Architectural: A sketch of communal Batak houses in Medan,North Sumatra by Father Mudji Sutrisno.

It all began when Romo (Father) Mudji ' as Mudji Sutrisno is commonly called ' returned to Rome, Italy, for what he called a 'teaching vacation' in 2010. He used the opportunity to resume his past activity of making sketches.

In the mid-1980s, when he was following his master and doctorate programs at the Gregorian University, Rome, he would sometimes leave campus and compose some sketches.

The objects he sketched were originally historic buildings, churches, city parks, fountains, private homes and old corners of Rome. Engrossed by drawing, this pastime continued and later became a necessity even after returning home.

The sketches he made over the years finally became a kind of travel log, as reflected in the title of his recent exhibition, 'Sketches of Mudji Sutrisno's Journey', held at the Balai Soedjatmoko building, Surakarta, on April 18-25.

Around 120 sketches were on display, all drawn on white paper with a 0.5 black-ink pen. Mudji divided his work into two groups, naturalist and reflection.

The first comprised sketches created out of direct observations in realistic forms like churches, mosques, temples and boulevards. The second presented results of his reflection on objects and events. Apart from this, the sketches depicted his journey encompassing Solo, Magelang (Central Java), Rome, Thailand, Vietnam, Laos and Cambodia.

Theological: One of the sketches of the Angkor temples, Cambodia, from Romo Mudji's journey on show at the Balai Sudjatmoko building, Surakarta, Central Java, April 18-25.
'Sketches are modest and honest works. Having a dialogue with objects and events for further transfer through scratches onto paper is an attempt to become more straightforward,' he said.

The lines scratched by Mudji formed whatever he wished. More than merely making sketches, Mudji also frequently added thoughts and additional information about the objects represented.

The one of the public piazza in Rome, for instance, while portraying a church, shopping center and open space complete with park lamps, also carries the note that public space is an urban necessity for citizens.

In the sketch of the Trevi Fountains, near the Gregorian University, Mudji adds to his depiction of the historic city monument the message that if you toss a coin into the fountains, you will be assured of a return to Rome.

Most of the themes of the sketches drawn in Rome are derived from the city's historic corners, churches, cathedrals and city parks steeped in the nuances of the Middle Ages.

Mudji also sketches simple objects generally overlooked by tourists, such as fruit, bottles, breakfast menus, spoons with stomachache powder and backpacks. His fruit sketches are meant to allude to local fruits like papaya, mango and citrus now being cornered by imported products.

Autochthonal: One of the sketches in the Borobudur series.
This program also showcased Mudji's tour of Angkor temples in Cambodia along with journalist Seno Joko Suyono. In the Cambodian series, he made not only scratches but also strokes, coming from certain ink lines that might have been finger-rubbed, with a dark-and-light effect on the pictures.

Although only a sketch, The South Gate of Angkor is rendered to look like a grand stone structure. The same is true of Bayon Temple, giving prominence to Brahma's facial expression in the middle, with elongated stone banks filling both sides.

Quite a number of suns (perhaps also moons) can be found in Mudji's work. In Angkor and The Moon, he has drawn four temples with a full moon above. The feet of the four monuments are scratched downward like roots penetrating the earth. Through this sketch, Mudji apparently wishes to convey his message of their age, now already centuries old.

Similar features are seen in Ta Phrom, the sketch of a temple and a soaring tree without leaves. The roots of this tree appear to be piercing the ground, further descending as if holding the cracks of the temple. Mudji described Ta Phrom as temple-mimicking tree roots.

In the section on Phnom Penh, his sketches mostly present communal houses as well as churches. Other than places of worship, the exhibition also included Indonesia's regional cultures, with sketches from Bali and Solo illustrating the Melasti ritual, Mangkunegaran court dance, shadow puppets, kris and Borobudur Temple. From Medan, North Sumatra, Batak communal houses and mosques are featured.

The second group in this exhibition was made up of emanations of his reflection. These works were not created out of direct observations on the spot. They originate in occurrences that deeply moved him as well as his interpretations of nature and surrounding phenomena.

Autobiographical: A visitor contemplates sketches by Mudji Sutrisno at the Balai Sudjatmoko building, Surakarta.
In RIP Prayer, he sketched two lines crossing near their tips, with boats ready to sail on either side. This rendering was made in memory of two priests and colleagues of Mudji's generation, who had passed away.

Another sketch has a single straight line going down, forming a triangle and again going straight. Its title, Patah-patah (Broken line), is meant to suggest the non-linear nature of human life.

These non-natural sketches seem to connote more profound significance, speaking of tranquility, silence, resignation, and calmness. In Hening Bukit (Silence of the Hill), for example, its serene atmosphere can be felt with only three scratched lines.

Mudji also expressed his views on the locations and objects sketched. Among other things, he writes that Vietnam, Thailand and Laos mirror how Nusantara (the Indonesian archipelago) and Buddhism strongly influenced neighboring countries through the cultural path. At the same time, he asks questions about nature and environmental conservation: in Laos, Luang Prabang, fascinating green hills offer nature's charm. What about our motherland?

The sketches on show were indeed products of simplicity. However, amid such features of a modest nature, not everybody is sensitive enough to sense and later communicate to the general public in order to share their significance. More than just scratching lines, Mudji is prepared to delve further into everything for his exotic and esthetic works.

'I do hope visitors will be able to perceive their own journeys through these sketches. Amen,' added Mudji.

' Photos by JP/Ganug Nugroho Adi