself. Let us go to the top of Mr. Bonham’s hill, for it is there that the apparatus is kept.” At once, Mr. Keasberry rose and went to call Mr. Stronach. He said to me, “Go and wait on the hill. In a few minutes I will come on by myself.” So I walked up the hill, and the others joined us there. I saw the doctor go into a room and bring out a box. The box had an attachment like a telescope. The lens, about the size of a cent piece, could be pulled outwards. It had two components, the larger one inside. This larger lens magnified anything seen in front of it. One side of the box could be opened and closed. Then the doctor went and fetched a metal plate about nine inches long by six inches wide, thin and brightly polished. He rubbed the surface with a certain kind of reddish-coloured powder until it was a dull brown all over. Then he took a bowl which had been filled with another kind of powder, black in colour. He held the polished plate about four inches above the powder.
After about ten minutes he lifted up the plate, and its colour had turned to a reddish gold. He took the plate and put it into the extensible box, which he then placed with the side of the apparatus with a sliding lens in the direction in which he wished to take the picture. The image of the scene passed through the lens and struck the plate. He said, “In strong sunlight it takes only a moment, but in a dull light it takes a little longer.” After this, he took the metal plate out and we noticed that there was nothing visible on it at the time. He then took it to a place in the shade and washed it with a chemical solution. Now, he had a kind of frame with a vessel containing quicksilver fitted underneath it. He mounted the plate in position on top of the vessel, about six inches above the surface of the quicksilver.
Below the vessel, there was a spirit lamp which he lit quicksilver, soon it became hot and gradually its vapour rose and was allowed to condense on the plate for a certain length of time. Now the chemical, with which the plate had been treated, had etched all the parts on which light had fallen, while it had not affected those parts on which no light had fallen. After a timed interval, the plate was lifted out and at once, we saw a picture of the town of Singapore imprinted on it, without deviation even by so much as the breadth of a hair, a fine reproduction of the actual scene. The plate with the picture on it was used as a block, and by contact with its surface prints were easily taken which faithfully reproduced the original without variation.
I asked the Doctor, “Is it possible to make larger pictures than the one you have here?”He replied, “Yes, as large as you like. The size depends on the size of the instrument. If it is large, the image received on it will also be large” This amazing apparatus was originally the invention of a Frenchman. It was then copiedby the English and by other European nations.It was only recently that the art of making pictures in this way was discovered, not more than four or five years ago.
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Scoops
These photographs, taken on the grounds of the Perak Turf Club in Ipoh, are by Scoops Amateur Service Photographers. The photo studio specialised in horse racing photography, a spectator sport that was popular due to the influence of British colonialism in Malaya. The photo studio, like its namesake, branded itself after the journalistic concept of the scoop, to suggest the photographer’s vital role in documenting the momentous goings-on in 1940s Ipoh.
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Gambar-gambar di sekitar perkarangan Kelab Lumba Kuda Perak ini diambil oleh jurugambar Perkhidmatan Amatur Scoops. Studio foto ini khusus dalam fotografi lumba kuda, sukan tontonan yang popular akibat pengaruh kolonialisme British di Tanah Melayu. Berdasarkan namanya, jelas studio ini menjenamakan dirinya berdasarkan konsep ‘scoop’ dalam kewartawanan, mencadangkan peranan penting jurugambar untuk membuat liputan peristiwa penting di Ipoh pada tahun 1940an.
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Photography & Music Albums
This collection of vintage album covers from the Penang House of Music demonstrates how photography was widely used to promote newly released music albums. Many of these albums’ playful themes and concepts convey a sense of modernity, exemplified by new trends in clothes, modern settings (i.e. highways) and modern graphic design. These modern elements were often combined with local motifs and cultural references, including local fruits, the kampung house, as well as the pontianak. Not meant to be taken too seriously, they speak of a whimsical pop cultural ethos that valued collage and photomontage for its capacity to bring together the old with the new.
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Koleksi kulit album dari Penang House of Music ini menunjukkan bagaimana fotografi digunakan secara meluas untuk mempromosikan album muzik yang baru diterbitkan. Kebanyakan album ini mempamerkan tema dan konsep yang nakal, sekaligus membawa aura kemodenan yang digambarkan melalui pemilihan pakaian yang mengikut peredaran zaman, lokasi-lokasi tempat yang moden (contohnya, lebuhraya) dan juga rekaan grafik moden. Unsur- unsur moden sebegini seringkali dijalin bersama dengan rekaan dan budaya tempatan, termasuklah rujukan kepada buah-buahan tempatan, rumah kampung dan juga pontianak. Menggunakan pendekatan yang tidak terlalu serius, ia menyerlahkan etos budaya popular yang mengangkat nilai-nilai yang terdapat dalam kolaj dan montaj foto yang mampu menemukan lama dan baru.
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Celebrity Icon
Salmah binti Ismail (1935–1983), better known by her stage name Saloma,was a Singaporean-Malaysian singer and film actress who rose to fame in the late 1950s. Photographs of Saloma contributed to the shaping and circulation of her image as a highly popular Malay celebrity icon during a golden era of the Malay entertainment industry.
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Salmah binti Ismail (1935 -1983), atau lebih dikenali dengan nama pentas Saloma, merupakan biduanita dan pelakon filem Singapura-Malaysia yang mengecap zaman kegemilangannya pada lewat tahun 1950-an. Gambar-gambar biduanita ini diedar ke seluruh negara sekaligus membantu melonjakkan imej beliau sebagai ikon selebriti Melayu yang popular ketika zaman emas industri hiburan Melayu.
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Hiboran
Life in a town or a city offers the promise of adventure. Nothing captures the playful spirit of an urbanscape in flux better than photographs of its entertainment industry. These include slide advertisements projected in dimly-lit cinema halls before a movie screening, magazine covers in a riot of colour, and vinyl record album sleeves released by local musicians.
Kehidupan di pekan atau kota menjanjikan sebuah pengembaraan. Tiada yang lebih tepat untuk merakam semangat kemeriahan arus pergerakan latar urban lebih baik dari peranan foto dalam industri hiburan. Ini termasuk pengiklanan menggunakan slaid yang dipancar di dalam panggung malap sebelum bermulanya tayangan, kulit majalah dengan warna yang marak
dan kulit album rakaman vinil.
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The Household
Photography, whether professional or amateur, tended to be a very male pursuit. Wives of photographers who were helping out with the business did so in the background. As a consequence, the lens of the photographer seemed to represent women through a male-centric gaze. The ideal woman was often the marriageable wife-to-be who was well presented and demure at a young age. Later in life, upon graduating into the role of a matriarch in the household, she was presented as stoic and firm.
With the passing of time, new ideas of womanhood began to challenge existing stereotypes—younger women, armed with an education, projected more confidence. After World War II, more women entered the workforce and with their disposable incomes, determined how they wanted to fashion themselves in front of the camera.
Fotografi cenderung dengan ciri-ciri kelelakian tidak kira sama ada ditahap profesional mahupun amatur. Isteri-isteri kepada jurugambar yang membantu perniagaan mereka ini hanya dilihat dari sebalik tabir. Akibatnya, kebanyakan gambar yang mempersembahkan wanita dilihat dari sudut renungan lelaki. Wanita yang ideal selalunya calon isteri yang dipersembahkan sebagai gadis muda yang pandai bergaya dan bersifat malu-malu. Kemudian, apabila sudah memasuki alam perkahwinan, wanita mula dilihat tabah dan tegas.
Masa berlalu, idea baru kewanitaan mulai mencabar stereotaip—wanita muda, yang berpendidikan cenderung memperlihatkan keyakinan. Selepas Perang Dunia Kedua, ramai wanita bekerja dan berpendapatan, mulai bebas memutuskan cara mereka bergaya di hadapan kamera.
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Frames and Albums
Photographs were either framed and displayed prominently on the shelf or wall of the living room, or creatively arranged in photo albums.
As photographs mark the rites of passage of a modern family, they are also tokens of class attainment. Modern life has shrunk the size of the family unit into nuclear ones. Although smaller in size, nucleur families also share the same perception of what constitutes a good life, ideas of success and notions of happiness and well-being. Photography as a technology of representation captures these moments.
Photography also allows us to draw out similarities amid these seemingly separate and distinct social units of kinship. The repetition seen here in pose, backdrop, attire, hair-dos, all within a specific period of time, reveal that despite our perceived differences, we share common aspirations.
Kebiasaannya foto akan disusun di dalam album ataupun dibingkai. Jika disimpan di dalam album, ia selalunya rapi dan disusun secara kreatif.
Ketika foto menjadi ritual keluarga moden, ia juga menandai pencapaian kelas. Kehidupan moden kini telah mengecilkan saiz keluarga. Walaupun keluarga- keluarga nuklear kecil ini berbeza, mereka berkongsi kecenderungan yang sama apabila membayangkan suasana kehidupan bahagia, idea kejayaan dan tanggapan terhadap kegembiraan dan kesejahteraan. Fotografi sebagai teknologi representasi berjaya menangkap momen-momen ini.
Fotografi juga membenarkan kita untuk menggali kelaziman citra sosial yang kelihatan terpisah dan berbeza. Ada persamaan yang berulang pada gaya ketika bergambar, latar, pakaian, gaya rambut yang merujuk kepada tempoh masa tertentu, yang menyingkap aspirasi yang sama walaupun kelihatan berlainan.
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Ambil Gambar
It is commonly assumed that the earliest non-European photographers came from the Chinese and Japanese communities. Yet, as early as 1882, three photographers, who were likely of Jawi Peranakan origin, were recorded to have been under the employment of G.R. Lambert & Co., the famed photographic studio in Singapore. Their names were Yakoob Mahomad Taher, Abdullah Rachmat, and Mahomad Tayeb.
Although there are no photographs attributed to these three photographers, the fact that they were part of a five person team at G.R. Lambert & Co. implies that it is highly likely that many of the earliest prints were shot by them. It is important to highlight this history as they form a possible bridge to the use of photographs in Malay print media from the 1920s onwards, as it suggests that knowledge would have been passed on to various newspapers’ editorial teams through these three photographers, even if Chinese and Japanese studios dominated the wider trade.
The Malay term for photography is ‘ambil gambar’. It describes a process that distinguishes photography from ‘tulis’ (to draw patterns) or lukis (to illustrate figurative objects). In this sense, photography was often considered a ‘tukang’ (tradecraft), more than a ‘hikmat’ (the older term that roughly translates as ‘art’, since ‘seni ’ wasn’t introduced until 1930s). Historically, tradecrafts tended to be services associated with cultures outside the Malay society rather than something manufactured from within—an example would be the common purchase of Javanese batik or Indian textiles.
The slow uptake was further compounded by religious mores that proscribed the production of representational images of the human form in Islam. In the early years, photography was exclusive to the Malay Royalty and elites who found it beneficial for diplomatic means. It wasn’t until the 1930s, when Islamic reformist and new nationalist sentiments began to sweep the imagination of the populace. New arguments were made for the significance of tradecraft as an economic priority for self empowerent, and Malay presses began encouraging photo-taking and processing skills.
Ramai yang berpendapat jurugambar bukan Eropah terawal datang dari komuniti Cina dan Jepun. Namun seawal tahun 1882, terdapat rekod tiga pembantu berketurunan Jawi Peranakan yang bekerja dengan studio foto terkenal di Singapura, G.R. Lambert & Co. Mereka adalah Yakoob Mahomad Taher, Abdullah Rachmat dan Mahomad Tayeb.
Fakta bahawa mereka adalah sebahagian daripada pasukan lima orang di G.R. Lambert & Co. menunjukkan kebanyakan cetakan terawal oleh studio foto ini mungkin diambil oleh salah satu daripada tiga pembantu jurugambar ini. Walaupun tiada gambar yang mengaitkan mereka, sejarah ini penting untuk disoroti sebagai penghubung kepada penggunaan foto di dalam media cetak Melayu pada tahun 1920-an dan tahun-tahun berikutnya. Ini menunjukkan pengetahuan fotografi tersebar kepada sidang editorial akhbar melalui tiga pembantu ini, walaupun sebahagian besar perniagaan masih dikuasai oleh studio foto Cina dan Jepun.
Istilah fotografi dalam bahasa Melayu ialah ambil gambar. Ia menerangkan proses yang berbeza dari ‘tulis’ atau ‘lukis’. Dalam pengertian ini, fotografi sering digelar ‘tukang’ berbanding ‘hikmat’ (istilah lama yang digunakan untuk menterjemahkan ‘seni’, sebelum kata ‘seni’ diperkenalkan pada tahun 1930-an). Menurut sejarah, khidmat tukang hanya boleh didapati di luar lingkungan masyarakat Melayu bukan sesuatu yang dihasilkan sendiri—contohnya pembelian batik Jawa atau kain India.
Penerimaan yang perlahan dikuatkan lagi dengan istiadat keagamaan dalam Islam yang melarang sebarang penghasilan imej-imej representasi yang menyerupai manusia. Pada awalnya, hanya golongan Diraja dan bangsawan sahaja yang menganggap foto berkepentingan sebagai petukaran visual untuk tujuan diplomatik. Hanya pada tahun 1930-an, apabila reformis Islam dan sentimen nasionalis baru mula menyelusup ke dalam imaginasi orang ramai. Hujah-hujah baru dikemukakan demi mengangkat perdagangan kraf sebagai keutamaan ekonomi untuk pemberdayaan diri, dan akhbar Melayu mula dituntut untuk mempelajari kemahiran mengambil dan memproses gambar.
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Mengubah Nasib
Antara amalan yang paling pelik dalam budaya fotografi seperti yang dirakam dari temubual bersama jurugambar dari Pulau Pinang, En. Yip, ada kaitan dengan wanita dari komuniti Peranakan. Ketika Perayaan Chongyong, Nyonya dari keluarga yang berada akan berpakaian lengkap sebelum pergi ke studio foto untuk mengambil gambar potret mereka. Apa yang berbeza, kamera yang digunakan tidak mempunyai gulungan filem kerana mereka tidak berminat dengan gambar, tetapi cenderung kepada proses mengambil gambar yang disertai ketikan dan denyar kamera. Meraka mempercayai bahawa ketikan kamera akan menghindarkan segala nasib buruk dan ini membolehkan mereka memulakan tahun baru dengan catatan bersih. Nyonya-nyonya ini akan membayar harga yang sama seperti perkhidmatan fotografi biasa tanpa kembali untuk mengutip gambar tersebut.
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Changing Luck
One of the most peculiar rituals in photography culture as recorded in the oral interview with Penang photographer, Mr. Yip, had to do with women in the Peranakan community. During the Chongyong Festival, Nyonyas from well-to-do families would dress up in their finery before proceeding to the photo studio. However, no roll of film would be inserted into the camera as the Nyonyas were not interested in the actual photograph but rather in its process. They believed that with the click of the camera and the use of flash, any ill fortune attached to the sitter would be dispelled and so they could begin the new year
with a clean slate. The Nyonyas would pay the normal price but would leave the studio without expecting to collect any photograph taken during this elaborate set up.
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Participating in Photography Competitions
Besides running a photo studio business, many photo studio proprietors were also interested in photography as an aesthetic pursuit. These are portraits of an Italian striptease artist taken by Mr. Yip that won him the 3rd prize for International Salon Photography (circa 1960).
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Selain dari menguruskan perniagaan studio foto, ramai pemiliknya yang berminat untuk meneroka aspek estetika fotografi. Berikut ialah potret-potret artis tari bogel Itali yang diambil oleh En. Yip, yang telah memenangi tempat ketiga dalam International Salon Photography (sekitar tahun 1960).
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Modern Family
Tan Wei Ming’s photograph collection of everyday family life is an assembled composite of photographs of different families taken from the 1940s–1980s. This composite features quotidian formal and candid shots of birthday parties, graduations, picnics by the beach, weddings, family portraits, road trips, and funerals, which are commonly seen in a typical family album. Assembled together, they give us a sense of what modern families might have looked like over the decades and how families such as these functioned as a social unit.
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Koleksi foto Tan Wei Ming berjudul Everyday Family Life ialah gubahan gambar-gambar dari berbilang keluarga pada sekitar tahun 1940-an – 1980-an. Ia menampilkan imej seharian dan syot kandid dari acara-acara seperti ulang tahun kelahiran, graduasi, berkelah di tepi pantai, perkahwinan, potret keluarga, kembara jalan raya, majlis pengebumian dan sebagainya. Jika dikumpul bersama, gambar-gambar ini dapat merangkum petikan dari kehidupan sebuah keluarga moden yang tipikal pada dekad tersebut dan bagaimana ia berfungsi sebagai unit sosial.
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Postcards Belonging to an Age in Motion
What if we thought of photographs as objects that possess the intimacy of the locale, while simultaneously possessing the power to travel across the distance of a thousand islands?
Photographs are a form of long-distance communication, not only in the literal sense of the term, but also in the way they can communicate across time, context, and identities. They are artefacts of an age in motion, a world on the move, of modernity itself.
This display of early twentieth century postcards belong to the collection of historian Farish Noor. Farish’s collection is an example of the collecting culture that has emerged around early 20th-century postcards. Due to the volume of postcards available on the second hand market, collectors often focus on specific themes or geographic interests. In Farish’s case, we see a collector who has a preference for collecting imageries connected to specific states of Malaysia as well as pictures featuring women from the Malay world.
The picture postcard emerged in the late 1890s as a new form of communication. This global surge in the popularity of postcards was due to the improved efficiency of the international postage service in view of colonial expansion, advancement in printing technology, and the development of a globally-aware middle class. Consequently, postcards became increasingly cheap to buy and send.
Many photo studios seized the opportunity to feature their photographs on postcards. The irony was that by offering a cheaper range of prints in the form of postcards, the prices of photographic prints would be severely affected and demand for them would, in turn, decline. Nevertheless, postcards increased the volume of photographic images exponentially, enabling new encounters with the photographic image in different social spaces and settings.
Apa akan terjadi jika fotograf sebagai objek yang memiliki keintiman tempatan, dalam masa yang sama memiliki daya untuk kembara sejauh ribuan kepulauan?
Fotograf ialah bentuk komunikasi jarak jauh, bukan sahaja secara harfiah, bahkan cara mereka membolehkan komunikasi melewati masa, konteks dan identiti. Mereka ialah artifak zaman yang bergerak, dunia yang digerakkan, oleh kemodenan.
Paparan koleksi poskad dari abad kedua puluh ini dimiliki oleh sejarahwan Farish Noor. Koleksi Farish ini sebagai contoh mengumpul budaya yang wujud bersama poskad awal abad ke-20. Oleh kerana jumlah poskad yang ada di pasaran terpakai, pengumpul selalunya akan fokus kepada tema yang khusus atau yang berkaitan dengan geografi. Dalam kes Farish pula, kami melihat beliau sebagai pengumpul yang khusus kepada imej-imej berkenaan dengan negeri-negeri di Malaysia dan juga gambar-gambar yang memaparkan wanita dari dunia Melayu.
Poskad bergambar wujud di akhir tahun 1890-an sebagai bentuk komunikasi yang baru. Lonjakan populariti poskad disebabkan faktor peningkatan kecekapan dalam perkhidmatan pos semasa perluasan kolonial, kemajuan teknologi cetakan dan perkembangan kelas menengah yang sedar global. Akibatnya, poskad menjadi semakin murah untuk dibeli dan dihantar.
Banyak studio foto mengambil peluang untuk menampilkan gambar mereka dalam poskad.
Ironinya ialah apabila cetakan poskad berkadaran lebih murah, ia mempengaruhi harga cetakan fotografi dan permintaan terhadapnya menurun. Walau bagaimanapun, poskad meningkatkan lagi penghasilan imej secara besar-besaran, membuka lembaran baru buat imej fotografi di dalam ruang dan pengaturan sosial yang berbeza.
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Postcards Belonging to an Age in Motion
What if we thought of photographs as objects that possess the intimacy of the locale, while simultaneously possessing the power to travel across the distance of a thousand islands?
Photographs are a form of long-distance communication, not only in the literal sense of the term, but also in the way they can communicate across time, context, and identities. They are artefacts of an age in motion, a world on the move, of modernity itself.
This display of early twentieth century postcards belong to the collection of historian Farish Noor. Farish’s collection is an example of the collecting culture that has emerged around early 20th-century postcards. Due to the volume of postcards available on the second hand market, collectors often focus on specific themes or geographic interests. In Farish’s case, we see a collector who has a preference for collecting imageries connected to specific states of Malaysia as well as pictures featuring women from the Malay world.
The picture postcard emerged in the late 1890s as a new form of communication. This global surge in the popularity of postcards was due to the improved efficiency of the international postage service in view of colonial expansion, advancement in printing technology, and the development of a globally-aware middle class. Consequently, postcards became increasingly cheap to buy and send.
Many photo studios seized the opportunity to feature their photographs on postcards. The irony was that by offering a cheaper range of prints in the form of postcards, the prices of photographic prints would be severely affected and demand for them would, in turn, decline. Nevertheless, postcards increased the volume of photographic images exponentially, enabling new encounters with the photographic image in different social spaces and settings.
Apa akan terjadi jika fotograf sebagai objek yang memiliki keintiman tempatan, dalam masa yang sama memiliki daya untuk kembara sejauh ribuan kepulauan?
Fotograf ialah bentuk komunikasi jarak jauh, bukan sahaja secara harfiah, bahkan cara mereka membolehkan komunikasi melewati masa, konteks dan identiti. Mereka ialah artifak zaman yang bergerak, dunia yang digerakkan, oleh kemodenan.
Paparan koleksi poskad dari abad kedua puluh ini dimiliki oleh sejarahwan Farish Noor. Koleksi Farish ini sebagai contoh mengumpul budaya yang wujud bersama poskad awal abad ke-20. Oleh kerana jumlah poskad yang ada di pasaran terpakai, pengumpul selalunya akan fokus kepada tema yang khusus atau yang berkaitan dengan geografi. Dalam kes Farish pula, kami melihat beliau sebagai pengumpul yang khusus kepada imej-imej berkenaan dengan negeri-negeri di Malaysia dan juga gambar-gambar yang memaparkan wanita dari dunia Melayu.
Poskad bergambar wujud di akhir tahun 1890-an sebagai bentuk komunikasi yang baru. Lonjakan populariti poskad disebabkan faktor peningkatan kecekapan dalam perkhidmatan pos semasa perluasan kolonial, kemajuan teknologi cetakan dan perkembangan kelas menengah yang sedar global. Akibatnya, poskad menjadi semakin murah untuk dibeli dan dihantar.
Banyak studio foto mengambil peluang untuk menampilkan gambar mereka dalam poskad.
Ironinya ialah apabila cetakan poskad berkadaran lebih murah, ia mempengaruhi harga cetakan fotografi dan permintaan terhadapnya menurun. Walau bagaimanapun, poskad meningkatkan lagi penghasilan imej secara besar-besaran, membuka lembaran baru buat imej fotografi di dalam ruang dan pengaturan sosial yang berbeza.
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Pomp and Circumstance
Twentieth-century Impressions of British Malaya (1906) was published both as an encyclopaedia and an investment prospectus filled with photographic propaganda that celebrated the many economic, cultural, and political achievements of Malaya under British colonial rule. The handsomely produced book included many studio portraits and landscapes taken by some of the pioneering European photo studios in Malaya. The artful compositions of these photographs conveyed the complex social networks and political hierarchies within a stratified colonial society.
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Gambaran Tanah Melayu British Abad Kedua Puluh (1906) diterbitkan sebagai sebuah prospektus pelaburan yang padat dengan propaganda fotografi yang menyanjungi berbagai pencapaian ekonomi, budaya dan politik Tanah Melayu di bawah jajahan British. Buku yang diterbitkan dengan rapi ini juga mengandungi potret studio dan lanskap yang diambil oleh beberapa studio foto pelopor Eropah di Tanah Melayu, termasuk gambar-gambar yang disusun secara artistik untuk menunjukkan rangkaian sosial berserta hirarki politik dalam masyarakat kolonial yang kompleks.
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Celebrity Portraits
George Town, Penang, was one of the entertainment hubs in the region when studio cinemas in 1960s reached new heights in popularity. It was a time when Shaw Brothers and Cathay-Keris Studio, two rival film and entertainment companies, were in fierce competition. There was a vibrant celebrity culture emerging from the movie industry and celebrity icons were required to go on road trips, stopping at cinemas in many towns across Malaysia to attend premieres and fan meet-ups. Shown here on the right is a selection of Mr. Yip Wai Kwong’s personal collection of autographed celebrity portraits. Mr. Yip Wai Kong was the former owner of Wah Fong Studio and a renowned celebrity photographer of Penang. On the far right, is a selection of celebrity portraits taken by Mr. Yip himself in his studio. These autographed portraits were used to promote movies and were also sold as fan merchandise and collectibles.
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George Town, Pulau Pinang ialah salah satu hab hiburan serantau ketika zaman kegemilangan panggung wayang pada tahun 1960-an. Ketika itu, dua buah syarikat filem dan hiburan, Shaw Brothers dan Cathay-Keris Studio bersaing sengit. Kerancakan budaya selebriti yang terbit dari industri filem ini menuntut ikon selebriti untuk menjelajah pawagam di pekan-pekan seluruh Malaysia bagi menghadiri sesi tontonan perdana dan bertemu peminat. Di bahagian kanan ialah gambar-gambar yang ditandatangani selebriti dari koleksi peribadi En. Yip Wai Kong, bekas pemilik Studio Wah Fong dan juga seorang jurugambar selebriti terkenal dari Pulau Pinang. Di bahagian hujung kanan ialah pilihan gambar-gambar potret selebriti yang ditangkap oleh En. Yip sendiri di dalam studionya. Potret-potret yang ditandatangan ini digunakan sebagai bahan promosi untuk filem dan juga dijual sebagai cenderahati kepada peminat dan dikumpul.
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Participating in Photography Competitions
Besides running a photo studio business, many photo studio proprietors were also interested in photography as an aesthetic pursuit. These are portraits of an Italian striptease artist taken by Mr. Yip that won him the 3rd prize for International Salon Photography (circa 1960).
______________________________________________________________________
Selain dari menguruskan perniagaan studio foto, ramai pemiliknya yang berminat untuk meneroka aspek estetika fotografi. Berikut ialah potret-potret artis tari bogel Itali yang diambil oleh En. Yip, yang telah memenangi tempat ketiga dalam International Salon Photography (sekitar tahun 1960).
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Changing Luck
One of the most peculiar rituals in photography culture as recorded in the oral interview with Penang photographer, Mr. Yip, had to do with women in the Peranakan community. During the Chongyong Festival, Nyonyas from well-to-do families would dress up in their finery before proceeding to the photo studio. However, no roll of film would be inserted into the camera as the Nyonyas were not interested in the actual photograph but rather in its process. They believed that with the click of the camera and the use of flash, any ill fortune attached to the sitter would be dispelled and so they could begin the new year
with a clean slate. The Nyonyas would pay the normal price but would leave the studio without expecting to collect any photograph taken during this elaborate set up.
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Colonial Photography
The slide projector showcases a selection of 19th and early 20th century photographs of colonial townscapes and people taken by the first generation of prominent European photo studios that dominated the commercial photography trade such as G.R. Lambert & Co., Charles J. Kleinrothe, Kristen Feilberg and Sachtler & Co. The collection reveals a photographic fascination with local cultures, sites, and people as well as the tropical landscape. Many photographs were also taken to commemorate the achievements of colonial rule and infrastructure building. As European studios became less commercially prominent in the early 20th century, East Asian photo studios became the mainstay during the interwar period. As an example, the census of 1921 counted 171 photographers comprising 109 Chinese, 52 ‘others’ (Japanese, Siamese, Sinhalese, Arabs or Asiatic Jews), six Malays, three Indians and only one European.
Paparan slaid ini menampilkan gambar- gambar pemandangan pekan kolonial dan penduduknya sekitar abad ke-19 dan ke-20 yang diambil oleh generasi pertama studio foto ternama Eropah yang mendominasi perniagaan fotografi komersil seperti G.R. Lambert & Co., Charles J. Kleinrothe, Kristen Feilberg dan Sachtler & Co. Koleksi ini mendedahkan tarikan fotografi terhadap budaya, tempat dan masyarakat setempat termasuk lanskap tropika. Juga banyak gambar yang meraikan pencapaian pentadbiran kolonial dan pembangunan infrastrukturnya. Kemerosotan studio- studio Eropah pada awal abad ke-20 menjadikan studio foto Asia Timur sebagai pendokong utama ketika jangka masa antaraperang. Sebagai contoh, dalam satu bancian yang dilakukan pada tahun 1921, bilangan jurugambar yang berjumlah 171 orang terdiri dari 109 orang jurugambar Cina, 52 orang ‘lain lain’ (Jepun, Siam, Sinhala dari Sri Lanka, Arab atau Yahudi Timur), 6 orang jurugambar Melayu, 3 orang jurugambar India dan hanya seorang sahaja jurugambar dari Eropah.
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Pomp and Circumstance
Twentieth-century Impressions of British Malaya (1906) was published both as an encyclopaedia and an investment prospectus filled with photographic propaganda that celebrated the many economic, cultural, and political achievements of Malaya under British colonial rule. The handsomely produced book included many studio portraits and landscapes taken by some of the pioneering European photo studios in Malaya. The artful compositions of these photographs conveyed the complex social networks and political hierarchies within a stratified colonial society.
____________________________________________________________________
Gambaran Tanah Melayu British Abad Kedua Puluh (1906) diterbitkan sebagai sebuah prospektus pelaburan yang padat dengan propaganda fotografi yang menyanjungi berbagai pencapaian ekonomi, budaya dan politik Tanah Melayu di bawah jajahan British. Buku yang diterbitkan dengan rapi ini juga mengandungi potret studio dan lanskap yang diambil oleh beberapa studio foto pelopor Eropah di Tanah Melayu, termasuk gambar-gambar yang disusun secara artistik untuk menunjukkan rangkaian sosial berserta hirarki politik dalam masyarakat kolonial yang kompleks.
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Playing with Photographs
This selection of reproductions of collage and photomontage from the early twentieth century includes vastly disparate publications that are written in three different languages. The Jawi- Malay manuscript for Raja Haji Abdullah Abu Muhammad Adnan’s Ghayat Al-Muna (1902) is an adaptation of a popular Bangsawan play into the syair form, while Khatijah Terung’s Perhimpunan Gunawan (1911) is a compendium of love spells. Both of these manuscripts from the Riau islands, were digitised under the British Library’s Endangered Archives Programme. In them, the authors inserted cut-out photographs found in Western magazines and artfully placed them within their manuscripts. Some of these images were modified by the authors with the addition of hand-drawn details. The manuscripts show adaptive recontextualization of photographs
and imagery found in European print culture, that were then given another purpose and meaning through a process of artistic interventions and adapted purposefully into a local knowledge system.
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Seleksi ini merupakan reproduksi kolaj dan montaj foto dari gabungan pelbagai majalah dari tiga bahasa yang dihasilkan pada awal abad kedua puluh. Ia merupakan manuskip Jawi- Melayu Raja Haji Abdullah Abu Muhammad Adnan bertajuk Ghayat Al-Muna (1902) yang diadaptasi dari karya Bangsawan popular ke dalam bentuk syair, manakala Perhimpunan Gunawan (1911) oleh Khatijah Terung ialah sebuah kompendium mantera pengasih. Kedua-dua manuskrip ini berasal dari kepulauan Riau, dan disimpan secara digital oleh British Library di bawah Endangered Archives Programme. Manuskrip ini mengandungi potongan-potongan gambar yang diambil dari pelbagai majalah Barat yang digubah dengan begitu teliti sekali oleh pengarangnya. Sesetengah imejnya diubah suai dengan lukisan tangan. Manuskrip ini menunjukkan pembolehubah konteks foto dan imej dari budaya cetak Eropah, diberi tujuan dan makna baru menerusi intervensi artistik dan dipadankan dengan sistem pengetahuan tempatan.
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Nanyang Imaginary
Sinchew 2nd Anniversary Commemorative Issue (1931) suggests that the Chinese diasporic community began to draw on new modern design sensibility in their photographic compositions. These highly playful collage and design layouts appear as a whimsical counterpoint to colonial modes of seeing. While they reference established genres such as still-lifes of local plants, cultural events, landscapes and prominent personalities, the use of strong graphic elements creates light-hearted images, which injects a celebratory and vibrant energy into the sombre appearance of black and white photographs.
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Keluaran Kenang-kenangan Ulang Tahun Kedua Sinchew (1931) memperlihatkan bagaimana masyarakat diaspora Cina mula memasukkan kepekaan reka bentuk moden baharu ke dalam gubahan fotografi mereka. Permainan kolaj dan rekaan tata atur ini menjadi kaunterpoin terhadap cara pandang kolonial. Walaupun merujuk kepada genre yang sediakala maklum seperti gambaran alam benda tumbuhan tempatan, acara kebudayaan, lanskap dan tokoh-tokoh utama, penggunaan unsur-unsur grafik yang lantang dapat menghasilkan gambaran keriangan, yang menyuntik semangat keraian kepada foto hitam putih yang selalunya kelihatan suram.
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Ava Leong
Ava Leong (1933–2018) explored her gender identity through a series of portrait photographs taken from 1950–1990 in different photo studios across George Town, Penang. Ava was involved with the Penang Dondang Sayang Club and performed in The Variety Show (1960) at the New World Park in George Town. She was also a member of the ‘Glamour Girls’, the once popular female impersonation group in George Town in the 60s.
Ava’s participation in the performing arts suggests that cross dressing entertainment was embedded within the fabric of Malaysian society. Ava’s portraits symbolise a time when she, together with her peers of the transgender community, were permitted to explore their sense of self while contributing to a lively cosmopolitan artistic culture in Malaysia. Photographic portraits, such as these, were exchanged among the community not only as keepsakes but also as a way to build self-empowerment and camaraderie.
Siri ini menonjolkan potret studio Ava Leong (1933–2018), yang menerokai jantina beliau menerusi siri gambar potret yang diambil dari 1950–1990 di studio foto yang berlainan sekitar George Town, Pulau Pinang. Ava terlibat dengan Kelab Dondang Sayang Pulau Pinang dan telah mengikuti persembahan The Variety Show (1960) di New World Park, George Town. Beliau juga salah seorang dari kumpulan pengajuk lagak perempuan yang pernah terkenal suatu masa dahulu di George Town pada tahun 1960-an.
Keterlibatan Ava dalam seni persembahan menunjukkan hiburan silang pakaian telah sebati dalam masyarakat Malaysia. Kerja-kerja beliau bersama-sama rakan dari komuniti transjantina melambangkan ketika mereka dibenarkan untuk menerokai rasa diri disamping menyumbang kepada budaya artistik kosmopolitan yang meriah di Malaysia. Fotografi potret seperti ini menjadi pertukaran antara komuniti bukan sekadar kenangan namun sebagai cara untuk pemerkasaan diri dan membina persahabatan.
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Mengubah Nasib
Antara amalan yang paling pelik dalam budaya fotografi seperti yang dirakam dari temubual bersama jurugambar dari Pulau Pinang, En. Yip, ada kaitan dengan wanita dari komuniti Peranakan. Ketika Perayaan Chongyong, Nyonya dari keluarga yang berada akan berpakaian lengkap sebelum pergi ke studio foto untuk mengambil gambar potret mereka. Apa yang berbeza, kamera yang digunakan tidak mempunyai gulungan filem kerana mereka tidak berminat dengan gambar, tetapi cenderung kepada proses mengambil gambar yang disertai ketikan dan denyar kamera. Meraka mempercayai bahawa ketikan kamera akan menghindarkan segala nasib buruk dan ini membolehkan mereka memulakan tahun baru dengan catatan bersih. Nyonya-nyonya ini akan membayar harga yang sama seperti perkhidmatan fotografi biasa tanpa kembali untuk mengutip gambar tersebut.
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Nanyang Imaginary
Sinchew 2nd Anniversary Commemorative Issue (1931) suggests that the Chinese diasporic community began to draw on new modern design sensibility in their photographic compositions. These highly playful collage and design layouts appear as a whimsical counterpoint to colonial modes of seeing. While they reference established genres such as still-lifes of local plants, cultural events, landscapes and prominent personalities, the use of strong graphic elements creates light-hearted images, which injects a celebratory and vibrant energy into the sombre appearance of black and white photographs.
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Keluaran Kenang-kenangan Ulang Tahun Kedua Sinchew (1931) memperlihatkan bagaimana masyarakat diaspora Cina mula memasukkan kepekaan reka bentuk moden baharu ke dalam gubahan fotografi mereka. Permainan kolaj dan rekaan tata atur ini menjadi kaunterpoin terhadap cara pandang kolonial. Walaupun merujuk kepada genre yang sediakala maklum seperti gambaran alam benda tumbuhan tempatan, acara kebudayaan, lanskap dan tokoh-tokoh utama, penggunaan unsur-unsur grafik yang lantang dapat menghasilkan gambaran keriangan, yang menyuntik semangat keraian kepada foto hitam putih yang selalunya kelihatan suram.
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Bayangnya itu Timbul Tenggelam Playlist
We have put together a special playlist of some of the tracks from these albums. Scan the code and enjoy the music!
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Kami telah mengumpulkan senarai istimewa dari album yang dipamerkan di sini. Imbas kod ini dan nikmati muziknya!
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Complicating a View of Primitive Life
In 1906, Walter William Skeat and Charles Otto Blagden released a two-volume compendium on the Orang Asli communities of Peninsular Malaysia with the title, ‘Pagan Races of the Malay Peninsula’.
The publication was not just an expansive survey on European knowledge of Orang Asli life and culture, it was also a repository of the earliest photographs of Orang Asli. The publication includes the names of photographers whose images are reproduced in the book, thus capturing the community of travellers and explorers who came into contact with the Orang Asli from the late 19th century onwards.
This selection of photographs conveys the complicated story of the Orang Asli’s encounter with modernity. It is often said that colonial photography tends to reduce the non-European subject by portraying them as the ‘other’. While the text in this publication tends to portray Orang Asli life as ‘primitive’ and ‘backward’, the photographs themselves suggest a more complex reality, inviting us to pay close attention to our own assumptions and biases of what constitutes as human progress.
Included in this selection are a range of photographs that speak to a more layered, perhaps even conflicting view of modernity. These photographs depict accomplished Orang Asli violinists, Orang Asli participation in colonial and Malay society as well as a quarantine hut. These are shown alongside striking portraits of diverse communities and their activities and objects that possess social and cultural significance for the Orang Asli.
Pada tahun 1906, Walter William Skeat dan Charles Otto Blagden mengeluarkan dua jilid kompendium mengenai masyarakat Orang Asli di Semenanjung Malaysia dengan tajuk ‘Pagan Races of the Malay Peninsula’. Terbitan ini bukan sahaja sebuah tinjauan yang meluas dari pengetahuan Eropah terhadap kehidupan dan budaya Orang Asli, malah ia juga repositori gambar-gambar terawal Orang Asli. Penerbitan ini menyertakan nama jurugambar untuk gambar-gambar yang diulang hasil dalam buku ini, sekali gus mendedahkan komuniti pengembara dan peneroka yang berhubungan dengan Orang Asli lewat abad ke-19 dan berikutnya.
Pilihan gambar-gambar dalam buku ini memaparkan kerumitan kisah pertembungan antara Orang Asli dan kemodenan. Selalu kita mendengar fotografi kolonial cenderung untuk merendahkan subjek bukan Eropah dengan menampilkan mereka sebagai ‘lain-lain’. Walaupun teks dalam penerbitan ini cenderung menggambarkan kehidupan Orang Asli sebagai primitif dan terkebelakang, gambar-gambarnya pula mencadangkan realiti yang kompleks, mengajak kita untuk melihat dengan lebih dekat lagi tanggapan dan prasangka kita terhadap kemajuan manusia.
Pilihan gambar-gambar di sini menampilkan kisah pertembungan kemodenan yang berlapis, mungkin juga bertentangan, dari gambar sekumpulan pemain biola Orang Asli sehingga ke gambar berkumpulan yang mendedahkan Orang Asli turut serta dalam kolonial dan masyarakat Melayu. Ia ditunjukkan bersama potret dari pelbagai komuniti dengan aktiviti dan objek yang memiliki kepentingan budaya Orang Asli.
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Day And Night
With the allure of modern life in the early twentieth century, photo studios began to provide what was called ‘day’ and ‘night’ services with different operational hours serving various clienteles.
During the day, the photographer catered to the respectable classes, often with the family unit as the main photographic subject. At night, the business opened its doors to the other denizens of city life. Sex workers and entertainers often requested for glamour shots (sometimes as many as 3–4 shoots in a month) that were then distributed to clients as well as to their trishaw riders in exchange for the ride to the photo studios.
Mistresses were equally keen to have their ‘wedding portraits’ taken. During a time when the registrar of marriage was fully instituted, the wedding portrait was used as ‘evidence’ of a marriage, to prevent possible disputes over the estate or property of the ‘husband’. These wedding portraits were distributed to friends and served as a ‘witnessing’ document in case of future altercations. It is sometimes difficult to tell, from the portraits, which was a conventional ‘day’ marriage and which belonged to the ‘night’ category. Like day and night, truth and fiction merge into each other in these photographs.
In later years, working women who increasingly gained financial independence also patronized the photo studios. They desired to project an image of themselves as individuals, rather than as mere appendages of their husbands or fathers. In doing so, they exuded a new found confidence.
Daya tarikan kehidupan moden pada awal abad kedua puluh membuatkan studio foto menawarkan perkhidmatan yang digelar ‘siang’ dan ‘malam’ dengan waktu operasi yang berbeza mengikut pelanggan tertentu.
Di siang hari, jurugambar akan memberi perkhidmatan kepada kelas terhormat, selalunya keluarga sebagai subek fotografi utama. Pada malamnya, perniagaan mereka terbuka untuk penghuni-penghuni lain kota. Pelacur dan penghibur yang inginkan syot glamor (kadang-kala sehingga 3–4 sesi sebulan) yang kemudiannya diedarkan kepada pelanggan atau kepada penarik beca sebagai pertukaran untuk tambang ke foto studio.
Perempuan simpanan juga cenderung menginginkan ‘gambar perkahwinan’ untuk mereka diambil. Setelah pendaftar pernikahan dilembagakan sepenuhnya, potret perkahwinan menjadi bukti pernikahan untuk mengelakkan sebarang pertikaian mengenai harta dan pusaka ‘suami’. Gambar-gambar perkahwinan ini kemudiannya diedarkan kepada rakan-rakan dan menjadi dokumen ‘bukti’ sekiranya berlaku pertelingkahan di masa hadapan. Kadang-kala sukar untuk membezakan jika sekadar melihat gambar-gambar potret ini, yang mana satu perkahwinan konvensional ‘siang’ dan yang mana satu kategori ‘malam’. Seperti ‘siang’ dan ‘malam’, kebenaran dan fiksyen bergabung dalam fotografi.
Di tahun-tahun berikutnya, studio foto juga banyak didatangi oleh wanita-wanita berkerjaya yang mulai mengawal kewangan mereka sendiri. Mereka inginkan imej sebagai individu, berbanding hanya sebagai pelengkap keluarga untuk suami atau bapa mereka. Dengan berbuat demikian, ia membantu wanita-wanita ini memancarkan keyakinan yang baru.
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Showtime
This series of portraits looks at how photography was used as a self- promotional tool or as an extensionof self-representation in the form of celebrity cards. Each photographic portrait spotlights a nightclub entertainer in the 80s. The period style can be identified by the highly permed hairstyles as well as the flamboyant costumes covered in feathers and sequins.
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Siri potret-potret ini menilai bagaimana cabang fotografi digunakan sebagai satu bentuk promosi atau perwakilan diri yang lebih meluas dalam bentuk kad foto selebriti. Setiap potret ini menonjolkan penghibur kelab malam dari tahun 1980-an. Gaya dan tata hias dari zaman ini boleh dikenal pasti melalui rambut karan dengan pakaian ranggi yang dihiasi bulu-bulu serta labuci.
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Complicating a View of Primitive Life
In 1906, Walter William Skeat and Charles Otto Blagden released a two-volume compendium on the Orang Asli communities of Peninsular Malaysia with the title, ‘Pagan Races of the Malay Peninsula’.
The publication was not just an expansive survey on European knowledge of Orang Asli life and culture, it was also a repository of the earliest photographs of Orang Asli. The publication includes the names of photographers whose images are reproduced in the book, thus capturing the community of travellers and explorers who came into contact with the Orang Asli from the late 19th century onwards.
This selection of photographs conveys the complicated story of the Orang Asli’s encounter with modernity. It is often said that colonial photography tends to reduce the non-European subject by portraying them as the ‘other’. While the text in this publication tends to portray Orang Asli life as ‘primitive’ and ‘backward’, the photographs themselves suggest a more complex reality, inviting us to pay close attention to our own assumptions and biases of what constitutes as human progress.
Included in this selection are a range of photographs that speak to a more layered, perhaps even conflicting view of modernity. These photographs depict accomplished Orang Asli violinists, Orang Asli participation in colonial and Malay society as well as a quarantine hut. These are shown alongside striking portraits of diverse communities and their activities and objects that possess social and cultural significance for the Orang Asli.
Pada tahun 1906, Walter William Skeat dan Charles Otto Blagden mengeluarkan dua jilid kompendium mengenai masyarakat Orang Asli di Semenanjung Malaysia dengan tajuk ‘Pagan Races of the Malay Peninsula’. Terbitan ini bukan sahaja sebuah tinjauan yang meluas dari pengetahuan Eropah terhadap kehidupan dan budaya Orang Asli, malah ia juga repositori gambar-gambar terawal Orang Asli. Penerbitan ini menyertakan nama jurugambar untuk gambar-gambar yang diulang hasil dalam buku ini, sekali gus mendedahkan komuniti pengembara dan peneroka yang berhubungan dengan Orang Asli lewat abad ke-19 dan berikutnya.
Pilihan gambar-gambar dalam buku ini memaparkan kerumitan kisah pertembungan antara Orang Asli dan kemodenan. Selalu kita mendengar fotografi kolonial cenderung untuk merendahkan subjek bukan Eropah dengan menampilkan mereka sebagai ‘lain-lain’. Walaupun teks dalam penerbitan ini cenderung menggambarkan kehidupan Orang Asli sebagai primitif dan terkebelakang, gambar-gambarnya pula mencadangkan realiti yang kompleks, mengajak kita untuk melihat dengan lebih dekat lagi tanggapan dan prasangka kita terhadap kemajuan manusia.
Pilihan gambar-gambar di sini menampilkan kisah pertembungan kemodenan yang berlapis, mungkin juga bertentangan, dari gambar sekumpulan pemain biola Orang Asli sehingga ke gambar berkumpulan yang mendedahkan Orang Asli turut serta dalam kolonial dan masyarakat Melayu. Ia ditunjukkan bersama potret dari pelbagai komuniti dengan aktiviti dan objek yang memiliki kepentingan budaya Orang Asli.
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Showtime
This series of portraits looks at how photography was used as a self- promotional tool or as an extensionof self-representation in the form of celebrity cards. Each photographic portrait spotlights a nightclub entertainer in the 80s. The period style can be identified by the highly permed hairstyles as well as the flamboyant costumes covered in feathers and sequins.
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Siri potret-potret ini menilai bagaimana cabang fotografi digunakan sebagai satu bentuk promosi atau perwakilan diri yang lebih meluas dalam bentuk kad foto selebriti. Setiap potret ini menonjolkan penghibur kelab malam dari tahun 1980-an. Gaya dan tata hias dari zaman ini boleh dikenal pasti melalui rambut karan dengan pakaian ranggi yang dihiasi bulu-bulu serta labuci.
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Day And Night
With the allure of modern life in the early twentieth century, photo studios began to provide what was called ‘day’ and ‘night’ services with different operational hours serving various clienteles.
During the day, the photographer catered to the respectable classes, often with the family unit as the main photographic subject. At night, the business opened its doors to the other denizens of city life. Sex workers and entertainers often requested for glamour shots (sometimes as many as 3–4 shoots in a month) that were then distributed to clients as well as to their trishaw riders in exchange for the ride to the photo studios.
Mistresses were equally keen to have their ‘wedding portraits’ taken. During a time when the registrar of marriage was fully instituted, the wedding portrait was used as ‘evidence’ of a marriage, to prevent possible disputes over the estate or property of the ‘husband’. These wedding portraits were distributed to friends and served as a ‘witnessing’ document in case of future altercations. It is sometimes difficult to tell, from the portraits, which was a conventional ‘day’ marriage and which belonged to the ‘night’ category. Like day and night, truth and fiction merge into each other in these photographs.
In later years, working women who increasingly gained financial independence also patronized the photo studios. They desired to project an image of themselves as individuals, rather than as mere appendages of their husbands or fathers. In doing so, they exuded a new found confidence.
Daya tarikan kehidupan moden pada awal abad kedua puluh membuatkan studio foto menawarkan perkhidmatan yang digelar ‘siang’ dan ‘malam’ dengan waktu operasi yang berbeza mengikut pelanggan tertentu.
Di siang hari, jurugambar akan memberi perkhidmatan kepada kelas terhormat, selalunya keluarga sebagai subek fotografi utama. Pada malamnya, perniagaan mereka terbuka untuk penghuni-penghuni lain kota. Pelacur dan penghibur yang inginkan syot glamor (kadang-kala sehingga 3–4 sesi sebulan) yang kemudiannya diedarkan kepada pelanggan atau kepada penarik beca sebagai pertukaran untuk tambang ke foto studio.
Perempuan simpanan juga cenderung menginginkan ‘gambar perkahwinan’ untuk mereka diambil. Setelah pendaftar pernikahan dilembagakan sepenuhnya, potret perkahwinan menjadi bukti pernikahan untuk mengelakkan sebarang pertikaian mengenai harta dan pusaka ‘suami’. Gambar-gambar perkahwinan ini kemudiannya diedarkan kepada rakan-rakan dan menjadi dokumen ‘bukti’ sekiranya berlaku pertelingkahan di masa hadapan. Kadang-kala sukar untuk membezakan jika sekadar melihat gambar-gambar potret ini, yang mana satu perkahwinan konvensional ‘siang’ dan yang mana satu kategori ‘malam’. Seperti ‘siang’ dan ‘malam’, kebenaran dan fiksyen bergabung dalam fotografi.
Di tahun-tahun berikutnya, studio foto juga banyak didatangi oleh wanita-wanita berkerjaya yang mulai mengawal kewangan mereka sendiri. Mereka inginkan imej sebagai individu, berbanding hanya sebagai pelengkap keluarga untuk suami atau bapa mereka. Dengan berbuat demikian, ia membantu wanita-wanita ini memancarkan keyakinan yang baru.
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Books on Photographs
This vitrine largely features books about photography related to East Malaysia. Included here are the photobooks of two prominent photographers who have produced a substantial body of photographic works on East Malaysia —K.F. Wong and Hedda Morrison. K.F. Wong’s photographic practice was also prominently featured in the 1958 edition of the Straits Times Annual, as well as in its 1955 edition that covered Malcolm Macdonald’s visit to Sarawak. Finally, a catalogue of early images of North Borneo by Sandakan-based photographer Philippe Funk. He played a prominent role in the early 20th century, and travelled extensively throughout North Borneo to capture images of the towns, streets, and people. Many of his photographs were subsequently published as picture postcards under the imprint Funk & Sons and later Philippe & Sons.
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Vitrin ini menampilkan pelbagai buku berkaitan dengan Borneo dan juga buku-buku fotografi dari jurugambar terkemuka — K.F. Wong dan Hedda Morrison. Gambar-gambar K. F. Wong juga pernah ditampilkan dalam Straits Times Annual edisi 1958, dan juga dalam edisi tahun 1955 ketika lawatan Malcolm Macdonald ke Sarawak. Vitrin ini turut menyertakan katalog imej-imej awal Borneo Utara hasil karya jurugambar yang berpusat di Sandakan, Philippe Funk. Beliau adalah tokoh yang penting dalam kerja-kerja mendokumentasi Borneo Utara, dan telah menangkap banyak gambar-gambar pekan, jalanan dan penduduk tempatan. Kebanyakan gambar-gambar beliau kemudiannya diterbitkan sebagai poskad di bawah label Funk & Sons dan seterusnya, Philippe & Sons.
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A Golden Smile
Not only were gold teeth a popular dental prosthetic due to its malleability and near immunity to corrosion, they also held cultural significance as a status symbol. This selection suggests that there was once a demand for hand-tinted gold teeth in black and white photo portraits as they added a glistening sheen, which accentuates the prominence of the gold teeth as a marker of wealth and prestige. 
Gigi emas bukan sahaja dikenali kerana ketertempaan dan kalis hakis, tetapi ia juga mempunyai kepentingan dalam kebudayaan sebagai simbol status. Seleksi gambar di sini mencadangkan terdapatnya permintaan terhadap gigi emas warna tangan dengan menambah kilauan dalam gambar hitam putih, membuktikan bahawa gigi emas menjadi tanda aras kemewahan dan martabat seseorang.
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The Shadow
In the autobiography of Munshi Abdullah, a scribe who came to be known as the father of modern Malay literature, he recounts the time he was first shown a photographic image of Singapore in 1841, developed on a sheet of silver-plated copper.
The photograph appeared to him as if the township was floating above a copper plate. Photography, or the formula for creating durable images that mirror our physical reality, was then a new discovery. The Munshi marvelled at the degree of accuracy (lengkap genap) in the reproduction and ventured to exclaim, ‘‘‘...without deviation even by so much as the breadth of a hair?” (‘‘tiada berselisih sebesar rambut jua pun seperti yang ada itu dengan eloknya?”)
Describing the technical process to an exceptional degree of accuracy, Munshi Abdullah also remarked on a salient feature found in the daguerreotype, the first type of widely-available photographic process. On a prepared copper plate, the shadowy patches stand out while the highlights appear indented, leading the Munshi to exclaim, “bayangnya itu timbul tenggelam”.
As it is rare to come across a daguerreotype today, we have decided to include an example of one here. Although this particular daguerreotype is neither from this region nor features a local subject, we hope that it will give you a sense of Munshi Abdullah’s wonder when he first encountered the daguerreotype image.
Di dalam riwayat Munshi Abdullah, pengarang yang kemudiannya dikenali sebagai bapa kesusasteraan Melayu, mencatatkan pertama kali beliau ditunjukkan sekeping gambar pemandangan Singapura pada tahun 1841, dicetak di atas piring tembaga yang disadur perak.
Gambar tersebut memperlihatkan seakan-akan seluruh kota terapung di atas piring tembaga. Fotografi, atau formula mencipta imej kekal yang mencerminkan realiti fizikal kita, ialah penemuan baru ketika itu. Beliau mengagumi kadar ketepatan (lengkap genap) reproduksi dan berseru, “...tiada berselisih sebesar rambut jua pun seperti yang ada itu dengan eloknya?”
Munshi Abdullah menghuraikan proses teknikalnya dengan begitu tepat sekali dan juga memberi komen tentang ciri-ciri penting daguerotaip, jenis terawal proses fotografi yang tersedia secara meluas.
Di atas piring tembaga yang telah disiapkan, tompokan bayang menonjol disamping sorotan pembahagi mulai kelihatan, lalu Munshi mengujarkan, “bayangnya itu timbul tenggelam”.
Tidak ramai yang pernah melihat bagaimana rupa bentuk daguerotaip, jadi kami ingin menyertakan contoh di sini. Walaupun daguerotaip ini bukan berasal dari rantau ini dan tidak pula menggambarkan subjek tempatan, kami berharap ia dapat memberi rasa kekaguman yang dialami oleh Munshi Abdullah apabila beliau ditunjukkan imej daguerotaip buat pertama kali.
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The Shadowless
This late 19th century photographic portrait exhibits pictorial conventions that can also be found in traditional Chinese ancestral portraits. On first impression, the picture appears rather flat with the sitter in frontal posture. What enhances the two-dimensionality of the photograph is the face of the sitter, which basks in the light rather than in the shadows. In Chinese ancestral portraits, tonal shadows on the visage of the sitter are frowned upon and considered inauspicious. As many early Cantonese photographers were also offering services in portrait painting, certain taboos and conventions of ancestral portraiture would go on to influence early Chinese photographic portrait styles. This was similar to how the conventions of European portraiture (such as the oblique angle pose) would gradually gain acceptance among Chinese clients of the photo studios.
Gambar potret lewat abad ke-19 ini mempamerkan resam bergambar yang juga terdapat dalam potret tradisional nenek moyang Cina. Sekali pandang gambar ini kelihatan mendatar dengan postur hadapan sitter atau orang yang diambil gambar. Aspek yang memperincikan lagi gambar dua dimensi ini adalah pencahayaan yang tepat, seterusnya menghasilkan imej raut wajah sitter ini tanpa bayang. Dalam potret nenek moyang Cina, tona bayang pada wajah sitter sebaiknya cuba dielakkan kerana dipercayai tidak mendatangkan tuah. Memandangkan ramai jurugambar Kantonis yang juga pelukis potret, terdapat beberapa aspek tabu dan adat resam leluhur mempengaruhi gaya fotografi potret Cina pada awalnya, dalam masa yang sama juga kelaziman potret Eropah (contohnya posisi badan yang sedikit mengiring) beransur-ansur diterima oleh pelanggan-pelanggan Cina.
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The Japanese Community and the Photo Studio Trade
Before the Second World War, Japanese photo studios were also found in some of the major towns across Malaya and Borneo. It has been suggested that some of the Japanese photo studio proprietors also spied for the Japanese Military Intelligence. This was first proposed by Eric Robertson, a British Intelligence officer in pre-war Malaya, who wrote in the book The Japanese File that photographic studios and barber shops had played a minor role in the Japanese intelligence effort. 
Sebelum Perang Dunia Kedua, beberapa buah studio foto Jepun boleh ditemui di pekan-pekan besar di Tanah Melayu dan Borneo. Ada andaian mengatakan bahawa sesetengah pemilik studio foto ini perisik tentera Jepun, seperti yang didakwa oleh Eric Robertson, pegawai Perisikan British sebelum perang di Tanah Melayu, di dalam bukunya, The Japanese File bahawa studio foto dan kedai gunting rambut memainkan peranan kecil dalam usaha perisikan Jepun.
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Photo Studio Props
Porcelain animals, especially dogs and horses, were widely included as props in the photo studios. Besides animal props, many photo studios also had hand bicycles, spittoons, and toy cars that customers could include in their portraits. Examples of these props can be seen in the recreated photo studio in this exhibition.
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Arca tanah liat binatang selalunya dijadikan prop dalam studio foto dan subjek binatang yang sering menjadi pilihan ialah anjing dan kuda. Selain daripada prop binatang, kebanyakan studio foto juga menyediakan basikal tangan, ketur dan juga kereta mainan untuk pilihan pelanggan ketika sesi potret. Contoh-contoh prop sebegini boleh dilihat dalam studio gambar yang direka semula untuk pameran ini.
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Hanging it High
A unique format for hanging photographs can be found in Chinese clan associations and homes. Typically the photographs are hung above eye-level, with the top section tilted slightly forward. The display format is connected to ancestral veneration and serves as a means to elevate and commemorate respected forebears as well as recognise their contribution to the well-being of the community today.
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Teknik unik menggantung gambar boleh dijumpai di persatuan klan dan juga di rumah-rumah orang Cina. Kebiasaannya, gambar akan digantung melepasi paras mata, dengan bahagian atas gambar mengunjur sedikit ke hadapan. Kaedah sebegini berkait rapat dengan aspek menghormati leluhur, di samping meninggikan darjat serta menghormati nenek moyang mereka dan juga sebagai tanda ingatan akan sumbangan mereka- mereka yang terdahulu terhadap kesejahteraan komuniti hari ini.
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Di bilik tayangan ini menampilkan tiga dokumentari yang meneroka kehidupan peribadi dan falsafah pandangan dunia dari tiga orang jurugambar. Ia sebuah renungan terhadap dedikasi tokoh-tokoh yang telah bergelumang dalam medium visual, dalam usaha memperkayakan pengalaman kehidupan kita di dunia, serta mendedahkan proses pemikiran di sebalik ketikan kamera.
Mahen Bala, The Lost Photographs of Sultan Ismail, 2017, 9:06 minit
Dokumentari ini mengikuti jejak Raja Ihsan Shah yang menemukan kembali karya fotografi datuknya. DYMM Sultan Ismail Nasiruddin Shah diputerakan di Kuala Terengganu pada tanggal 24 Januari 1907. Baginda merupakan Sultan Terengganu ke-14 dari tahun 1946–1979 dan juga Yang Dipertuan Agong ke-4 pada tahun 1965– 1970. Selain dari tugas rasmi, baginda juga terkenal dengan keistimewaan bakatnya dalam bidang fotografi. Baginda adalah penaung kepada Pertubuhan Fotografi Malaysia, Kelab Kamera Selangor dan juga pengasas Kelab Kamera Terengganu. Baginda juga jurugambar Melayu pertama dalam Associate of the Royal Photographic Soceity (United Kingdom) pada tahun 1958 dan setahun kemudian diiktiraf sebagai ahli tertinggi dalam Photographic Society of Singapore di atas sumbangan baginda dalam bidang fotografi di Tanah Melayu. Pada tahun 1965, baginda telah dianugerahkan EFIAP (Excellence, Federation Internationale de l’Art Photographique) di Switzerland.
Mahen Bala and John Cho, The Apprentice
學徒, 2011, 4:59 minit
Lee Kok Kee mengusahakan Foto Pak Tai, sebuah studio foto dan kedai cetak di Pekan Cina, Kuala Lumpur, Malaysia yang telah sekian lama memberikan perkhidmatan fotografi dan cetakan kepada komuniti setempat sejak tahun 1940-an. Kemunculan era digital mengakibatkan kemerosotan perniagaan Pak Tai. Kini hanya bergantung kepada kerja-kerja dari pihak penguasa untuk menghasilkan gambar rasmi mereka, Low berfalsafah tentang hari beliau akan melabuhkan tirai Pak Tai.
Uni.gallery, 美星影社 (Beautiful Starlight Photo Studio), 2019, 2:50 minit
Uni.gallery adalah sepasukan muda penyokong warisan yang telah menghasilkan siri video temu bual bersama warga emas Malaysia yang masih mengamalkan tradisi keahlian tukang dan perniagaan. Dalam Beautiful Star Light Studio, pasukan yang diterajui oleh Daniel Lim ini mendokumenkan sejarah yang mewarnai studio foto di Port Dickson yang sejak tahun 1936. Pada tahun 1970-an, ketika Luo dua bersaudara mewarisi perniagaan studio foto, industri minyak di Port Dickson diperluaskan yang bukan sahaja membawa peluang baru, bahkan subjek-subjek baru fotografi. Luo bersaudara mengambil tugasan baru ini untuk menangkap gambar kilang penapisan minyak dan loji janakuasa di sekitar Port Dickson.
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Belonging to a Community
Photo studios proliferated after the Second World War. The trade was dominated principally by the Chinese community, who opened up new studios in many small towns across Malaysia. Wang Fook Seek’s photographic career is a case in point. He grew up in Kuala Berang and started taking photographs 60 years ago, working as a freelance photographer for a Chinese- language daily. He subsequently opened a photo studio in Kampung Tiong, which is the ‘Chinatown’ of Kuala Terengganu. Though he no longer operates a photo studio business, Wang retains his shop as a little showroom, where he keeps his camera equipment and showcases his own photographic works. He is a well- known local personality and is very close to the town’s Malay community. Often, he is called upon by various communities in Kuala Terengganu to photograph significant events — such as the ‘angkat rumah’ tradition, where the entire community is enlisted to help lift and move a Malay stilt house from one location to another. As photo studios became a part of the social world around them, they also became important institutions that recorded the stories of the different cultural communities in their particular vicinity.
Studio gambar berkembang selepas Perang Dunia Kedua. Perniagaan studio foto dikuasai oleh komuniti Cina, yang membuka studio-studio baru di pekan-pekan kecil seluruh Malaysia. Salah satu contoh ialah karier fotografi Wang Fook Seek. Beliau membesar di Kuala Berang dan mula menangkap gambar 60 tahun yang lalu dengan bekerja sebagai jurugambar bebas untuk akhbar harian berbahasa Cina. Beliau kemudiannya membuka sebuah studio foto di Kampung Tiong, kawasan yang digelar Pekan Cina di Kuala Terengganu. Walaupun tidak lagi terlibat dengan perniagaan studio foto, Wang masih lagi mengekalkan ruang kedainya sebagai bilik pameran kecil untuk karya fotografinya dan tempat untuk menyimpan peralatan kamera. Beliau merupakan personaliti yang dikenali komuniti setempat dan sangat rapat dengan komuniti Melayu. Beliau seringkali diundang sebagai jurugambar untuk merakam detik-detik penting — seperti tradisi angkat rumah, dimana setiap orang dalam masyarakat secara gotong-royong mengangkat dan memindahkan rumah bertiang Melayu. Studio foto adalah sebahagian dari dunia sosial di sekeliling mereka dan juga institusi penting yang merakam kisah-kisah budaya dari komuniti di persekitarannya.
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Belonging to a Community
Photo studios proliferated after the Second World War. The trade was dominated principally by the Chinese community, who opened up new studios in many small towns across Malaysia. Wang Fook Seek’s photographic career is a case in point. He grew up in Kuala Berang and started taking photographs 60 years ago, working as a freelance photographer for a Chinese- language daily. He subsequently opened a photo studio in Kampung Tiong, which is the ‘Chinatown’ of Kuala Terengganu. Though he no longer operates a photo studio business, Wang retains his shop as a little showroom, where he keeps his camera equipment and showcases his own photographic works. He is a well- known local personality and is very close to the town’s Malay community. Often, he is called upon by various communities in Kuala Terengganu to photograph significant events — such as the ‘angkat rumah’ tradition, where the entire community is enlisted to help lift and move a Malay stilt house from one location to another. As photo studios became a part of the social world around them, they also became important institutions that recorded the stories of the different cultural communities in their particular vicinity.
Studio gambar berkembang selepas Perang Dunia Kedua. Perniagaan studio foto dikuasai oleh komuniti Cina, yang membuka studio-studio baru di pekan-pekan kecil seluruh Malaysia. Salah satu contoh ialah karier fotografi Wang Fook Seek. Beliau membesar di Kuala Berang dan mula menangkap gambar 60 tahun yang lalu dengan bekerja sebagai jurugambar bebas untuk akhbar harian berbahasa Cina. Beliau kemudiannya membuka sebuah studio foto di Kampung Tiong, kawasan yang digelar Pekan Cina di Kuala Terengganu. Walaupun tidak lagi terlibat dengan perniagaan studio foto, Wang masih lagi mengekalkan ruang kedainya sebagai bilik pameran kecil untuk karya fotografinya dan tempat untuk menyimpan peralatan kamera. Beliau merupakan personaliti yang dikenali komuniti setempat dan sangat rapat dengan komuniti Melayu. Beliau seringkali diundang sebagai jurugambar untuk merakam detik-detik penting — seperti tradisi angkat rumah, dimana setiap orang dalam masyarakat secara gotong-royong mengangkat dan memindahkan rumah bertiang Melayu. Studio foto adalah sebahagian dari dunia sosial di sekeliling mereka dan juga institusi penting yang merakam kisah-kisah budaya dari komuniti di persekitarannya.
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Telling the stories of photographers
Featured in our screening room are three documentaries that explore the personal life stories and philosophical worldviews of three photographers. They reflect on the personalities who dedicated their lives to a visual medium that has enriched the way we experience the world, and reveal some of the thought processes behind the click of the camera’s shutter.
Mahen Bala, The Lost Photographs of Sultan Ismail, 2017, 9:06 minutes
This documentary follows the journey of Raja Ihsan Shah in rediscovering his grandfather’s photographic works. HRH Sultan Ismail Nasiruddin Shah was born in Kuala Terengganu on 24th January 1907. He was the 14th Sultan of Terengganu from 1946–1979 and the 4th Yang Di Pertuan Agong (King) of Malaysia from 1965–1970. Apart from his official duties, he was also known for his exceptional ability as a photographer. He was a patron of the Photographic Society of Malaysia, the Camera Club of Selangor, and the founder of the Camera Club of Terengganu. In 1958, he was the first Malay photographer to be an Associate of the Royal Photographic Society (United Kingdom) and a year later was made an honorary member of the Photographic Society of Singapore due to his contribution to photography in Malaya. He was awarded the EFIAP (Excellence, Federation Internationale de l’ Art Photographique) Switzerland in 1965.
Mahen Bala and John Cho, The Apprentice
學徒, 2011, 4:59 minutes
Low Kok Kee runs Foto Pak Tai, the photo studio and print shop in Chinatown, Kuala Lumpur, Malaysia which has been faithfully serving the photography and printing needs of the local community since the 1940s. With the advent of the digital age, Pak Tai is a business in decline. Increasingly dependent on his long standing arrangement with law enforment officials to produce their official photographs, Low is philosophical about the day when he will be required to draw the curtains on Pak Tai.
Uni.gallery, 美星影社 (Beautiful Starlight Photo Studio), 2019, 2:50 minutes
Uni.gallery is a young team of heritage advocates who have produced a series of video interviews with elderly Malaysians who are still engaged in traditional crafts and trade. In Beautiful Star Light Studio, the team led by Daniel Lim documents
the colourful history of a photo studio in Port Dickson that stretches back to 1936. By the 1970s, when the two Luo brothers inherited the photo studio business, the expansion of the oil industry in Port Dickson created not only new business opportunities but also a new photographic subject. The Luo brothers took on new assignments, photographing the oil refineries and power generation plants of Port Dickson.
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Di bilik tayangan ini menampilkan tiga dokumentari yang meneroka kehidupan peribadi dan falsafah pandangan dunia dari tiga orang jurugambar. Ia sebuah renungan terhadap dedikasi tokoh-tokoh yang telah bergelumang dalam medium visual, dalam usaha memperkayakan pengalaman kehidupan kita di dunia, serta mendedahkan proses pemikiran di sebalik ketikan kamera.
Mahen Bala, The Lost Photographs of Sultan Ismail, 2017, 9:06 minit
Dokumentari ini mengikuti jejak Raja Ihsan Shah yang menemukan kembali karya fotografi datuknya. DYMM Sultan Ismail Nasiruddin Shah diputerakan di Kuala Terengganu pada tanggal 24 Januari 1907. Baginda merupakan Sultan Terengganu ke-14 dari tahun 1946–1979 dan juga Yang Dipertuan Agong ke-4 pada tahun 1965– 1970. Selain dari tugas rasmi, baginda juga terkenal dengan keistimewaan bakatnya dalam bidang fotografi. Baginda adalah penaung kepada Pertubuhan Fotografi Malaysia, Kelab Kamera Selangor dan juga pengasas Kelab Kamera Terengganu. Baginda juga jurugambar Melayu pertama dalam Associate of the Royal Photographic Soceity (United Kingdom) pada tahun 1958 dan setahun kemudian diiktiraf sebagai ahli tertinggi dalam Photographic Society of Singapore di atas sumbangan baginda dalam bidang fotografi di Tanah Melayu. Pada tahun 1965, baginda telah dianugerahkan EFIAP (Excellence, Federation Internationale de l’Art Photographique) di Switzerland.
Mahen Bala and John Cho, The Apprentice
學徒, 2011, 4:59 minit
Lee Kok Kee mengusahakan Foto Pak Tai, sebuah studio foto dan kedai cetak di Pekan Cina, Kuala Lumpur, Malaysia yang telah sekian lama memberikan perkhidmatan fotografi dan cetakan kepada komuniti setempat sejak tahun 1940-an. Kemunculan era digital mengakibatkan kemerosotan perniagaan Pak Tai. Kini hanya bergantung kepada kerja-kerja dari pihak penguasa untuk menghasilkan gambar rasmi mereka, Low berfalsafah tentang hari beliau akan melabuhkan tirai Pak Tai.
Uni.gallery, 美星影社 (Beautiful Starlight Photo Studio), 2019, 2:50 minit
Uni.gallery adalah sepasukan muda penyokong warisan yang telah menghasilkan siri video temu bual bersama warga emas Malaysia yang masih mengamalkan tradisi keahlian tukang dan perniagaan. Dalam Beautiful Star Light Studio, pasukan yang diterajui oleh Daniel Lim ini mendokumenkan sejarah yang mewarnai studio foto di Port Dickson yang sejak tahun 1936. Pada tahun 1970-an, ketika Luo dua bersaudara mewarisi perniagaan studio foto, industri minyak di Port Dickson diperluaskan yang bukan sahaja membawa peluang baru, bahkan subjek-subjek baru fotografi. Luo bersaudara mengambil tugasan baru ini untuk menangkap gambar kilang penapisan minyak dan loji janakuasa di sekitar Port Dickson.
htmlText_B15FA18A_A10A_03DB_41CA_3D3885293132.html =
Telling the stories of photographers
Featured in our screening room are three documentaries that explore the personal life stories and philosophical worldviews of three photographers. They reflect on the personalities who dedicated their lives to a visual medium that has enriched the way we experience the world, and reveal some of the thought processes behind the click of the camera’s shutter.
Mahen Bala, The Lost Photographs of Sultan Ismail, 2017, 9:06 minutes
This documentary follows the journey of Raja Ihsan Shah in rediscovering his grandfather’s photographic works. HRH Sultan Ismail Nasiruddin Shah was born in Kuala Terengganu on 24th January 1907. He was the 14th Sultan of Terengganu from 1946–1979 and the 4th Yang Di Pertuan Agong (King) of Malaysia from 1965–1970. Apart from his official duties, he was also known for his exceptional ability as a photographer. He was a patron of the Photographic Society of Malaysia, the Camera Club of Selangor, and the founder of the Camera Club of Terengganu. In 1958, he was the first Malay photographer to be an Associate of the Royal Photographic Society (United Kingdom) and a year later was made an honorary member of the Photographic Society of Singapore due to his contribution to photography in Malaya. He was awarded the EFIAP (Excellence, Federation Internationale de l’ Art Photographique) Switzerland in 1965.
Mahen Bala and John Cho, The Apprentice
學徒, 2011, 4:59 minutes
Low Kok Kee runs Foto Pak Tai, the photo studio and print shop in Chinatown, Kuala Lumpur, Malaysia which has been faithfully serving the photography and printing needs of the local community since the 1940s. With the advent of the digital age, Pak Tai is a business in decline. Increasingly dependent on his long standing arrangement with law enforment officials to produce their official photographs, Low is philosophical about the day when he will be required to draw the curtains on Pak Tai.
Uni.gallery, 美星影社 (Beautiful Starlight Photo Studio), 2019, 2:50 minutes
Uni.gallery is a young team of heritage advocates who have produced a series of video interviews with elderly Malaysians who are still engaged in traditional crafts and trade. In Beautiful Star Light Studio, the team led by Daniel Lim documents
the colourful history of a photo studio in Port Dickson that stretches back to 1936. By the 1970s, when the two Luo brothers inherited the photo studio business, the expansion of the oil industry in Port Dickson created not only new business opportunities but also a new photographic subject. The Luo brothers took on new assignments, photographing the oil refineries and power generation plants of Port Dickson.
htmlText_B22F1392_A282_2FDA_41E1_8E681C549339.html =
Studio Backdrops
The type of photographs taken in a photo studio are normally portraits. The portrait sitter would pose in front of either a neutral or painted backdrop, where for one brief moment, the sitter would be transported into another realm. A degree of theatricality usually accompanies a portrait picture. On some playful occasions, sitters would even dress up and play-act. This idea of make-belief is central to the fiction of photography.
In this exhibition, we have recreated a photo studio with cameras, props, and furniture collected from old photo studios from the 1950s. We invite you to take a photograph using your phone camera. If you post it on social media, please do tag us at @ilhamgallerykl, #bayangtimbultenggelam.
Selalunya jenis gambar yang diambil di studio foto ialah gambar potret. Sitter ataupun orang yang diambil gambar akan menggayakan aksi di depan latar yang kosong atau dilukis, dan untuk seketika, dibawa ke dunia lain. Gambar potret kebiasaannya penuh dengan aksi-aksi sandiwara. Idea mereka-reka ini menjadi tunjang kepada fotografi fiksyen.
Dalam pameran ini, kami membina studio foto dengan menggunakan alatan dan perabot yang dikumpul dari studio foto dari tahun 1950-an. Kami ingin menjemput anda semua untuk mengambil gambar menggunakan kamera telefon pintar anda. Jika anda memuat naik gambar ke sosial media, sila sertakan kami di @ilhamgallerykl, #bayangtimbultenggelam.
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The Passport-size Photo
Passport-sized portrait photos, which is a tightly cropped photograph of a person’s face, were usually taken in the photo studio against a neutral backdrop. They were used for identity documents that were part of a modern bureaucracy of managing people and information. These included membership cards, citizenship documents and election leaflets. The format became the most common form of photographic portraits taken in a photo studio.
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Selalunya gambar potret bersaiz paspot diambil di studio foto dengan latar belakang berwarna neutral. Ia digunakan untuk dokumen identiti yang sebati dengan pengurusan manusia dalam birokrasi moden, dari kad ahli dan dokumen kerakyatan sehingga risalah pilihanraya. Format ini yang paling banyak diambil oleh studio foto.
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The Salon Competition


Besides running a photo studio business, a number of photo studio proprietors were also members of photographic societies. These societies promoted pictorialism, or the appreciation of photography as an art form. International Salon Competition catalogues organised by the Malayan Photographic Society reflect the global aspirations of the pictorialist movement that aimed to create a platform for the global appreciation of photography as an art form. Photobooks became a format to promote pictorial photography.


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Selain mengendalikan perniagaan studio foto, sebilangan pemilik studio foto ini juga merupakan ahli persatuan fotografi. Persatuan-persatuan ini mengangkat pictorialisme atau bergambar, atau apresiasi fotografi sebagai bentuk seni. Katalog Pertandingan Salon Antarabangsa anjuran Persatuan Fotografi Tanah Melayu mencerminkan aspirasi global gerakan bergambar untuk mencipta platfom apresiasi fotografi sebagai bentuk seni yang global. Buku foto menjadi format utama untuk mempromosikan fotografi bergambar.
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Photography and the Spiritual World


Featured here are publications relating photography to spiritual practice. These include the Thousand Character Pictures (千字圖), which was a dream interpretation manual that translated objects that appeared in dreams into lottery numbers. The catalogue featured a number of photography related entries and was first published in Penang during the 1950s/1960s. Also included is a photographic treatise written by Chan Bing Fai in 1977 that attempts to introduce a new conceptual framework to contextualize modern photography in Taoist yin and yang principles.


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Vitrin ini memaparkan penerbitan yang melihat hubungan fotografi dengan amalan rohaniah. Ini termasuk Gambar Seribu Sifat, sebuah buku panduan tafsiran mimpi yang menterjemahkan objek-objek yang ditemui dalam mimpi kepada nombor loteri. Katalog ini menunjukkan beberapa penerbitan tentang fotografi yang diterbitkan buat pertama kali pada tahun 1950-an/60-an di Pulau Pinang. Juga disertakan penulisan berkaitan fotografi oleh Chan Bing Fai dalam usaha memperkenalkan rangka kerja konsep baru bagi membincangkan fotografi moden berdasarkan prinsip-prinsip yin dan yang dalam pemahaman Taois.
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Mun Sen Studio
This small selection of photographs attributed to Mun Sen Studio provide us with an opportunity to explore the photographic accomplishments of the well-known Penang watercolourist Yong Mun Sen.
Mun Sen originated from Kuching, Sarawak. He received art training from Guangdong, China and began working as a bookshop assistant in Singapore before moving to the Penang branch of the bookstore in 1920. He struck out on his own two years later, opening a painting and photography studio called Tai Koon Art Studio on Chulia Street. The studio moved to Penang Road in 1930 and the business was renamed Mun Sen Studio. In Mun Sen Studio, photography connected with the larger artistic and cultural scene in Penang.
The studio was a venue where many of Penang’s modern artists gathered. This modern art sensibility can be seen in the sensitive touch of Mun Sen’s hand-tinted photographs as well as the artful manner in which he was able to compose each portrait to capture the portrait sitter as a modern subject. In Mun Sen’s photographic portraits, fussy ornamentation and props are pared down. These portraits, with its cleaner lines and sharper profiles, came to embody a new age. Like the energetic logo that he designed for the renaming of his studio in the 1930s, the portraits took on the qualities of art deco, which spoke to a new sense of self that was both sophisticated and confident.
Kumpulan gambar-gambar ini ialah pilihan kecil dari Studio Mun Sen yang menampilkan peluang bagi kita untuk meneroka pencapaian Yong Mun Sen, pelukis cat air terkenal Pulau Pinang dalam bidang fotografi.
Mun Sen berasal dari Kuching, Sarawak. Beliau menerima latihan seni dari Guangdong, China dan mula bekerja sebagai penolong penjaga kedai buku di Singapura sebelum berpindah ke cawangan Pulau Pinang pada tahun 1920. Dua tahun kemudian, beliau mula bekerja sendiri dan membuka studio catan dan fotografi yang dipanggil Studio Seni Tai Koon di Lebuh Chulia. Kemudian berpindah ke Jalan Pinang pada tahun 1930 dan perniagaan beliau ditukar nama kepada Studio Mun Sen. Di Studio Mun Sen, fotografi dihubungkan dengan suasana artistik dan kebudayaan Pulau Pinang yang meluas.
Studio ini menjadi tempat berkumpulnya kebanyakan artis moden Pulau Pinang. Kepekaan moden ini menyerlahkan sensitiviti Mun Sen terhadap foto warna tangannya dan juga keseniannya yang membolehkan beliau menonjolkan sitter atau orang yang diambil gambar sebagai subjek moden dalam setiap gambar potretnya. Hiasan dan alat peraga dikurangkan dalam potret fotografi Mun Sen, dan dengan garis yang lebih halus dan profil yang lebih tajam, potret Mun Sen muncul untuk mewujudkan era baru. Seperti logo bertenaga yang direka untuk penamaan semula studionya pada tahun 1930-an, mereka menggunakan kualiti art deco, untuk berbicara tentang rasa diri yang baru yang canggih dan yakin.
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Studio Backdrops
The type of photographs taken in a photo studio are normally portraits. The portrait sitter would pose in front of either a neutral or painted backdrop, where for one brief moment, the sitter would be transported into another realm. A degree of theatricality usually accompanies a portrait picture. On some playful occasions, sitters would even dress up and play-act. This idea of make-belief is central to the fiction of photography.
In this exhibition, we have recreated a photo
studio with cameras, props, and furniture collected from old photo studios from the 1950s. We invite you to take a photograph using your phone camera. If you post it on social media, please do tag us at @ilhamgallerykl, #bayangtimbultenggelam.
Selalunya jenis gambar yang diambil di studio foto ialah gambar potret. Sitter ataupun orang yang diambil gambar akan menggayakan aksi di depan latar yang kosong atau dilukis, dan untuk seketika, dibawa ke dunia lain. Gambar potret kebiasaannya penuh dengan aksi-aksi sandiwara. Idea mereka-reka ini menjadi tunjang kepada fotografi fiksyen.
Dalam pameran ini, kami membina studio foto dengan menggunakan alatan dan perabot yang dikumpul dari studio foto dari tahun 1950-an. Kami ingin menjemput anda semua untuk mengambil gambar menggunakan kamera telefon pintar anda. Jika anda memuat naik gambar ke sosial media, sila sertakan kami di @ilhamgallerykl, #bayangtimbultenggelam.
htmlText_B2A2D16E_A106_035B_41C0_DDC332323EBF.html =
The Passport-size Photo


Passport-sized portrait photos, which is a tightly cropped photograph of a person’s face, were usually taken in the photo studio against a neutral backdrop. They were used for identity documents that were part of a modern bureaucracy of managing people and information. These included membership cards, citizenship documents and election leaflets. The format became the most common form of photographic portraits taken in a photo studio.


______________________________________________________



Selalunya gambar potret bersaiz paspot diambil di studio foto dengan latar belakang berwarna neutral. Ia digunakan untuk dokumen identiti yang sebati dengan pengurusan manusia dalam birokrasi moden, dari kad ahli dan dokumen kerakyatan sehingga risalah pilihanraya. Format ini yang paling banyak diambil oleh studio foto.
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Beating Time
Before the invention of snapshot cameras, a photograph could not be taken with just a click of the button. This meant that the photographer was required to pull out the cap covering the lens for a certain amount of time, to allow light to stream into the camera so that the image could register on the sensitized plate (an early version of the ‘film‘) located inside the camera box. Technically, this is described as the exposure time required for the image to form on the sensitized plate.
The most common term used in the Chinese language today is pai zhao (拍照).
Pai, literally “to beat time” is a remnant of a time when studio photographers had to measure the exposure time by reciting a set number of words from the Thousand-Character essay (a Chinese poem used as a primer for teaching Chinese characters to children). This was often accompanied by the beating of a piece of wood after each syllable. In this sense, we can think of pai zhao as ‘beating out the time of a picture’. After observing the details captured in a photograph, theorist Sigfried Kracauer remarked, ‘If it is only the photograph that endows these details with duration, it is
not at all they who outlast mere time, but, rather, it is time that makes images of itself out of [us]’.
Sebelum terciptanya kamera jenis ketik pantas, foto tidak boleh dihasilkan hanya dengan tekanan butang. Ini bermakna jurugambar perlu menanggalkan penutup lensa untuk beberapa ketika bagi membenarkan cahaya untuk masuk menghasilkan imej di atas piring peka (versi awal filem) yang terletak di dalam kotak kamera. Secara teknikal, ini menghuraikan tempoh dedah yang diperlukan untuk membentuk imej di atas
piring peka.
Istilah kebiasaan yang digunakan dalam bahasa Cina kini ialah pai zhao. Pai secara harfiah bermaksud “mengetuk masa” ialah cara dahulu dimana jurugambar studio harus mengukur tempoh dedah dengan berpandukan bacaan beberapa ayat-ayat dari esei Seribu-Huruf (puisi Cina yang digunakan sebagai asas pendidikan huruf-huruf Cina kepada kanak-kanak), selalunya diiringi ketukan kayu untuk setiap suku kata. Dalam hal ini, kita boleh menganggapkan pai zhao sebagai ‘mengetuk masa daripada gambar’. Selepas mengamati butiran di dalam foto, ahli teori Sigfried Kracauer memberi komen ‘Jika hanya foto dapat memberikan perincian ini dengan jangka masa tertentu, sama sekali bukan ia yang melewati masa, tapi, masa yang menghasilkan imejnya sendiri dari kita’.
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Photography and Landscape
Landscape photography is used for mapping, as seen in the aerial photograph showing the topography of the then newly built University of Malaya Medical Centre. Aesthetic experimentation in landscape photography is exemplified by the optical distortion introduced into the long horizontal format that offered a different pictorial convention, which contrasted with the European field of vision centered on Euclidean optics. Instead, the horizontal scan refers to the scroll painting format of traditional Chinese painting. Another example can be seen in C.A. Gibson-Hill’s The Malayan Landscape: Seventy Camera Studies (1949). Hill was a curator at the Raffles Museum and a founding member of the Singapore Camera Club.
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Fotografi lanskap digunakan untuk pemetaan, seperti yang terlihat dalam fotografi udara yang menunjukkan topografi Pusat Perubatan Universiti Malaya yang baru siap dibina. Eksperimentasi estetika fotografi lanskap boleh dikesan pada pengherotan optikal dalam format melintang yang berbeza daripada kelaziman bergambar Eropah yang didasari ilmu optik Euclidean. Sebaliknya format melintang merujuk kepada format lukisan gulung tradisional Cina. Contoh lain boleh ditemui pada The Malayan Landscape: Seventy Camera Studies (1949) oleh C.A. Gibson-Hill. Hill adalah kurator di Muzium Raffles dan ahli pengasas Kelab Kamera Singapura.
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Beating Time
Before the invention of snapshot cameras, a photograph could not be taken with just a click of the button. This meant that the photographer was required to pull out the cap covering the lens for a certain amount of time, to allow light to stream into the camera so that the image could register on the sensitized plate (an early version of the ‘film‘) located inside the camera box. Technically, this is described as the exposure time required for the image to form on the sensitized plate.
The most common term used in the Chinese language today is pai zhao (拍照).
Pai, literally “to beat time” is a remnant of a time when studio photographers had to measure the exposure time by reciting a set number of words from the Thousand-Character essay (a Chinese poem used as a primer for teaching Chinese characters to children). This was often accompanied by the beating of a piece of wood after each syllable. In this sense, we can think of pai zhao as ‘beating out the time of a picture’. After observing the details captured in a photograph, theorist Sigfried Kracauer remarked, ‘If it is only the photograph that endows these details with duration, it is
not at all they who outlast mere time, but, rather, it is time that makes images of itself out of [us]’.
Sebelum terciptanya kamera jenis ketik pantas, foto tidak boleh dihasilkan hanya dengan tekanan butang. Ini bermakna jurugambar perlu menanggalkan penutup lensa untuk beberapa ketika bagi membenarkan cahaya untuk masuk menghasilkan imej di atas piring peka (versi awal filem) yang terletak di dalam kotak kamera. Secara teknikal, ini menghuraikan tempoh dedah yang diperlukan untuk membentuk imej di atas
piring peka.
Istilah kebiasaan yang digunakan dalam bahasa Cina kini ialah pai zhao. Pai secara harfiah bermaksud “mengetuk masa” ialah cara dahulu dimana jurugambar studio harus mengukur tempoh dedah dengan berpandukan bacaan beberapa ayat-ayat dari esei Seribu-Huruf (puisi Cina yang digunakan sebagai asas pendidikan huruf-huruf Cina kepada kanak-kanak), selalunya diiringi ketukan kayu untuk setiap suku kata. Dalam hal ini, kita boleh menganggapkan pai zhao sebagai ‘mengetuk masa daripada gambar’. Selepas mengamati butiran di dalam foto, ahli teori Sigfried Kracauer memberi komen ‘Jika hanya foto dapat memberikan perincian ini dengan jangka masa tertentu, sama sekali bukan ia yang melewati masa, tapi, masa yang menghasilkan imejnya sendiri dari kita’.
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Remembrance of Things Past
From 1 November 2018 to 1 January 2019, the young arts and cultural workers affiliated with the Duyong Art Gallery initiated a community project to explore the history of 20th century Pulau Duyong, Kuala Terengganu, through the many personal collections of photographs belonging to its residents. The project required the organizing committee to visit the homes of their neighbours to learn how personal photographs can offer an intimate view into the past and give meaning to life experiences.
The selected photographs shown at Duyong Art Gallery captured both the mundane and the eventful—in providing this range, the gallery was able to facilitate a meeting between the older generation of residents who owned those photographs and a younger public, eager to learn more about the locale, that is their home. Community-centered photo history projects that employ crowd-sourcing methods such as DUYONG have become increasingly common. Photographs that were once stored away, are now given a new lease of life, as a source to facilitate intergenerational conversations, to write local histories, to renew community ties, and to discover the unsettling ways in which the past can enrich our understanding of our place in the world by the simple act of remembering.
Dari 1 November 2018 ke 1 Januari 2019, pekerja seni dan budaya muda bersama-sama Galeri Seni Duyong telah menjalankan projek komuniti bagi meneroka sejarah Pulau Duyong abad ke-20, melalui koleksi gambar peribadi penduduk di Pulau Duyong, Kuala Terengganu. Projek ini memerlukan penganjur mengunjungi rumah-rumah di kejiranan mereka bagi mempelajari bagaimana gambar peribadi mampu menawarkan pandangan intim ke masa lalu dan memberi makna kepada pengalaman hidup.
Gambar-gambar terpilih yang ditunjukkan di Galeri Seni Duyong menangkap suasana kebiasaan dan berperistiwa—dengan menyediakan rangkaian sebegini, galeri dapat mempertemukan generasi tua penduduk yang memiliki gambar-gambar tersebut dan orang awam yang lebih muda yang ingin mempelajari tempat kediaman mereka. Projek sejarah gambar berpusatkan komuniti yang menggunakan kaedah sumber orang ramai seperti DUYONG menjadi semakin umum. Gambar-gambar yang dulunya disimpan, kini diberikan kehidupan bar—sebagai sumber untuk menyalurkan perbualan antara generasi, menulis sejarah tempatan, memperbaharui hubungan masyarakat dan menemui cara-cara yang tidak menyenangkan di masa lalu yang dapat memperkayakan pemahaman terhadap tempat kita di dunia dengan sikap memperingati.
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Photography and the Spiritual World
Featured here are publications relating photography to spiritual practice. These include the Thousand Character Pictures (千字圖), which was a dream interpretation manual that translated objects that appeared in dreams into lottery numbers. The catalogue featured a number of photography related entries and was first published in Penang during the 1950s/1960s. Also included is a photographic treatise written by Chan Bing Fai in 1977 that attempts to introduce a new conceptual framework to contextualize modern photography in Taoist yin and yang principles.
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Vitrin ini memaparkan penerbitan yang melihat hubungan fotografi dengan amalan rohaniah. Ini termasuk Gambar Seribu Sifat, sebuah buku panduan tafsiran mimpi yang menterjemahkan objek-objek yang ditemui dalam mimpi kepada nombor loteri. Katalog ini menunjukkan beberapa penerbitan tentang fotografi yang diterbitkan buat pertama kali pada tahun 1950-an/60-an di Pulau Pinang. Juga disertakan penulisan berkaitan fotografi oleh Chan Bing Fai dalam usaha memperkenalkan rangka kerja konsep baru bagi membincangkan fotografi moden berdasarkan prinsip-prinsip yin dan yang dalam pemahaman Taois.
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The Salon Competition
Besides running a photo studio business, a number of photo studio proprietors were also members of photographic societies. These societies promoted pictorialism, or the appreciation of photography as an art form. International Salon Competition catalogues organised by the Malayan Photographic Society reflect the global aspirations of the pictorialist movement that aimed to create a platform for the global appreciation of photography as an art form. Photobooks became a format to promote pictorial photography.
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Selain mengendalikan perniagaan studio foto, sebilangan pemilik studio foto ini juga merupakan ahli persatuan fotografi. Persatuan-persatuan ini mengangkat pictorialisme atau bergambar, atau apresiasi fotografi sebagai bentuk seni. Katalog Pertandingan Salon Antarabangsa anjuran Persatuan Fotografi Tanah Melayu mencerminkan aspirasi global gerakan bergambar untuk mencipta platfom apresiasi fotografi sebagai bentuk seni yang global. Buku foto menjadi format utama untuk mempromosikan fotografi bergambar.
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Barisan
Group portraits commemorate occasions of coming together. Though meant to record a moment of conviviality, the subjects often seem stiffly posed. There is an official air to these photographs, which often serve as a record of institutional memory. Whether the portraits are of the civil service or corporations, schools, clan associations, or political organisations, they all seem to adhere to a similar convention. Here the line (or baris) structures the composition, conveying a sense of orderliness and cohesion.
On the opposite scale are photographs commemorating frivolous occasions, such as fancy dress balls, group outings, and parties. By the late 19th century, studio photographers, with new mobile cameras, began to offer outdoor commissions. The world of the photo studio, therefore, was not limited to the shophouse, but over time, extended across different locations as cities and towns became new playgrounds for photographers.
Potret berkumpulan bertujuan untuk memperingati kesempatan untuk berkumpul bersama. Walaupun bertujuan untuk merakam suasana keriangan, subjek di dalam gambar acapkali dilihat keras ketika bergaya. Ada kelaziman rasmi untuk foto-foto sebegini, yang sering menjadi rekod memori institusi. Sama ada khidmat awam atau korporat, sekolah, persatuan klan atau organisasi politik, kesemuanya memegang satu kelaziman. Di sini, baris struktur komposisi ini membentuk rasa keteraturan dan kesatuan.
Lain pula dengan gambar-gambar yang merakamkan kegiatan yang menyeronokkan, seperti majlis pakaian berhias, temasya berkumpulan atau pesta. Pada lewat abad ke-19, jurugambar dilengkapi dengan kamera baru yang mudah dibawa, membolehkan mereka menawarkan perkhidmatan di luar. Dunia studio foto tidak hanya terhad di dalam studio semata-mata, tetapi dari masa ke masa, tersebar ke lokasi yang berbeza di pekan dan bandar yang menjadi taman permainan baru untuk fotografi.
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Photography and Landscape
Landscape photography is used for mapping, as seen in the aerial photograph showing the topography of the then newly built University of Malaya Medical Centre. Aesthetic experimentation in landscape photography is exemplified by the optical distortion introduced into the long horizontal format that offered a different pictorial convention, which contrasted with the European field of vision centered on Euclidean optics. Instead, the horizontal scan refers to the scroll painting format of traditional Chinese painting. Another example can be seen in C.A. Gibson-Hill’s The Malayan Landscape: Seventy Camera Studies (1949). Hill was a curator at the Raffles Museum and a founding member of the Singapore Camera Club.
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Fotografi lanskap digunakan untuk pemetaan, seperti yang terlihat dalam fotografi udara yang menunjukkan topografi Pusat Perubatan Universiti Malaya yang baru siap dibina. Eksperimentasi estetika fotografi lanskap boleh dikesan pada pengherotan optikal dalam format melintang yang berbeza daripada kelaziman bergambar Eropah yang didasari ilmu optik Euclidean. Sebaliknya format melintang merujuk kepada format lukisan gulung tradisional Cina. Contoh lain boleh ditemui pada The Malayan Landscape: Seventy Camera Studies (1949) oleh C.A. Gibson-Hill. Hill adalah kurator di Muzium Raffles dan ahli pengasas Kelab Kamera Singapura.
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Seasonal greetings and Baju Raya Sedondon
These photo collage seasonal greeting and wedding invitation cards were common in the 50s & 60s. Portraits of the senders were collaged onto the chosen design template prepared by the photo studio and sometimes signed off with a handwritten note at the back of the card before being sent to friends and family members. While this selection of photo- collage cards reminds us how photography was used to create customised festive cards, the more contemporary slideshow depicting the annual performative Baju Raya Sedondon ritual offers an interesting comparison. Here, the camera captures playful portraits of family members dressed in uniform colours or themed outfits, relying on social media to help circulate the festive message to family and friends, near and afar.
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Kolaj foto musim perayaan dan kad jemputan perkahwinan merupakan amalan lazim pada tahun 50-an dan 60-an. Potret pengirim akan digubah mengikut rekaan pilihan yang disediakan oleh studio foto dan kadangkala disertakan catatan tulisan tangan pada bahagian belakang kad sebelum dikirimkan kepada sahabat handai dan ahli keluarga. Jika jujukan kad kolaj gambar ini mengingatkan kepada kita semua bagaimana fotografi digunakan untuk menghasilkan kad perayaan yang tersendiri, paparan yang lebih sezaman pula menunjukkan ritual tahunan Baju Raya Sedondon sebagai perbandingan. Di sini, kamera berfungsi untuk merakam potret santai keluarga dengan setiap ahli memakai pakaian sama warna ataupun dengan tema-tema tertentu, seterusnya menggunakan media sosial untuk menyampaikan ucapan-ucapan perayaan kepada rakan taulan dan keluarga yang jauh di mata,
dekat di hati.
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Magazine Covers
This small selection of magazine covers, loaned from the collection of Malaysia Design Archive and Nazir Harith Fadzilah, showcases the creative interplay between photography and design elements. Published over the second half of the 20th century, the use of photographs in magazine cover designs were aimed at grabbing the attention of the growing reading public. Techniques such as photomontage, collage, tonal printing, typographic layout and composition, are exemplified within this selection and adopted across genres such as general affairs, entertainment, fashion, cultural propaganda, religion, and social issues.
Laid out in a loosely chronological manner, the selection begins with theearly use of photographic images on Mastika covers, followed by the inaugural issue of Nadi Insan, which which was photographed by prominent economist Jomo K. Sundaram. The selection culminates with a pixelated portrait of Malaysia‘s fourth and seventh Prime Minister, Tun Mahathir Mohamad, which marks the advent of digital photography.
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Seleksi kecil kulit majalah yang terbit pada bahagian kedua abad ke-20 ini dipinjamkan dari koleksi Malaysia Design Archive dan Nazir Harith Fadzilah, menonjolkan jalinan kreatif antara unsur fotografi dan reka bentuk. Kombinasi ini menghasilkan kulit-kulit yang berupaya menarik perhatian khalayak pembaca yang meningkat. Teknik seperti montaj foto, kolaj, cetakan tonal, susun atur tipografi dan komposisi ini dicontohi dalam bidang-bidang lain seperti hal ehwal am, hiburan, fesyen, propaganda budaya, agama dan isu-isu sosial.
Dipaparkan secara kronologi longgar, seleksi ini bermula dengan penggunaan awal fotografi untuk kulit majalah Mastika, disusuli dengan kulit terbitan pertama majalah Nadi Insan, yang menggunakan foto yang diambil oleh Jomo K. Sundaram, tokoh ekonomi terkenal. Seleksi ini berakhir dengan potret piksel Perdana Menteri Malaysia keempat dan ketujuh, Tun Mahathir Mohamad, menandai bermulanya fotografi digital.
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Novelty Services in a Photo Studio
The proliferation of photo studios after the Second World War also intensified business competition. To attract a new generation of customers, photo studios began offering novel services, for example, customised frame designs. Photo studios provided a catalogue of frame templates that customers were able to choose from. The selected template was then developed together with the film negative, resulting in a print that shows the subject inside a graphic frame. A popular novelty product was trick photography, which used the photo montage technique to create comic tableaux, and often featured exaggeratedly posed sitters in ludicrous scenarios. Double exposure was also used to produce a duplicate image of the sitter or to create sitters with different scale proportions in order to express an abstract idea of a relationship. In other instances, lighting designs with ‘Gobo’ throw patterns suggest new trends that favoured bold, clean and geometric forms to convey what it meant to be modern.
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Perkembangan studio foto selepas Perang Dunia Kedua meningkatkan persaingan perniagaan. Untuk menarik perhatian pelangan-pelangan generasi baru, studio foto ini mula menawarkan perkhidmatan baru, seperti bingkai gambar yang direka khusus mengikut minat pelanggan. Studio foto akan menyediakan katalog contoh bingkai untuk dipilih. Kemudian, bingkai pilihan ini diproses bersama-sama negatif filem, lalu menghasilkan gambar subjek di dalam bingkai grafik. Satu lagi yang popular ialah fotografi ‘silap mata’. Teknik montaj foto digunakan untuk menghasilkan gambar yang menakjubkan atau kelakar, yang biasanya memaparkan lagak lakonan dalam situasi yang tidak munasabah. Dedah cahaya berganda digunakan untuk menghasilkan imej pendua sitter atau orang yang diambil gambar dalam satu gambar yang sama atau menghasilkan kadar saiz berbeza untuk mempersembahkan idea abstrak tentang hubungan. Selain itu, reka bentuk pencahayaan ‘Gobo’ menggunakan corak moden mencadangkan trend baru bagi yang meminati bentuk-bentuk geometri yang tegas untuk mencerminkan kemodenan.
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Seasonal greetings and Baju Raya Sedondon
These photo collage seasonal greeting and wedding invitation cards were common in the 50s & 60s. Portraits of the senders were collaged onto the chosen design template prepared by the photo studio and sometimes signed off with a handwritten note at the back of the card before being sent to friends and family members. While this selection of photo- collage cards reminds us how photography was used to create customised festive cards, the more contemporary slideshow depicting the annual performative Baju Raya Sedondon ritual offers an interesting comparison. Here, the camera captures playful portraits of family members dressed in uniform colours or themed outfits, relying on social media to help circulate the festive message to family and friends, near and afar.
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Kolaj foto musim perayaan dan kad jemputan perkahwinan merupakan amalan lazim pada tahun 50-an dan 60-an. Potret pengirim akan digubah mengikut rekaan pilihan yang disediakan oleh studio foto dan kadangkala disertakan catatan tulisan tangan pada bahagian belakang kad sebelum dikirimkan kepada sahabat handai dan ahli keluarga. Jika jujukan kad kolaj gambar ini mengingatkan kepada kita semua bagaimana fotografi digunakan untuk menghasilkan kad perayaan yang tersendiri, paparan yang lebih sezaman pula menunjukkan ritual tahunan Baju Raya Sedondon sebagai perbandingan. Di sini, kamera berfungsi untuk merakam potret santai keluarga dengan setiap ahli memakai pakaian sama warna ataupun dengan tema-tema tertentu, seterusnya menggunakan media sosial untuk menyampaikan ucapan-ucapan perayaan kepada rakan taulan dan keluarga yang jauh di mata,
dekat di hati.
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Mun Sen Studio
This small selection of photographs attributed to
Mun Sen Studio provide us with an opportunity to explore the photographic accomplishments of the well-known Penang watercolourist Yong Mun Sen.
Mun Sen originated from Kuching, Sarawak. He received art training from Guangdong, China and began working as a bookshop assistant in Singapore before moving to the Penang branch of the bookstore in 1920. He struck out on his own two years later, opening a painting and photography studio called Tai Koon Art Studio on Chulia Street. The studio moved to Penang Road in 1930 and the business was renamed Mun Sen Studio. In Mun Sen Studio, photography connected with the larger artistic and cultural scene in Penang.
The studio was a venue where many of Penang’s modern artists gathered. This modern art sensibility can be seen in the sensitive touch of Mun Sen’s hand-tinted photographs as well as the artful manner in which he was able to compose each portrait to capture the portrait sitter as a modern subject. In Mun Sen’s photographic portraits, fussy ornamentation and props are pared down. These portraits, with its cleaner lines and sharper profiles, came to embody a new age. Like the energetic logo that he designed for the renaming of his studio in the 1930s, the portraits took on the qualities of art deco, which spoke to a new sense of self that was both sophisticated and confident.
Kumpulan gambar-gambar ini ialah pilihan kecil dari Studio Mun Sen yang menampilkan peluang bagi kita untuk meneroka pencapaian Yong Mun Sen, pelukis cat air terkenal Pulau Pinang dalam bidang fotografi.
Mun Sen berasal dari Kuching, Sarawak. Beliau menerima latihan seni dari Guangdong, China dan mula bekerja sebagai penolong penjaga kedai buku
di Singapura sebelum berpindah ke cawangan
Pulau Pinang pada tahun 1920. Dua tahun kemudian, beliau mula bekerja sendiri dan membuka studio catan dan fotografi yang dipanggil Studio Seni Tai Koon di Lebuh Chulia. Kemudian berpindah ke Jalan Pinang pada tahun 1930 dan perniagaan beliau ditukar nama kepada Studio Mun Sen. Di Studio Mun Sen, fotografi dihubungkan dengan suasana artistik dan kebudayaan Pulau Pinang yang meluas.
Studio ini menjadi tempat berkumpulnya kebanyakan artis moden Pulau Pinang. Kepekaan moden ini menyerlahkan sensitiviti Mun Sen terhadap foto warna tangannya dan juga keseniannya yang membolehkan beliau menonjolkan sitter atau orang yang diambil gambar sebagai subjek moden dalam setiap gambar potretnya. Hiasan dan alat peraga dikurangkan dalam potret fotografi Mun Sen, dan dengan garis yang lebih halus dan profil yang lebih tajam, potret Mun Sen muncul untuk mewujudkan era baru. Seperti logo bertenaga yang direka untuk penamaan semula studionya pada tahun 1930-an, mereka menggunakan kualiti art deco, untuk berbicara tentang rasa diri yang baru yang canggih dan yakin.
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Devices for Amusement
The Magic Lantern is an early type of projector which used images printed on transparent glass plates. Projected here are graphic advertisements for various commercial products from the 1950s. These advertisements were once projected to large audiences in cinema halls before movie screenings.
The View-Master, on the other hand, creates a more personal
and intimate viewing experience. The device is essentially a special- format stereoscope. The user is required to insert a View-Master ‘reel’, made of thin cardboard disks containing small transparent colour photographs on film, into the reel holder of the stereoscope.
A stereoscope depicts left-eye and right-eye views of the same scene. When viewed through the device, the views converge as a single three- dimensional image. The reels shown here depict Malaysian cultural life as well as scenes from the Hajj pilgrimage.
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Lantera ajaib ialah jenis awal projektor yang menggunakan imej yang
dicetak di atas plat kaca. Di sini kami mempersembahkan iklan-iklan grafik dari pelbagai produk komersil pada tahun 1950-an. Dahulu, iklan-iklan ini akan dipancarkan dalam pawagam sebelum filem bermula.
View-Master, sebaliknya menghasilkan pengalaman yang intim dan peribadi apabila digunakan. Alat ini asalnya ialah stereoskop format istimewa. Filem khas View-Master, yang diperbuat dari disk kadbod nipis yang mengandungi foto berwarna kecil harus dimasukkan ke dalam slot pemegang stereoskop terlebih dahulu sebelum digunakan. Pandangan di mata kiri dan kanan adalah sama, namun apabila dilihat melalui alat ini, pandangan tersebut bergabung menghasilkan imej tiga dimensi. Filem yang ditunjukkan di sini menonjolkan budaya kehidupan Malaysia dan juga pemandangan ibadah haji.
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The Shadow
In the autobiography of Munshi Abdullah, a scribe who came to be known as the father of modern Malay literature, he recounts the time he was first shown a photographic image of Singapore in 1841, developed on a sheet of silver-plated copper.
The photograph appeared to him as if the township was floating above a copper plate. Photography, or the formula for creating durable images that mirror our physical reality, was then a new discovery. The Munshi marvelled at the degree of accuracy (lengkap genap) in the reproduction and ventured to exclaim, ‘‘‘...without deviation even by so much as the breadth of a hair?” (‘‘tiada berselisih sebesar rambut jua pun seperti yang ada itu dengan eloknya?”)
Describing the technical process to an exceptional degree of accuracy, Munshi Abdullah also remarked on a salient feature found in the daguerreotype, the first type of widely-available photographic process. On a prepared copper plate, the shadowy patches stand out while the highlights appear indented, leading the Munshi to exclaim, “bayangnya itu timbul tenggelam”.
As it is rare to come across a daguerreotype today, we have decided to include an example of one here. Although this particular daguerreotype is neither from this region nor features a local subject, we hope that it will give you a sense of Munshi Abdullah’s wonder when he first encountered the daguerreotype image.
Di dalam riwayat Munshi Abdullah, pengarang yang kemudiannya dikenali sebagai bapa kesusasteraan Melayu, mencatatkan pertama kali beliau ditunjukkan sekeping gambar pemandangan Singapura pada tahun 1841, dicetak di atas piring tembaga yang disadur perak.
Gambar tersebut memperlihatkan seakan-akan seluruh kota terapung di atas piring tembaga. Fotografi, atau formula mencipta imej kekal yang mencerminkan realiti fizikal kita, ialah penemuan baru ketika itu. Beliau mengagumi kadar ketepatan (lengkap genap) reproduksi dan berseru, “...tiada berselisih sebesar rambut jua pun seperti yang ada itu dengan eloknya?”
Munshi Abdullah menghuraikan proses teknikalnya dengan begitu tepat sekali dan juga memberi komen tentang ciri-ciri penting daguerotaip, jenis terawal proses fotografi yang tersedia secara meluas.
Di atas piring tembaga yang telah disiapkan, tompokan bayang menonjol disamping sorotan pembahagi mulai kelihatan, lalu Munshi mengujarkan, “bayangnya itu timbul tenggelam”.
Tidak ramai yang pernah melihat bagaimana rupa bentuk daguerotaip, jadi kami ingin menyertakan contoh di sini. Walaupun daguerotaip ini bukan berasal dari rantau ini dan tidak pula menggambarkan subjek tempatan, kami berharap ia dapat memberi rasa kekaguman yang dialami oleh Munshi Abdullah apabila beliau ditunjukkan imej daguerotaip buat pertama kali.
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Celebrity Icon
Salmah binti Ismail (1935–1983), better known by her stage name Saloma,was a Singaporean-Malaysian singer and film actress who rose to fame in the late 1950s. Photographs of Saloma contributed to the shaping and circulation of her image as a highly popular Malay celebrity icon during a golden era of the Malay entertainment industry.
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Salmah binti Ismail (1935 -1983), atau lebih dikenali dengan nama pentas Saloma, merupakan biduanita dan pelakon filem Singapura-Malaysia yang mengecap zaman kegemilangannya pada lewat tahun 1950-an. Gambar-gambar biduanita ini diedar ke seluruh negara sekaligus membantu melonjakkan imej beliau sebagai ikon selebriti Melayu yang popular ketika zaman emas industri hiburan Melayu.
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Scoops
These photographs, taken on the grounds of the Perak Turf Club in Ipoh, are by Scoops Amateur Service Photographers. The photo studio specialised in horse racing photography, a spectator sport that was popular due to the influence of British colonialism in Malaya. The photo studio, like its namesake, branded itself after the journalistic concept of the scoop, to suggest the photographer’s vital role in documenting the momentous goings-on in 1940s Ipoh.
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Gambar-gambar di sekitar perkarangan Kelab Lumba Kuda Perak ini diambil oleh jurugambar Perkhidmatan Amatur Scoops. Studio foto ini khusus dalam fotografi lumba kuda, sukan tontonan yang popular akibat pengaruh kolonialisme British di Tanah Melayu. Berdasarkan namanya, jelas studio ini menjenamakan dirinya berdasarkan konsep ‘scoop’ dalam kewartawanan, mencadangkan peranan penting jurugambar untuk membuat liputan peristiwa penting di Ipoh pada tahun 1940an.
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Stitching a Row Together
Interpositives are typically made using negative film. A negative of a negative produces a positive image. The interpositive is then used to make another negative. Interpositives are frequently used to make printing masters from original camera film or to reproduce still negatives that are deteriorating. However, in this instance, the technique of producing interpositives allows the photographer to enlarge a film and expose the shot onto a larger negative, enabling the photographer to develop a composite image that has a much longer horizontal format.
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Interpositif kebiasaannya dihasilkan menggunakan filem negatif. Padanan negatif pada negatif akan menghasilkan imej positif. Ia kemudiannya digunakan untuk menghasilkan negatif yang lain. Interpositif ini selalunya digunakan untuk menghasilkan cetakan ibu dari filem asli kamera atau untuk menghasilkan negatif yang rosot. Walau bagaimanapun, dalam konteks sebegini, teknik interpositif membolehkan jurugambar menghasilkan filem yang lebih besar dan membolehkan tangkapan dimuat ke dalam negatif yang lebih besar, justeru membolehkan mereka untuk menghasilkan sebuah imej gabung yang mempunyai format ufuk yang lebih panjang.
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Capturing Shadows
In the early years of photography, a prevailing belief among the Chinese was that the chemicals used in developing photographs were made up of children’s eyes. At the same time, gentry scholars such as Zou Boqi 周伯琦 (1819–1869) from Nanhai, Guangdong, had been experimenting with the camera obscura, which he termed a machine for ‘seizing shadows’ (she ying, 攝影).
The term survives into common usage to describe the photographic process. The irony is that Chinese painterly conventions of portraiture in not depicting the shadow continued to inform the conventions of early Chinese photographic portraits. Often the sitter is captured in frontal pose with very little depth or volume.
The historical details above point to two things. Firstly, photography was not a widely accepted practice among the Chinese community, whether in China or abroad, until the 1870s. Secondly, Zou Boqi’s scholarship is an indicator of the pioneering role that the Cantonese community would play in the early history of photography. In Southeast Asia, it was the Lee family from Guangdong, who along with European photographers, were principally involved in photography. They jealously guarded the photographic process as a trade secret. It was only by the early 20th century, with the increasing availability of photographic manuals, that the Lee family began to allow their staff to learn how to develop photographs. Many of them would head out inland to the small towns across the Federated Malay States to begin their own photo studio businesses.
Di awal perkembangan fotografi, sebilangan masyarakat Cina mempercayai bahawa bahan kimia yang digunakan untuk fotografi dibuat dari mata anak-anak kecil. Pada masa yang sama, cendekiawan ningrat seperti Zou Boqi (1819–1869) dari Nanhai, Guandong, telah bereksperimentasi dengan kamera obskura yang beliau gelarkan mesin ‘menangkap bayang-bayang’ (sheying).
Istilah ini bertahan sehingga menjadi kebiasaan untuk menerangkan proses fotografi. Ironinya ialah kelaziman potret Cina yang tidak menonjolkan bayang-bayang terus menjadi kebiasaan fotografi potret Cina dari awal lagi. Selalunya gambar sitter atau orang yang diambil gambar ditangkap dari hadapan dengan paras cahaya yang sangat rendah.
Butiran sejarah di atas menunjukkan dua perkara. Pertama, amalan fotografi tidak diterima secara menyeluruh oleh masyarakat Cina sama ada tempatan atau di luar negara sehingga tahun 1870-an. Kedua, kajian Zou Boqi menandai komuniti Kantonis sebagai pelopor dalam sejarah awal fotografi. Di Asia Tenggara, keluarga Lee dari Guangdong yang terawal sekali terlibat dengan dunia fotografi bersama-sama jurugambar Eropah. Mereka mengawal ketat proses fotografi sebagai rahsia perniagaan. Hanya pada awal abad kedua puluh, keluarga Lee membenarkan kakitangan mereka mempelajari proses fotografi kerana panduan fotografi mudah untuk didapati ketika itu. Sebilangan besar dari mereka menuju ke pekan-pekan kecil di seluruh Negeri-Negeri Melayu Bersekutu untuk memulakan perniagaan studio foto mereka sendiri.
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Ava Leong
Ava Leong (1933–2018) explored her gender identity through a series of portrait photographs taken from 1950–1990 in different photo studios across George Town, Penang. Ava was involved with the Penang Dondang Sayang Club and performed in The Variety Show (1960) at the New World Park in George Town. She was also a member of the ‘Glamour Girls’, the once popular female impersonation group in George Town in the 60s.
Ava’s participation in the performing arts suggests that cross dressing entertainment was embedded within the fabric of Malaysian society. Ava’s portraits symbolise a time when she, together with her peers of the transgender community, were permitted to explore their sense of self while contributing to a lively cosmopolitan artistic culture in Malaysia. Photographic portraits, such as these, were exchanged among the community not only as keepsakes but also as a way to build self-empowerment and camaraderie.
Siri ini menonjolkan potret studio Ava Leong (1933–2018), yang menerokai jantina beliau menerusi siri gambar potret yang diambil dari 1950–1990 di studio foto yang berlainan sekitar George Town, Pulau Pinang. Ava terlibat dengan Kelab Dondang Sayang Pulau Pinang dan telah mengikuti persembahan The Variety Show (1960) di New World Park, George Town. Beliau juga salah seorang dari kumpulan pengajuk lagak perempuan yang pernah terkenal suatu masa dahulu di George Town pada tahun 1960-an.
Keterlibatan Ava dalam seni persembahan menunjukkan hiburan silang pakaian telah sebati dalam masyarakat Malaysia. Kerja-kerja beliau bersama-sama rakan dari komuniti transjantina melambangkan ketika mereka dibenarkan untuk menerokai rasa diri disamping menyumbang kepada budaya artistik kosmopolitan yang meriah di Malaysia. Fotografi potret seperti ini menjadi pertukaran antara komuniti bukan sekadar kenangan namun sebagai cara untuk pemerkasaan diri dan membina persahabatan.
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The Photo Studio
In the old days, the photo studio was where the magic of photography took place. Photo studios were more than small-time businesses. They were also institutions that grew alongside the expansion of towns and cities across Malaysia. In some ways, they almost functioned like community centres.
Photographs were taken for all occasions, from marking a graduation, a birthday, or the arrival of a baby to commemorating religious and cultural festivities. They were also taken for official purposes such as passport applications. Photography also served the now defunct cultural practice of matchmaking. Whether glamour shots or sombre family portraits, these photo studio portraits captured the vivacity of family and social life in a particular locale.
With the advent of digital cameras and smartphones, the photo studio may seem like a thing of the past. While many businesses have closed down over the last twenty years, there are still photo studios continuing to exist in many small towns across the country. Although on a much smaller scale now, new businesses continue to emerge, and survive, by adapting to the needs of contemporary clients.
Dahulu, studio foto ialah tempat di mana keajaiban fotografi berlaku. Studio foto dianggap perniagaan kecil. Ia juga merupakan institusi yang membangun bersama perkembangan pekan dan bandar seluruh Malaysia. Dalam hal ini, ia boleh dianggap seperti pusat komuniti.
Gambar-gambar ditangkap untuk segala acara dari graduasi atau hari jadi, kelahiran cahaya mata baru keluarga kepada upacara keagamaan dan kebudayaan. Ia juga digunakan untuk tujuan rasmi seperti permohonan pasport. Fotografi juga digunakan untuk tujuan mencari jodoh, sebuah amalan yang sudah ditinggalkan. Tidak kira gambar glamor ataupun potret suram keluarga, studio-studio ini merakam segala kemeriahan keluarga dan kehidupan sosial sesebuah tempat.
Perkembangan kamera digital dan telefon pintar telah meninggalkan studio foto kebelakang. Meskipun banyak perniagaan studio foto ditutup sepanjang 20 tahun kebelakangan ini, masih ada yang terus beroperasi di pekan-pekan kecil di seluruh negara. Walaupun bilangannya mengecil, banyak juga perniagaan baru terus wujud yang masih berjaya bertahan dengan menyesuaikan diri untuk kehendak pelanggan
hari ini.
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Daguerreotype c. 1850s by John Mayall, Private Collection
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Daguerotaip c. 1850-an oleh John Mayall, Himpunan Persendirian
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Celebrity Icon
Salmah binti Ismail (1935–1983), better known by her stage name Saloma,was a Singaporean-Malaysian singer and film actress who rose to fame in the late 1950s. Photographs of Saloma contributed to the shaping and circulation of her image as a highly popular Malay celebrity icon during a golden era of the Malay entertainment industry.
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Salmah binti Ismail (1935 -1983), atau lebih dikenali dengan nama pentas Saloma, merupakan biduanita dan pelakon filem Singapura-Malaysia yang mengecap zaman kegemilangannya pada lewat tahun 1950-an. Gambar-gambar biduanita ini diedar ke seluruh negara sekaligus membantu melonjakkan imej beliau sebagai ikon selebriti Melayu yang popular ketika zaman emas industri hiburan Melayu.
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Scoops
These photographs, taken on the grounds of the Perak Turf Club in Ipoh, are by Scoops Amateur Service Photographers. The photo studio specialised in horse racing photography, a spectator sport that was popular due to the influence of British colonialism in Malaya. The photo studio, like its namesake, branded itself after the journalistic concept of the scoop, to suggest the photographer’s vital role in documenting the momentous goings-on in 1940s Ipoh.
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Gambar-gambar di sekitar perkarangan Kelab Lumba Kuda Perak ini diambil oleh jurugambar Perkhidmatan Amatur Scoops. Studio foto ini khusus dalam fotografi lumba kuda, sukan tontonan yang popular akibat pengaruh kolonialisme British di Tanah Melayu. Berdasarkan namanya, jelas studio ini menjenamakan dirinya berdasarkan konsep ‘scoop’ dalam kewartawanan, mencadangkan peranan penting jurugambar untuk membuat liputan peristiwa penting di Ipoh pada tahun 1940an.
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Mapping Photo Studios in Malaysia
This map provides a database on the history of photographic studios in Malaysia and Singapore from 1840s–1980s, covering a period of 150 years. The structure of the map is loosely chronological. If you would like to explore the development of photo studios in the country, we have provided a QR code where you can view the map on your phone.
Pemetaan Studio Foto di Malaysia
Peta ini mengandungi maklumat tentang sejarah studio fotografi di Malaysia dan Singapura dari tahun 1840-an ke 1980-an, meliputi tempoh masa sepanjang 150 tahun. Struktur peta ini berbentuk kronologi longgar. Jika anda ingin mempelajari perkembangan studio foto di negara ini, kami menyediakan kod QR untuk melihat peta di dalam telefon anda.
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Mun Sen Studio
This small selection of photographs attributed to Mun Sen Studio provide us with an opportunity to explore the photographic accomplishments of the well-known Penang watercolourist Yong Mun Sen.
Mun Sen originated from Kuching, Sarawak. He received art training from Guangdong, China and began working as a bookshop assistant in Singapore before moving to the Penang branch of the bookstore in 1920. He struck out on his own two years later, opening a painting and photography studio called Tai Koon Art Studio on Chulia Street. The studio moved to Penang Road in 1930 and the business was renamed Mun Sen Studio. In Mun Sen Studio, photography connected with the larger artistic and cultural scene in Penang.
The studio was a venue where many of Penang’s modern artists gathered. This modern art sensibility can be seen in the sensitive touch of Mun Sen’s hand-tinted photographs as well as the artful manner in which he was able to compose each portrait to capture the portrait sitter as a modern subject. In Mun Sen’s photographic portraits, fussy ornamentation and props are pared down. These portraits, with its cleaner lines and sharper profiles, came to embody a new age. Like the energetic logo that he designed for the renaming of his studio in the 1930s, the portraits took on the qualities of art deco, which spoke to a new sense of self that was both sophisticated and confident.
Kumpulan gambar-gambar ini ialah pilihan kecil dari Studio Mun Sen yang menampilkan peluang bagi kita untuk meneroka pencapaian Yong Mun Sen, pelukis cat air terkenal Pulau Pinang dalam bidang fotografi.
Mun Sen berasal dari Kuching, Sarawak. Beliau menerima latihan seni dari Guangdong, China dan mula bekerja sebagai penolong penjaga kedai buku di Singapura sebelum berpindah ke cawangan Pulau Pinang pada tahun 1920. Dua tahun kemudian, beliau mula bekerja sendiri dan membuka studio catan dan fotografi yang dipanggil Studio Seni Tai Koon di Lebuh Chulia. Kemudian berpindah ke Jalan Pinang pada tahun 1930 dan perniagaan beliau ditukar nama kepada Studio Mun Sen. Di Studio Mun Sen, fotografi dihubungkan dengan suasana artistik dan kebudayaan Pulau Pinang yang meluas.
Studio ini menjadi tempat berkumpulnya kebanyakan artis moden Pulau Pinang. Kepekaan moden ini menyerlahkan sensitiviti Mun Sen terhadap foto warna tangannya dan juga keseniannya yang membolehkan beliau menonjolkan sitter atau orang yang diambil gambar sebagai subjek moden dalam setiap gambar potretnya. Hiasan dan alat peraga dikurangkan dalam potret fotografi Mun Sen, dan dengan garis yang lebih halus dan profil yang lebih tajam, potret Mun Sen muncul untuk mewujudkan era baru. Seperti logo bertenaga yang direka untuk penamaan semula studionya pada tahun 1930-an, mereka menggunakan kualiti art deco, untuk berbicara tentang rasa diri yang baru yang canggih dan yakin.
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Mapping Photo Studios in Malaysia
This map provides a database on the history of photographic studios in Malaysia and Singapore from 1840s–1980s, covering a period of 150 years. The structure of the map is loosely chronological. If you would like to explore the development of photo studios in the country, we have provided a QR code where you can view the map on your phone.
Pemetaan Studio Foto di Malaysia
Peta ini mengandungi maklumat tentang sejarah studio fotografi di Malaysia dan Singapura dari tahun 1840-an ke 1980-an, meliputi tempoh masa sepanjang 150 tahun. Struktur peta ini berbentuk kronologi longgar. Jika anda ingin mempelajari perkembangan studio foto di negara ini, kami menyediakan kod QR untuk melihat peta di dalam telefon anda.
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