Symbolic Meanings of Cultural Elements in a Mural in Pusing, Perak
Makna Simbolik Unsur Budaya dalam Mural di Pusing, Perak
DOI:
https://doi.org/10.24191/idealogy.v11i2.965Abstract
This study examines the symbolic meanings embedded in the cultural elements depicted in a mural in Pusing, Perak. The mural functions as a form of public art that reflects the identity, history, and socio-cultural experiences of the local community. A qualitative approach was employed, involving observation, interviews, and document analysis. The data were analysed using a conceptual framework that integrates semiotic analysis and cultural element analysis to examine the relationship between visual elements, sign systems, and cultural context. The findings indicate that the visual elements in the mural function as a system of signs that convey symbolic meanings related to cultural identity, social life, beliefs, and local heritage. The representation of traditional foods, human figures, and everyday objects reflects the continuity of tradition as well as the process of cultural adaptation within a contemporary visual context. Overall, the mural not only functions as a visual artwork but also serves as a medium of cultural communication, recording collective memory and contributing to the construction of cultural meaning within society. The study further highlights the role of the mural as a medium for preserving the identity and cultural heritage of the local community.
Keywords: Mural, Local Culture, Symbolism, Semiotics, Pusing Perak
ABSTRAK
Kajian ini meneliti makna simbolik yang terkandung dalam unsur budaya yang dipaparkan dalam sebuah mural di Pusing, Perak. Mural tersebut berfungsi sebagai bentuk seni awam yang mencerminkan identiti, sejarah dan pengalaman sosiobudaya komuniti setempat. Kajian ini menggunakan pendekatan kualitatif yang melibatkan kaedah pemerhatian, temu bual dan analisis dokumen. Data dianalisis menggunakan kerangka konseptual yang menggabungkan pendekatan semiotik dan analisis unsur budaya bagi meneliti hubungan antara elemen visual, sistem tanda dan konteks budaya. Dapatan kajian menunjukkan bahawa elemen visual dalam mural berfungsi sebagai sistem tanda yang membawa makna simbolik berkaitan identiti budaya, kehidupan sosial, kepercayaan dan warisan komuniti setempat. Representasi makanan tradisional, figura manusia dan objek harian turut mencerminkan kesinambungan tradisi serta proses adaptasi budaya dalam konteks visual kontemporari. Secara keseluruhannya, mural bukan sahaja berfungsi sebagai karya visual, malah turut berperanan sebagai medium komunikasi budaya yang merakam memori kolektif serta menyumbang kepada pembentukan makna budaya dalam masyarakat. Kajian ini turut memperlihatkan peranan mural sebagai medium pemeliharaan identiti dan warisan budaya komuniti setempat.
Kata Kunci: Mural, Budaya Setempat, Simbolik, Semiotik, Pusing Perak
References
Abdul Razak, R., Saad, M. N., Said Ahmad @ Syed Ahmad, S. H., Razali, R., & Mazlan, H. (2023). Murals as a Tourism Strategy: A Case Study of Teluk Intan, Perak. KUPAS SENI, 11(3), 48–56. https://doi.org/10.37134/kupasseni.vol11.3.6.2023
Abdul Rahman, A. (2024) Kuih Bakul Lambang Kesucian Hati. https://dewanbudaya.jendeladbp.my/2024/05/05/8918/ Accessed 18 Januari 2024
Barthes, R. (1977). Image, music, text. Fontana Press.
Creswell, J. W. (2014). Research design: Qualitative, quantitative, and mixed methods approaches (4th ed.). SAGE Publications.
Deraman, A.A. (2002). Tamadun Melayu dan Pembinaan Bangsa Malaysia. Kuala Lumpur: Dewan Bahasa dan Pustaka
Dewan Bahasa dan Pustaka. (2023). Definisi Alternatif. Kamus Dewan Edisi Keempat. Pusat Rujukan Persuratan Melayu Retrieved from https://prpm.dbp.gov.my/cari1?keyword=budaya setempat. Accessed 2 Mei 2024.
Farah Eliani, (2021) Kuih chang versi halal yang enak dan padu air tangan Nur Basirah Chu. Wajib cuba ni Retrieved from https://sinarplus.sinarharian.com.my/lifestyle/kuih-chang-versi-halal-yang-enak-dan-padu-air- tangan-nur-basirah-chu-wajib-cuba-ni/ Accessed 13 Mei 2024
Foo, W., Bajuri, N., & Wong, K. (2013). Overview on SMEs family-run local coffee shop in Malaysia: Challenges and determinants of survival. Jurnal Teknologi, 64, 103–107. https://doi.org/10.11113/JT.V64.2245
Fu, B. (2023). Water in the Mencius: Correlative reasoning, conceptual metaphor, and/or sacred performative narrative? Religions, 14(6), 710. https://doi.org/10.3390/rel14060710
Iswandi, H. (2016). Seni Mural Sebagai Unsur Politik Dalam Kehidupan Sosial. Besaung: Jurnal Seni Desain dan Budaya. https://doi.org/10.36982/JSDB.V1I1.118.
Jasni, F. A., & Ramli, I. (2025). Makna denotatif, konotatif, dan mitos dalam representasi visual karya catan King Culprit dalam pameran Playing GOD oleh Ruzzeki Harris: Satu perspektif hermeneutik visual. Idealogy Journal, 10(1), 73–88. https://doi.org/10.24191/idealogy.v10i1.684
Ketua Kawasan Rukun Tetangga Pusing, (21 Mei, 2024). Kuih tradisional masyarakat Cina di Pusing. (S. A. Syed Abu Bakar, Interviewer)
Ketua Kampung Papan, (21 Mei, 2024). Kuih tradisional masyarakat Cina di Pusing. (S. A. Syed Abu Bakar, Interviewer)
Livingstone, M. (2000). Pop art: A continuing history. Thames & Hudson
Merman, H., Tahir, A., Mohd Aripin, N. A. N., Zakaria, M. S., &Saad, M. N. (2022). Mural Painting as a Platform for Historical Information in Batu Gajah Heritage Town.KUPAS SENI,10, 80-92. https://doi.org/10.37134/kupasseni.vol10.sp.2.8.2022
Mohamed Nor, L.R., (2024). Perkenal ikon Kuala Kangsar menerusi lukisan mural. https://www.kosmo.com.my/2024/02/02/perkenal-ikon-kuala-kangsar-menerusi-lukisan-mural/. Accessed 3 Mei 2024.
Osman, M., Abdullah, A., & Ghani, M. (2018). Sustainable Housing Landscape Concept as a Source of Wrapping Materials for Preserving Culture Activities in Malay Traditional Food. Idealogy Journal. https://doi.org/10.24191/idealogy.v3i2.84.
Peirce, C. S. (1931). Collected papers of Charles Sanders Peirce. Harvard University Press.
Radzi, M.Q., Sulaiman, S., Nor, M.N., Ibrahim, N.H., & Hadri, A.Z. (2020). A Study of Patriotism on Mural Art in Ipoh, Perak.
Rahman, N., Ismail, A., & Rahim, R. (2020). Revolutions of Mural Painting. The International Journal of Academic Research in Business and Social Sciences, 10, 1195-1200. https://doi.org/10.6007/IJARBSS/V10-I10/8279.
Razali, R., Said Ahmad @ Syed Ahmad, S. H., Tahir, A., Abdul Razak, R., & Hashim Amir, N. M. A. (2023). Mural sebagai Refleksi Komunikasi kepada Komuniti Budaya Setempat: kajian kes di Pekan Bagan Datuk. KUPAS SENI, 11(3), 32–40. https://doi.org/10.37134/kupasseni.vol11.3.4.2023
Saifuddin, Achmad Fedyani. (2005). AntropologiKontemporer. Kencana. Jakarta
Suharti, S., Partini, S., & Suwarjo, S. (2015). Peran lansia dalam pelestarian budaya. Jurnal Penelitian
Humaniora, 20(1). https://doi.org/10.21831/hum.v20i1.7690
Visit Perak. (2020) Pusing Town Retrieved from https://visitperak.com.my/pusing-town/ Accessed 13 Mei 2024
Zakaria, M. S., Tahir, A., Mazlan, H., & Abu Bakar, S. A. S. (2023). Analisa Visual Lukisan Mural: Sejarah Pertembungan Gajah dan Keretapi di Teluk Intan Perak. KUPAS SENI, 11(3), 74–82. https://doi.org/10.37134/kupasseni.vol11.3.9.2023
Zakaria, M. S., Tahir, A., & Merman, H. (2025). The purpose of mural art in responsible rehabilitation: A case study at the Batu Gajah Correctional Centre and its implications for society. Idealogy Journal, 10(1), 283–290. https://doi.org/10.24191/idealogy.v10i1.771
Downloads
Published
Issue
Section
License
Copyright (c) 2026 UiTM Press
This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License.
UiTM Press (the Publisher) has agreed to publish the undersigned author’s paper in Idealogy Journal. The agreement is contingent upon the fulfilment of a number of requirements listed below.
1. The undersigned author warrants that the paper entitled below is original, that it is not in any way libellous or unlawful in Malaysia, that it does not infringe any copyright or other proprietary right. The undersigned hereby represents and warrants that he/she is the author of the paper, except for material that is clearly identified as to its original source, with permission notices from the copyright owners where required. The undersigned represents that he/she has the power and authority to sign and execute this agreement.
2. The undersigned author warrants that the paper entitled below has not been published elsewhere, and also it will not be submitted anywhere else for publication prior to acceptance/rejection by this Journal.
3. By submitting the paper entitled below, the undersigned author agrees to transfer the rights to publish and distribute the paper in an international e-journal (entitled above) to Publisher.
4. The undersigned author agrees to make a reasonable effort to conform to Publisher's submission guidelines and to liaise with the editor to ensure that the requirements of these guidelines are met to a reasonable degree.
5. The corresponding author signs for and accepts responsibility for releasing this material on behalf of any and all coauthors. This agreement is to be signed by at least one of the authors who has obtained the assent of the co-author(s) where applicable. After submission of this agreement signed by the corresponding author, changes of authorship or in the order of the authors listed will not be accepted.
