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Beauty of material: selecting timber species for Malay woodcarving
Abstract
Selecting timber species is a significant factor in the making of woodcarving components of Malay architecture and crafts. Three determining factors are observed by Malay craftsmen in the selection of the timber including availability of timber, physical characteristics and durability, and craftsmen’s spiritual beliefs towards the timber species. These criteria address the intrinsic knowledge of the craftsmen upon the beauty and meaning of tropical timbers and hence in the identity of the carving. This knowledge must be address to the people for the appreciation of the carving and possibly taking woodcarving as a job or passion, setting pace for the woodcarving to prevail for many generations to come.
... The art of wood carving has spread throughout the Malay world probably due to the established patronage and knowledge of the art and craft. According to Ismail Said (2004), the selection of timber in architecture and craft depends on its physical properties (durability), availability of wood, and the Malay spiritual beliefs towards wood speices. The choice of woods for carving purposes depends on its availibality of the selected wood. ...
... Usually, kemuning (murraya paniculatum), kenaung (diospiros ebenum), ketengga (memillia caloxylon), chengal (neobalanocarpus heimii), angsana (pterocarpus indicus), and medang hitam (litsea myristicaefolia) were generally used for carving (Jabatan Muzium dan Antikuiti, 2005). Besides the selection of wood mentioned above, Malay craftmen also used woods from their surrounding environment such as ciku (archras zapota), nangka (artocarpus heterophyllus), rambai (baccaurea bracteata), nangka (artocarpus heterophyllus) belimbing (averhorra belimbii), bacang (mangifera foetida), kundang (bouea macrophylia), leban (vitex spp), sena (pterocarpus indicus), penaga laut (calophyllum inophyllum) and kelat jambu laut (syzygium grande) (Ismail Said, 2004). ...
Historically, the Malay craftsmen have created an attractive design and valuable traditional art form known as coconut graters (kukuran). The development of kukuran is closely related to its historical and Malay cultural background. The aim of this paper is to illustrate the form composition of traditional Malay kukuran, which are physical dimensions, material, shape, patterns, styles, and motifs. This study presents an analysis of twenty-five kukuran, which were gathered from the state of Terengganu and Kelantan. The discussion is focused on the formalistic aspects of the kukuran. The finding briefly shows the cultural fusion of the traditional Malay culture and religion (Islam) manifested in the kukuran design.
... Flowers, fruits, and plants were used widely in their carvings. The most commonly carved leaf designs were ketola, janggut keli, ketamguri, bakawali, kedudut, kembek, pucuk rebung, daun pulut, ketumbit, bunga kacang, kiambang, kiambang and others (Farish A. Noor & Khoo, 2003;Ismail Said, 2004;Zawiyah Baba (ed), 2010). However, the awan larat patterns can be divided into three types; awan larat Melayu, awan larat Jawa or cross pattern and awan larat Jawi (Suhaimi Hussin, 2006). ...
Woodcarving is a significant craft in Malay society that reflects the local traditions and customs. It is a manifestation of craftsmen artistic skills and intutitive ideas into a piece of wood. It is also manifestation of the creative process of imitation, denaturalization, stylization and abstraction. Historically, the Malay craftsmen have created many attractive traditional art forms and one of it is the coconut graters (kukuran). The ornamental carved kukuran is closely related to its Malay woodcarving tradition and philosophy. The aim of this paper is to illustrate this tradition of the great traditional Malay kukuran, the testiment of its time through its visual characteristics and design composition. This study presents an analysis of six kukuran, which were gathered from the state museums in Peninsular Malaysia. The discussion is focused on the formalistic and iconology aspects of the kukuran carving ornaments. The finding briefly shows the fusion of Malay concept of beauty, Malay culture and the understanding of Islam had been manifested in these domestic utensils - the ornamental kukuran
... Timber architecture which is identified as Malaysian vernacular style was employed in mosque architecture from the 18th century and continued to the current time (Ahmad, 1999;Feldman, Franseen, Joeckel & Heckel, 2005;Rani, 2012;Said, 2004). Another type of architectural style which was introduced and applied in Malaysia was the colonial style which was used in the design of various types of buildings such as government office buildings, palaces, residential houses and mosques. ...
Although several studies have been performed on floral and geometry woodcarving in Malaysia, far too little attention has been paid to calligraphy ornamentations. Further knowledge on calligraphy ornamentation in mosques is needed due to the variation of their writing styles (Jawi, Thuluth and Kūfi). This paper presents a discussion on calligraphy woodcarving decoration in terms of contents and writing styles. The Sultan Alauddin Mosque's ornamentations in Jugra, Klang were analysed descriptively as the case study. The results showed that out of ten different sentences used in the interior decoration, three sentences indicated Prophet Muhammad's statements (Hadith) and seven sentences showed Quranic verses.
Wood carving in Malaysia started as early 14th century. But most of the earlier works do not exist today because of the wood properties itself that are not durable due to weather, moisture and fire. Conservation of traditional timber buildings and documentation is needed as a step to preserving this inheritance. The Istana Kenangan (Memory Palace) in Kuala Kangsar, Perak is built mainly out of timber and enveloped by elaraiwalls(Traditional bamboo wall) . The significance of the building is not just as a typical traditional building but it is also a part of the Perak state history during the reign of the Sultan Iskandar Shah
Sultanate (1918-1938). The aim and objectives of this study is to identify the components of the palace that has a traditional decorations and wood carving motifs in order to establish the inventory of patterns on Istana Kenangan. The inventory of the patterns and motifs on Istana Kenangan is supported with measured drawings on the plans, elevations and decorative components detail drawing. The „case study method‟ is applied in this research. At the end of this research the uniqueness of this building is revealed and the significance of this palace is realized to be more important to conserve traditional architecture especially for the Perak regional style. The inventory produced can ensure this inheritance will remain for future generation and further studies.
Perancangan dan struktur ruang yang terdapat pada rumah tradisional melayu kelantan dianggap satu komponen penting di dalam identiti senibina melayu islam. Susunan ruang dan bahagian-bahagian komponen bangunan rumah melayu banyak disesuaikan dengan kehendak islam seperti pengasingan ruang lelaki dan ruang wanita. Penumpuan tesis ini melibatkan rumah jenis tiang dua belas di negeri kelantan melalui analisis lukisan terukur yang diperolehi daripada ’the centre for the study of built environment in malay world melayu’(kalam). Ia menggunakan kaedah kualitatif analisis kandungan dengan menggunakan pendekatan deskriptif atau ’exploranary research’. Instrumen yang digunakan adalah temubual berstruktur. Ia dikaji melalui pengamatan, penerokaan dan penghuraian terhadap aspek susun atur ruang melalui ideologi islam yang menyebabkan perubahan nilai, estetik dan orientasi pemikiran di dalam reka bentuk rumah tradisional melayu kelantan. Planning and spatial structure found in traditional Malay house Kelantan is considered an important component in the architectural identity of the Malay Muslims. Spatial arrangement and component parts of buildings Malay houses many Islamic customized spatial isolation of men and women separate. Convergence thesis involves twelve pillars of the house in Kelantan through analysis of measured drawings derived from 'The Centre for the Study of Built Environment in the Malay Malay World' (KALAM). It uses the method of qualitative content analysis using descriptive approach or 'exploranary research. The instrument used was a structured interview. It was reviewed through observation, exploration and elaboration of aspects of the layout of the space through which the Islamic ideology of changes in value, aesthetics and orientation of thought in the design of traditional Malay house Kelantan.
Woodcarving in vernacular timber mosques of Peninsular Malaysia and Southern Thailand is a manifestation of a craftsman's idea into a piece of timber. It is a craft that is generated and nurtured from careful observation by the Malay craftsman towards the surrounding landscape elements particularly of plant forms. The manifestation is always in abstraction, symbolizing the plant feature or geometry into three types of architectural components, namely, structural, elemen- tal and ornament. Cengal timber is the favorite hardwood species for carving which is carved either in relief or perforated manner. The significant effect of woodcarving in the mosque is that it enhances beauty and introduces symbolism to the vernacular architecture of the Pattani region. Although the skills of this craft are fast diminishing in the present Malay society, its revival could be generated through informing the public about the beauty of the craft.