Sarkasi bin Said

Sarkasi bin Said (b. 27 March 1940¹, Singapore–d. 14 October 2021, Singapore), who went by the artist name Tzee, was an internationally renowned Singaporean batik painter.² Nicknamed the ‘Baron of Batik’³ and ‘Bapa Batik Singapura’⁴ (Singapore’s Father of Batik), Sarkasi was a fulltime artist and a pioneer of batik artworks in Singapore who showcased his art in many countries, including the United States, France, Japan, Brunei and Indonesia⁵. The artist was noted for his unconventional use of a wax-resisting technique for batik painting, his bold use of colours and his frequent depictions of nature.⁶ In May 2003, Sarkasi’s 103-metre batik painting depicting an orchid theme set a Guinness World Record for the world’s longest batik painting.⁷

Early life and education
Sarkasi bin Said was born on 27 March 1940 in number 8 Gentle Road, Singapore in Kampung Pasiran, outskirt of Singapore ⁸. As his parents were separated when he was just three years old, Sarkasi was raised by his grandparents.⁹  His passion for art was sparked by a treasured hand-made toy aeroplane from his grandfather for his fifth or sixth birthday. Its construction without the use of nails impressed the young Sarkasi.¹⁰ It made Sarkasi appreciate the joys of hand-made works of beauty, and he aimed to accomplish the same with his paintings.¹¹

Education¹²

1946-1951
Tanglin Tinggi Malay Primary School
Madrasah Aljunied Muslim School
Duchess Primary School

1952-1956
Beatty Secondary School (4A science student)¹³

During his days in Tanglin Tinggi Malay Primary School near Newton area¹⁴, Sarkasi was enthusiastic going to school even without parental encouragement and even he had to walk there from home without shoes¹⁵. His enthusiasm was due to the outstanding art classes offered in school: they had violin for music class and for painting, he was taught by Cikgu Sulaiman Suhaimi and started producing sketches in class¹⁶. However, as his grandmother wanted him to follow religious education, he was transferred to Madrasah Aljunied in Victoria Street¹⁷ for 1-2 years prior to studying in an English primary school in Duchess Road, Duchess Primary School¹⁸. After completing primary school exam, he went to Beatty Secondary School.¹⁹

Although Sarkasi performed well enough at school, he felt that art was his calling.²⁰ His teacher in Beatty, Peter Sydrel, took interest in his watercolour painting that he painted in water colour directly from the tube as he didn’t have money to buy paintbrush²¹. Peter Sydrel then introduced Sarkasi to the head of Donald Moore Gallery who sold young Sarkasi’s work for $10 for one small painting²². Eventually, when he was 16, the artist made the daring move of dropping out of Beatty Secondary School to concentrate on his art.²³ This happened one year before taking the Cambridge exam to the surprise of his teachers²⁴. Sarkasi then took to street painting, cycling to different locations to paint and sell scenes of nature. His works were highly popular with the expatriates in the Bartley and Gilstead areas, some of whom even recommended his paintings to their friends.²⁵

Sarkasi got married in 1967 with his wife Salamah bte Muhammad. At that time, he was impressed by how 17-year-old Salamah took care of her little sister who could not walk²⁶. True enough, he found that his wife always took excellent care of him and their family.

Artist name and its origins

Tzee
Yang Tzee

Sarkasi’s artist name “Tzee” was originally given by his family, particularly from his grandmother.²⁷ The “Z” was actually from the ending sound “si” of Sarkasi’s name.²⁸ However, due to Javanese’s thick pronunciation, the sound “si” became “zi”.²⁹ The written word “Tzee” suggests even thicker sound than that of “zi.”³⁰ The spelling of “Tzee” is from Indonesian or European/ Dutch origin although its pronunciation is more like Chinese (not to be confused with “chi”).³¹ Sarkasi had been known with this name from childhood and was called “Tzee” by his friends.³² To him, “Tzee” is not an invention, a ‘made up’ name; “Tzee” is his true name, a name from the heart.³³ Earlier in his career he ever signed his works with “Yang Tzee” in connection to “Yang Tze Kiang” river but he only did so for about 10 works and not using it broadly.³⁴

Artistic career

Deep appreciation of nature
Sarkasi loved being in nature from a young age. As a child living in the kampung, his favourite playground after school was the gardens, the swamp area including the reservoir and the dam.³⁵ At that time, he was the one who introduced various trees, flowers and fishes to his friends.³⁶

Young Sarkasi was drawn to nature. He preferred to sleep in the warung (shop) to be able to observe the stars, trees, birds and other livestock who lived freely instead of sleeping at home, making him to closer to nature and appreciate and love nature even more.³⁷ In observing the colours of flowers, Sarkasi observed that the colours of the flowers could not be found under their trees and so he concluded that the flowers had their own God given anatomy that enable them to exude colours.³⁸ Therefore, from beauty standpoint, the appreciation was not only just the colours of the flowers but also at their infrastructures and how they got their colours.³⁹ Further, by presenting flower to her primary school teacher Cikgu Tuti as a child, he learned that God given beauty could brighten and make someone happy.⁴⁰ Thus, to Sarkasi, all God creations are beautiful and flowers are beauty and something special presented to us.⁴¹

While nature was Sarkasi’s teacher he also understood the importance of learning from other teachers.⁴² In his own words: “[l]earning about and from other artists and their way of life is important, otherwise we would become self-centred…It ensures that we get a wider perspective of life and that will give us the inspiration to continue painting.”⁴³ Throughout his life, Sarkasi also had many people whom he regarded as his “Silent Inspiration”⁴⁴ i.e. individuals who might have given him encouragement and inspirations to press on in his art even though they were not actively or directly mentoring or guiding him. His book Lyric in Wax was dedicated to his Silent Inspiration.

Early encounters with batik
Sarkasi’s exposure to batik art came during his formative years and was a result of helping his grandmother who sold batik cloth as an extra form of income.⁴⁵ Sarkasi’s family was originally from Java, Indonesia⁴⁶. His father was born in Weleri in the Kendal regency in Central Java.⁴⁷ His mother was Javanese but born in Sumatra. His grandparents were all from Java.⁴⁸ Sarkasi’s grandmother sold batik to Malay families who collected batik for different occasions.⁴⁹ Coming from Jogja, Sarkasi’s grandmother knew how to use batik cloths as different types of batik cloths were used for different ceremonies/ occasions⁵⁰. It is from his grandmother that Sarkasi got his love of batik: he learned from his grandmother how to approach batik and the values that batik contains within it that made his grandmother loved batik deeply.⁵¹ To Sarkasi, Batik can be seen as a hope and a prayer⁵². He also enjoyed meeting many people that his grandmother sold the batik cloths to.⁵³

Although batik was part of his childhood, Sarkasi did not start as a batik painter right away. At the beginning of his artistic career, Sarkasi and his young family led a difficult and impoverished life as his income and survival were dependant on the mercy of those who took interest in his sketches and the pity of his neighbours.⁵⁴ His older sister often brought rice and other food on monthly basis to help Sarkasi and his family to survive.⁵⁵

Sarkasi began to develop a serious interest in the art form after he saw an Italian artist’s exhibition in a gallery in Singapore in the 1960s. He noticed that the foreign artist was using a technique that was a traditional art form in the region.⁵⁶ As a Javanese, Sarkasi felt that it was important that he should return to his cultural roots, and focus on batik art because of its significance in Malay culture.⁵⁷ He was inspired by the wax-resisting or wax-dyeing batik painting technique instead of both water colours and oil for his paintings.⁵⁸

Travels to Malaysia
Sarkasi’s journey as an artist was full of challenges and obstacles. It was difficult to learn about batik because of tightly guarded secrecy among practitioners due to their fear for losing their main source of livelihood to competition⁵⁹. When he first tried to learn batik painting in the early 70s⁶⁰ Sarkasi had to travel to Malaysia and Indonesia. He first went to Kuala Lumpur, Malaysia as he was then not sure if Kelantan and Trengganu were places to make batik and he already knew some people in the KL art scene like artist Latiff Mohiddin⁶¹. In KL, he stayed with Latiff Mohiddin and also met with Khoo Swee Ho (Khoo Sui Hoe)⁶². Sarkasi went back and forth to KL often and always stayed with Latiff Mohiddin who lived in an art house in Persiaran Tun so that he met painter Zainon and singers Hail Amir and Uji Rashid there.⁶³ Sarkasi mixed with and met many people there at that time.⁶⁴ Only after Sarkasi felt batik art is developing, he took opportunity to travel east.⁶⁵

Sarkasi then went to Kelantan and met with artist Dolah Yusof (Yusoff Abdullah) who was a highly respected batik painter there.⁶⁶ Unfortunately, despite meeting and even spending night at Dolah Yusof’s house, he was not shown his batik studio and so Sarkasi could only wandered to shops that sell batik.⁶⁷ He found in Kelantan, people did not want to show him the process of making batik.⁶⁸ When he went to Trengganu, he encountered similar difficulty.⁶⁹ In Trengganu, batik was dominated by Nur Arfah⁷⁰. This experience gave him an important learning that he put in practice as an artist namely a sharing attitude⁷¹, that one must be willing to share knowledge with others because knowledge, in Sarkasi’s view, is a gift from God therefore it should not be a problem to share them.⁷² Sarkasi indeed was known and acknowledged by PM Lee Hsien Loong as an artist who never forgot his roots and made every effort to groom the next generation of artist⁷³ to the point that sometimes people thought of him as ‘stupid’ for willing to teach without any compensation.⁷⁴

Travels to Indonesia
In his early travel to Indonesia, as his money was only enough to go to Tanjung Periuk (Tanjung Priok), Jakarta, he took a journey by sea from Singapore which took him 3-4 days to there⁷⁵. He was fortunate that in Periuk, there were many lorries and so he could hitchhike all the way to Bali for free, he was even given food and drinks by the lorry driver⁷⁶. In Bali, his first stop was Denpasar before he hitchhiked to Kuta⁷⁷. In Bali he went to the National Museum there and was fortunate that the museum director, Bapak Agung Rai⁷⁸ took an interest in him and made him a stepson, solemnised by the Balinese ceremony, so that he could stay in Kuta for 5-6 months before returning to Singapore⁷⁹. Back in Singapore, Sarkasi became a street painter and was found by Mr Yeo who also made him a stepson and gave monthly allowance to help the livelihood of Sarkasi and his young family at that time⁸⁰, Sarkasi was grateful to these benefactors who wanted to help him⁸¹.

To deepen his knowledge and understanding of batik art, Sarkasi travelled extensively in the region so that he could learn from the batik printing centres.⁸² His stay at Karang Malang was one of the personal highlights of his sojourns to Indonesia, as it was his grandparents’ hometown.⁸³ On the same trip, Sarkasi was also able to study under Pak Aznam Effendy, a painter-teacher at Yayasan Akademi Senipura Nasional in Jakarta.⁸⁴ He did not learn batik from Aznam Effendy, instead in his short stint with him, Sarkasi learnt about the philosophy of painting⁸⁵. Although Aznam Effendy likely had training in Western Art, he did not prioritise Western element and instead prioritising local art.⁸⁶

The first time Sarkasi held a canting was when he was 25 or 26 years old.⁸⁷ He obtained the canting from a kampung in Indonesia⁸⁸ and as his tendency was to stick to one thing, he did not keep changing canting and the same canting was cared lovingly and used for 5-6 years.⁸⁹

Batik in Singapore
According to Sarkasi, pioneer of Batik art in Singapore was Cikgu Sulaiman Suhaimi along with Chinese painters like Seah Kim Joo, Lim Tau Tay and Tay Chee Toh.⁹⁰ Sarkasi was actually involved in batik art around the same time as these painters but their works were exhibited earlier than his own.⁹¹ Initially they were his comrade-in-arms but they did not continue producing batik art anymore.⁹² In order to master his batik painting technique and to be able to handle different types of cloth materials, Sarkasi experimented for more than 30 years.⁹³

The artist rose to prominence in the 1970s with his portrayal of the orchid on a dress. The National Trades Union Congress was conducting a nationwide search for a Singapore Dress design that could be representative of the nation.⁹⁴ Sarkasi had chosen to branch into batik painting on dresses , and it was during this period that people began referring to Sarkasi as the “Baron of Batik”.⁹⁵ Such batik-print dresses were sold at Tzee Creation, a company he started up with four other partners but is now defunct.⁹⁶

Sarkasi expanded his repertoire to include batik designs on shirts, scarves and other products that are sold both locally and abroad.⁹⁷ Detractors of his work are critical of Sarkasi’s popular appeal as they think that his works are overly driven by commercial impulses.⁹⁸ Sarkasi, on the other hand, saw the popularity of his works as a means of inspiring new artists, as well as to promote batik art to the layperson, allowing them to understand that the art form possesses both a decorative and functional aspect.⁹⁹ Admirers of his work include the art historian, T. K. Sabapathy, who has praised the artist for his bold and effective use of colours, as well as the dynamic and intricate decorative elements in his paintings.¹⁰⁰

Sarkasi took a contemporary approach to batik art by utilising abstract and modern techniques in a Singaporean context.¹⁰¹ He also publicised the art form by holding exhibitions in countries such as Brunei, France, Indonesia, Japan, the Philippines and the United States.¹⁰²

Tzee Creations
Tzee Creations company was established in the early 80s.¹⁰³ Prior to this, Sarkasi was working as a freelance designer for Sunny and Grace.¹⁰⁴ During his stint there, he met with a graduate of LA School of Design whose name was ‘Zee’. It happened that the owner of Sunny and Grace’s was also called ‘Zi’.¹⁰⁵ Then working together, they decided to call themselves ‘Tzee Creations’.¹⁰⁶ They did not produce paintings instead they produced painting in clothing using batik technique.¹⁰⁷ The clothes that they produced won second place in Designer of the year award in Beijing.¹⁰⁸ However, due to disagreement with the owner of Tzee Creations (as Sarkasi wanted freedom to create while the owner of Tzee creations needed his design to follow market trend), Sarkasi decided to pull out from the company.¹⁰⁹

The artist then worked as designer for a Canadian company Megans for about 2 years to design prints for clothing that will be sold in the Carribeans.¹¹⁰ The income from this big project enabled him to earn downpayment for his flat.¹¹¹

Sarkasi and designer Zee previously from Tzee Creations then teamed up to open a shop in Geylang Serai for about 4-5 years in which he was able to produce paintings as well as making fabrics but eventually they had to stop due to increasing rental price.¹¹² During the time in Geylang Serai, Sarkasi painted while Zee did sales for his works.¹¹³

Following this, for a couple of years, Sarkasi was given a rent-free place in Taman Warisan to paint, together with ceramic artist Iskandar Jalil.¹¹⁴ This ended when Taman Warisan revamped their concept so that both Sarkasi and Iskandar Jalil were requested to leave.¹¹⁵ The sales of Sarkasi’s work in Taman Warisan were not great but he managed to supplement his income from teaching batik classes there.¹¹⁶ On the whole, Sarkasi expressed that he was proud to be able to contribute even a little during his stay in Taman Warisan because sometimes there were members of the community who dropped by there just to visit him and Iskandar Jalil while usually Malay families did not come to Taman Warisan unless they had an activity there.¹¹⁷

The artist as a teacher
The artist also volunteered as an art teacher at a drug rehabilitation centre and frequently donated to charitable organisations.¹¹⁸ One of his first students at the Khalsa Crescent Drug Rehabilitation Centre, Kelvin Lee, held his first batik art exhibition in November 1993.¹¹⁹

Sarkasi’s art teaching style can be described as non-interference, no pressure, gentle and patient.¹²⁰ He was focused on instilling confidence on his students and refraining from making them conform to his style. In his view, technical imperfections should not be impediments to artistic growth. He did not push his students to do things they do not like.¹²¹ A previous student whom Sarkasi highly thought of as a batik painter in Singapore was Tumadi Patri because Sarkasi observed Tumadi’s artistic development and saw that Tumadi managed to develop his own batik painting style.¹²²

Other contributions and recognitions
The batik painter was a board member of several art committees such as the National Arts Council (NAC) (2006–8), Singapore’s Modern Art Society and the Malay Museum Committee. He was also appointed the Chairman of Public Affairs and Education at the Malay Heritage Foundation.¹²³ He won a number of awards including Pingat APAD (from the Association of Artists of Various Resources) in 1974, and Best Foreign Entry (Sarasota Art Exhibition in the United States) in 1981.¹²⁴

Singaporeans continue to appreciate Sarkasi’s art. In 2014, the People’s Association (PA) launched a set of commemorative ez-link cards featuring Sarkasi’s trademark orchid batik design for the Chingay celebrations.¹²⁵ He regularly conducted batik-painting workshops.¹²⁶

Sarkasi’s son, Ika Zahri, is also a batik artist who has studied batik from Sarkasi from a young age.¹²⁷ Before becoming a full-time batik artist, Ika was an auxiliary police officer.¹²⁸

Sarkasi died at age 81 from kidney failure.¹²⁹ Despite of the life difficulties, challenges and obstacles that he had to face and overcome in his career as a fulltime batik artist, Sarkasi was admired for his positive attitude, courage and perseverance to continue making innovations in his works, driven by his love for the batik art.¹³⁰ His life and artistic journey are indeed something that the younger generation of artists could take notice as an inspiration.¹³¹

Family
Grandfather: Haji Mukayat ¹³²
Grandmother:  Hajjah Suriati¹³³
Father: Said bin Haji Abdul Razak¹³⁴
Mother: Hajjah Suminah binte Sarpan¹³⁵
Sibling: Hajjah Zariah bte Said (older sister)¹³⁶
Wife: Hajjah Salamah Ahmad¹³⁷ (Hajjah Salamah bte Muhammad¹³⁸)
Children: Ika Zahri (eldest¹³⁹), Illya Zahri, Indra Zahri, and Imelda Zahri¹⁴⁰

List of solo exhibitions¹⁴¹
1973: Miniature Baik Exhibition, Singapore
1974: Instant Singapore Exhibition, Singapore
1975: Landscape Exhibition, Singapore
1976: Big and Bold, National Museum, Singapore
1978: Contemporary Batik, New Zealand
1979: Batik, National Museum, Singapore
1982: Batik, Sorasota Art Centre, USA
1989: Art, Singapore Batik, National Museum, Brunei Darussalam
1990: Introspection, National Museum, Singapore
1992: Batik, Arya Duta, Indonesia
1993: Lyrics In Wax, Sarawak, Malaysia Batik, Hawaii, USA
1996: Flowers and Fantasy, Hawaii,
1996: USA Batik Alegria Gallery,
1996: Philippines Vision 2000, Manila Hotel, Philippines
2002: Black and White Sketches, Singapore
2003: Longest Batik Painting, Singapore

Appointments¹⁴²
1992-1998: Board of Singapore Art Museum
                   Socio-Culture Committee, MENDAKI
                   Art Resource Panel, National Art Council
1992-1995: Malay Museum Committee, Kampong Ubi CC
1995-1998: Singapore Modern Art Society

Awards and Recognitions¹⁴³
1974: Gold Medal APAD (Association of Artists of Various Resources)
1981: Best Foreign Entry Sarasota Art Soceity USA, 1981
1982: IBM Singapore Art Award
1989: 1st Prize Abstract Category 8th UOB Painting of Year Exhibition
1990: Highly Commended (Award of Merit) 9th UOB Painting of the Year
1990: Highly Commended IBM Art Ward
2003: World Guinness Book of Record for the world’s longest batik painting,measuring almost 104 metres
2005: Special Recognition Award (MICA)
2015: Pioneer Generation Achiever Awards, Tokoh Budaya dan Seni Melayu/
Islam Generasi Perintis, Berita Harian, Singapore
2020: Cultural Medalion¹⁴⁴
2021: Posthumous Jauhari Award, Berita Harian. (award received by Ika Zahri)¹⁴⁵

Selected publications
1991: Introspection
1997: Lyrics in wax: art of Sarkasi Tzee
2003: Sarkasi: mother & child: a preview exhibition of Sarkasi Said's Mother & Child South East Asia tour
2005: Tzee-trospection: A decade of Sarkasi Said
2007: Spectrum of the soul
2020: Bicara budiman Sarkasi Said

To learn more about Sarkasi Said’s reflections on the evolution of Malay art, his pioneering contributions to batik painting, his formative encounters with prominent artists and his perspective on the role of institutions in supporting the artistic community, you can access his oral history interview here.

Author
Hong Xinying

Updated By
Miranti Silasudjana

Refences
1. His IC however listed his date of birth as 21 March 1940 due to misprinting of the writing. So, for official purposes, Sarkasi used 21 March 1940 as his birth date. See: Sarkasi bin Said Tzee, oral history interview by Joyce Fan, 2 September 1997, MP3 audio, Reel/Disc 1 00:12-00:47, National Archives of Singapore (accession no. 001943)
2. “Sarkasi Said,” Esplanade Theatres on the Bay, last retrieved 2 August 2016.
3. Haryani Ismail. “Seniman batik Sarkasi Said dirai dalam dokumentari”. Berita Harian, 6 January 2021, 11 (From Newspaper SG)
4. Shahida Sarhid. “Sarkasi Said Perginya ‘Bapa Batik SG’”. Berita Harian, 16 October 2021, 10 (From Newspaper SG)
5. Ong Sor Fern, “Artist Sarkasi Said a batik champion.” The Straits Times, 16 October 2021, C3 (From Newspaper SG)
6. Mardiana Abu Bakar. (1988, March 24). “World View of Sarkasi,” Straits Times, 24 March 1988, 1. (From NewspaperSG); Sarkasi Said, Lyrics in Wax: Art of Sarkasi Tzee (Singapore: Tzee Creation, 1997), 34. (Call no. RSING 759.95957 SAR)
7. “Target Reached,” Today, 21 May 2003, 2. (From NewspaperSG); Ong Sor Fern, “Artist Sarkasi Said a batik champion.” A snippet of Sarkasi doing the painting of 100 metres long batik piece with orchid theme as reported by News 5 Tonight on 20 May 2003 can be viewed here https://www.nas.gov.sg/archivesonline/audiovisual_records/record-details/57cd6c7a-1164-11e3-83d5-0050568939ad (00:30-45)
8. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 8, full text pdf and interview videos also available in https://mlcs.moe.edu.sg/bicara-budiman-series/ [last retrieved 7 August 2025]
9. Said, Lyrics in Wax, 27.
10. Said, Lyrics in Wax, 28.
11. Said, Lyrics in Wax, 29–31.
12. Said, Lyrics in Wax, 30 and Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 158
13. Abu Bakar, “World View of Sarkasi.”
14. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 18
15. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 17
16. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 17
17. Note that Victoria Street is as per Sarkasi’s account but as per Singapore infopedia, it is located in Victoria Lane not Victoria Street.
18. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said,17
19. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 17. As a former Beattyan, Sarkasi contributed specially commission pieces to raise fund for the school and for the Arts House Budding Artists Fund in an event entitled Tzee-trospection: A Decade of Sarkasi Said. This is reported in the school newsletter Beatty vibrations, issue 1 (2005).
20. Abu Bakar, “World View of Sarkasi.”
21. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 20
22. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 20
23. Abu Bakar, “World View of Sarkasi”; Said, Lyrics in Wax, 19. To note that in Bicara Budiman Sarkasi Said, 21, Sarkasi recalled his age of leaving Beatty as 17-18 years old.
24. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 21
25. Abu Bakar, “World View of Sarkasi.”
26. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said,10-11
27. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
28. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
29. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
30. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
31. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
32. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
33. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 55
34. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
35. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 9-10
36. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 9-10
37. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 12
38. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 12
39. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 13
40. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 13-14
41. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 14
42. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 22
43. Said, Lyrics in Wax, 37
44. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 22
45. Said, Lyrics in Wax, 28.
46. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 10
47. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 10
48. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 10
49. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 6-9, 28
50, Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 28
51. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 31
52. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 30
53. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 8
54. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 11
55. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 11
56. Said, Lyrics in Wax, 33–34; Abu Bakar, “World View of Sarkasi.”
57. Said, Lyrics in Wax, 34.
58. Abu Bakar, “World View of Sarkasi.”
59. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 15-16 
60. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 40
61. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 43
62. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 43
63. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 43
64. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 44
65. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 44
66. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 44
67. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 44
68. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 44
69. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said
70. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said,
71. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 44-45
72. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 45
73. Ong Sor Fern, “Artist Sarkasi Said a batik champion.”
74. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 45
75. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 50
76. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 50-51
77. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 51
78. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
79. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 51-52
80. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 52-53
81. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 54
82. Said, Lyrics in Wax, 35; Abu Bakar, “World View of Sarkasi.”
83. Said, Lyrics in Wax, 35, 37.
84. Said, Lyrics in Wax, 37.
85. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 65
86. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 65
87. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 23
88. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 22-23
89. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 23-24
90. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 61-62
91. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 62
92. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 62
93. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 62
94. Said, Lyrics in Wax, 40.
95. “Sarkasi Paints Batik Prints on Dresses – for a Change,” Straits Times, 4 July 1978, 11; “Long-Drawn Feat,” Straits Times, 5 September 2003, 13. (From NewspaperSG); Zainul Abidin Rasheed and Norshahril Saat, eds., Majulah!: 50 Years of Malay/Muslim Community in Singapore (Singapore: World Scientific, 2016), 604. (Call no. RSING 305.697095957 MAJ)
96. Mardiana Abu Bakar, “The Art of Selling,” Straits Times, 20 March 1993, 7. (From NewspaperSG); “Bizfile,” Accounting and Corporate Regulatory Authority, last updated 5 December 2016.
97. Abu Bakar, “Art of Selling.” 
98. Said, Lyrics in Wax, 40.
99. Said, Lyrics in Wax, 40; Tuminah Sapawi, “Big on Batik,” Straits Times, 19 October 1992, 10. (From NewspaperSG)
100. Said, Lyrics in Wax, 15.
101. Said, Lyrics in Wax, 39.
102. Abu Bakar, “Art of Selling.” 
103. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 67
104. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 67
105. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 67-68
106. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 67-68
107. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 68
106. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 68
107. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 68
108. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 68
109. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 68
110. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 68-69
111. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 69
112. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 69-70
113. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 70
114. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 70
115. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 70
116. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 71
117. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 71-73
118. Ravi Veloo, “Hooked on Art,” Straits Times, 31 October 1993, 6; “Artist Praised for Contribution to Mendaki,” Straits Times, 18 July 1991, 20. (From NewspaperSG)
119. Tuminah Sapawi, “Ex-drug Addict to Hold Art Exhibition,” Straits Times, 23 October 1993, 4. (From NewspaperSG)
120. Said, Lyrics in Wax, 73
121. Said, Lyrics in Wax, 73
122. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 27-28 and Haryani Ismail, “Seniman batik Sarkasi Said dirai dalam dokumentari,” Berita Harian, 6 Janurary 2021, 11 (From Newspaper SG)
123. Said, Lyrics in Wax, 82; “Appointment of New Members to National Arts Council,” National Arts Council, last updated 5 December 2016.
124. Said, Lyrics in Wax, 17.
125. EZ-Link Pte. Ltd., “EZ-Link Launches Chingay 2014 Commemorative Ez-Link Cards Set,” press release, 7 February 2014.
126. Esplanade Theatres on the Bay, “Sarkasi Said.”
127. Fakhuradzi Ismail, “Pastikan legasi seni peninggalan ayah tidak akan hilang ditelan zaman.” Berita Harian, 23 December 2021, 6 (From Newspaper SG)
128. Melanie Heng, “Critics Called Him ‘Crazy’,” New Paper, 19 September 2015, 18. (From NewspaperSG)
129. Ong Sor Fern, "Cultural Medallion Batik Artist Sarkasi Said, 81, Dies from Kidney Failure." Straits Times, 15 October 2021.
130. “Pengarah mahu kisah Sarkasi jadi inspirasi seniman muda.” Berita Harian, 6 January 2021, 11
131. “Pengarah mahu kisah Sarkasi jadi inspirasi seniman muda.” Berita Harian, 6 January 2021, 11
132. Said, Lyrics in Wax, 27. And Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 8
133. Said, Lyrics in Wax, 27. And Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 8
134. Said, Lyrics in Wax, 27. And Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 8
135. Said, Lyrics in Wax, 27. And Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 8
136. Said, Lyrics in Wax, 27. And Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 9
137. Kamali Hudi, “Sarkasi Melekat Pada Batik,” Berita Harian, 26 June 2003, 13. (From NewspaperSG)
138. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 10
139. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said,11
140. “Kasih Ayah Dicurah Melalui Lukisan,” Berita Harian, 16 June 1987, 2; “Memupuk Harmoni Dengan Lilin Dan Canting,” Berita Harian, 13 May 2003, 27. (From NewspaperSG) and Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 11
141. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 159-160
142. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 159
143. Mohamed Noh Daipi and Rahmat Subadah, Bicara Budiman Sarkasi Said, 159
144. Fakhuradzi Ismail, “Pastikan legasi seni peninggalan ayah tidak akan hilang ditelan zaman.” Berita Harian, 23 December 2021, 6 (From Newspaper SG)
145. Fakhuradzi Ismail, “Pastikan legasi seni peninggalan ayah tidak akan hilang ditelan zaman.” Berita Harian, 23 December 2021, 6 (From Newspaper SG)

Further resources
1. Dua M Pte Ltd, Infusion. Episode 6, Media Corp, 2002–2005, videodisc. (Call no. RSING 782.1 INF)
2. Jamie Ee Wen Wei, “Artists Concerned About Centre Revamp,” Straits Times, 28 March 2010, 10. (From NewspaperSG)
3. Mayo Martin, “Different,” Today, 10 September 2007, 22. (From NewspaperSG)
4. MediaCorp TV12 Singapore Pte Ltd, Art Nation. Episode 13, MediaCorp TV12 Singapore, 2003, videodisc. (Call no. RSING 700.95957 ART)
5. Sandra Leong, “The Big Break,” Straits Times, 5 September 2003, 12. (From NewspaperSG)
6. Sarkasi Said, Introspection (Singapore: Tzee Creation, 1991). (Call no. RSING 759.95957 SAR)
7. Sarkasi Said, Memory: Black & White Sketches of Sarkasi Said Tzee (Singapore: Baoyou, 2002). (Call no. RSING 741.95957 SAR)
8. T. Sasitharan, “Wax-and-Dye in Vibrant Colours,” Straits Times, 14 July 1989, 21. (From NewspaperSG)

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The information in this article is valid as of October 2025 and correct as far as we are able to ascertain from our sources. It is not intended to be an exhaustive or complete history of the subject. Please contact the Library for further reading materials on the topic. If you have any feedback on this article, please submit it here.