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Procedia - Social and Behavioral Sciences 90 (2013) 823 - 831
6thIntemational Conference on University Learning and Teaching (InCULT 2012)
Tradition and transformation: the structure of Malay woodcarving
motifs in craft education
Sumardianshah Silaha*, Ruzaika Omar Basareeb, Badrul Isaa, Raiha Shahanaz Redzuana
aFaculty of Education, Universiti Teknologi MARA, Shah Alam, 40200, Malaysia _bFaculty of Art & Design, Universiti Teknologi MARA, Shah Alam, 40450, Malaysia_
Abstract
Malay traditional woodcarving is one of the Malays' most intricate and amazing heritages. It is also a symbol, representing our beloved Malay arts, and thus acts as an identifier to our country. The legacy of woodcarving inheritance is passed through many generations until today- therefore, it is only logic to preserve and uphold such traditions. An aim to study the structure of Terengganu Malay traditional woodcarving motif based on interpretations of Malay Aesthetic principles and elements is being applied to new motifs design to contemporary artwork, namely, painting and installation art. The artist's statement is related to a master carver to create the new motif design with interpreting Malay aesthetic principles and elements in their work. Based on collective information, it can be said that the structure of Terengganu Malay traditional woodcarving motif is determined by three steps of structural motif. The findings of these three steps to structure motif are vital in understanding the intricate artworks of woodcarving motifs. It should be used as guidelines by those who are related in the artwork field such as artists creating new designs, thus giving meaning and depth to overall work, without sacrificing the unique Malay aesthetics and identity. The topic of creating motifs and patterns according to culture, tradition and heritage should also be introduced in the syllabus of Visual Art Education (Craft Education Topic) in secondary schools and also in the Department of Art and Design Education, Faculty of Education, UiTM.
© 2013TheAuthors. Publishedby ElsevierLtd.
Selectionand/orpeer-reviewunderresponsibilityofthe FacultyofEducation,UniversityTechnologyMARA,Malaysia. Keywords: The motif structure, woodcarving, craft education;
1. Introduction
The art of Terengganu woodcarving is known as Malay traditional skills for generations. Previously, the woodcarving activities were done during the time after the fishermen and farmers had effectively finished their catches and harvesting during the monsoon season. During the rainy seasons, the Terengganu Malays took
* Sumardianshah Silah. Tel: +6-017-978-1914; fax: +6-03-5522-7412 E-mail address: sumard02@salam.uitm.edu.my
1877-0428 © 2013 The Authors. Published by Elsevier Ltd.
Selection and/or peer-review under responsibility of the Faculty of Education, University Technology MARA, Malaysia. doi:10.1016/j.sbspro.2013.07.157
advantage of the monsoon period to create woodcarvings as their side income. But now, the art of woodcarving has become more commercialized in practice. Some Terengganu's wood carvers have succ eeded in introducing their most artistic woodcarving to be used in the government buildings. Nowadays, the woodcarving activities are no longer very popular. Woodcarvings have been a side income career for some craftsmen in Kelantan, Terengganu and Pahang. Woodcarving has always being connected with the production of furniture, the main gate, houses, women accessories and the construction of the sampan. However, now, same woodcarvings found in furniture, houses and buildings are carved by woodcarver artisan who came from outside of Malaysia. The development of this industry has been developed by all carvers from Malaysia and neighbouring countries.
2. Background of Study
This study is a visual research about the Terengganu woodcarving motif. In this study, the art of Terengganu woodcarving are looked from two different aspects which are the structural aspect and the motif aspect. The Advance Learner's English - Malay Dictionary (2003) stated that the 'Structure' means the way in which something is put together, organized, and built or how one part is related to another. It also means anything made of many part or any complex whole. This research studies the structure in the Malay traditional woodcarving motifs and how the elements are organized or arranged to form a whole motif. In traditional woodcarving, the motifs which are part of a decoration, carved in two dimensions or three dimensions, are then arranged to create the decorative design or pattern. (Muhammad AfandiYahya, 1995, p.108) Understanding the structure will benefit the artisan tremendously in motif designs through an arrangement of some or whole elements in a pattern.
Siti Zainon (1986), defined three basic developments in order to create the Malay traditional motifs. Arrangement of visual elements and motifs create a whole form and this is also known as pattern or design in the Malay traditional crafts. Development of the motif form begins with the basic visual elements such as dotted elements, lines and colour. (p. 12-15). She has also defined three basic phases of motif development which begins with dotted elements and lines, the form of the motif and the last phase is the arrangement of the motif. In the first phase, the dotted element will develop various lines such as horizontal, vertical, meander, intersection, spiral and others. The second phase of the development defines the carving of the continuous long lines, meander lines or curve lines and edging lines to create some forms. Most of the basic motif forms which are used in the traditional Malay craft are circle, square, diamond, hexagonal, and the triangle which is also known as the bamboo shoot and others. The third phase is a combination of the same motif in one situation to create a pattern. Diversities enhance the appearance of patterns through positive and negative side. In the third phase, Siti Zainon Ismail (1986) has also defined seven general patterns used as a decoration. They are the horizontal pattern, vertical pattern, slanting pattern, chess pattern, square lattice pattern, diamond pattern and triangle pattern. This research study has analyzed the implementation of Siti Zainon's theory (1986) on the three basic developments of motifs in determining the structure in the Malay traditional woodcarving motifs.
3. Literature Review
Today, many young designers, artists, and architects cover up the weaknesses of the motif design according to their own standard without considering the aesthetical elements that should be included in designing motifs. The placement angle, structure, and the development of idea of the motifs are usually being ignored. The action of ignoring the motifs design that should have their own meaning, creativity, and aesthetical norms, can be considered as disrespect towards the previous woodcarvers and also their intellectual knowledge. Today, many of us tend to copy the motifs without understanding the beauty of the traditional woodcarving motifs. If this continues, there might not be any more real woodcarving motifs in the future that contain the real aesthetical value of Malay traditional woodcarving style. Therefore, it is vital for us to study deeply and in detail about the content of the motifs structures before creating a new motif inspired by woodcarving activity. According to Mohamad Tajuddin (2005), modernization is the main issue that caused the problems in producing the Malay woodcarving motifs. The
question is - how do we study the structures within the woodcarving motifs according to interpretation of elements and the aesthetic elements in the Malay cultures today?
4. Research Methodology
This study used the qualitative method by using the historical research method and studio practice or artistic research method. These methods allow data to be collected from various sources. Qualitative research includes multiple ways in deciphering and also in using naturalistic approach in answering the research questions (G. Lodico, T. Spauldingdan H. Voegtle: 2006). The historical research method used three different approaches in collecting the data. One of the approaches was the informal interview with Wan Po, a renowned traditional wood carver. Documents and data were analysed using three methods which are (1) informal interview with Wan Po, a woodcarver, analysis of documents which included magazines, brochures, galleries and photo documentation from visits to art carving galleries in Museums and Art Galleries, video presentations as well as woodcarving exhibitions at Wan Po's Gallery. (2) The second method used involved is studio-practiced research whereby the researcher used visual analysis to collect data through sketch documentations, drawings thumbnail sketches, Pre-comprehensive sketches, Comprehensive, full-scale drawings and final pieces created via the conventional art medium or new art mediums such as Adobe Photoshop or Illustrator. (3) Data were also collected from studies done from studying the pieces done by visual artist by looking at the contents and the meanings behind the pieces produced by the artists. One of the uniqueness and strengths in practicing studio-practiced research lies upon the researcher and the ability to manipulate visuals (Eisner, 1981; C. Marshall & Rossman, 1999; J. Marshall, 2007). Other than that, grounded theory was applied in collecting and analysing primary and secondary data. The theory will combine a collection of history and background information according to a systematic and arranged manner as proposed by Edward Burke Feldman and J. J. Winckelmann.
Grounded Theory
J. J. Winckelmann
Edmund Feldman
Collecting all from any v Categorize the data into 1
type of resources '—|— -y> group L--
Arrange the data and >start to do analysis - new possibilities
USING THE DATA -
based on finding; choose
the data for make a structure & producing an artwork
Edmund Feldman (1924) -Theory Art History / Art Criticism
TO DESCRIBE
author, title, year,
publisher, place, URL, ISBN, article year, etc.
TO ANALYZE
> discuss the citation chronologically, comparatively, facts against facts, opinion reason, cause effect.
TO INTERPRET
based on analyze that data, interpret the data [
into the new form or new possibilities.
TO EVALUATE/ JUDGEMENT
An evaluation the data ' and select the exact data for well-done arranging for further use.
Fig. 1. (a) Step 1: Grounded Theory; (b) Step 1: Theoretical Framework
5. Finding
5.1. Step 1: Basic Form - Basic Structure from Circle, Square or Polygon
Before drafting, the two basic structures refer to as the basic frame for plotting the motif (circle and polygon shape). According to Siti Zainon's theory (1986), the first and second phase of the motif creation in the Malay traditional craft uses the circle and polygon shapes as a basic frame. The circle is usually the basic shape while others such as the square, hexagon, triangle and polygon can be used as well. All the basic shapes are also used as frames, serving as the border or boundary in constructing the motif structure. Selection of a shape as the basic structure depends on the final function either as a decoration or placement. Abdullah Mohamed or Nakula's concept (1978), about God and Universe has stated that the circle is the essence of Allah. The circle, based on the moon shape, symbolizes the 'heart' where as the sun symbolizes the 'essence of God'. Most of his concepts begin with the circle creating the symbol of the lotus flower, the moon and the Wau (traditional kite). This clearly states that the shape of the circle has its reasons and meanings in the concept of God in Malay art interpretation. Keith Critchlow (1976) in his research about Islamic Patterns based on the analytical and cosmological approach has defined that the circle is the basic shape for other polygon such as square, hexagon, triangle and other polygon. Because of its divisibility, the circle is the basis for all polygonal geometric design. However, Syed Ahmad Jamal (1992) has defined the cosmos element as one of the Malay woodcarving elements. From the basic circle, it divides into a general semicircle structure known as a Potong Limau (lemon slice) and a quadrant. The semicircle is usually used as the motif Gunungan on top of the entrance doorway. The basic square structure is commonly used in the Malay traditional woodcarving.
A square is a common structural unit for all the polygonal designs, widely used in multiples of four. It is similar to the geometric element used in the Malay woodcarving motif as defined by Syed Ahmad Jamal (1992). The square shape represents a symbol of earth, materiality, and boundary between the internal and external world in which human behaviours have their limitation and guide. This view is further supported by Zakaria Ali (1989). It is from the basic square that the design base can be expanded into a design base, those of horizontal rectangle, vertical rectangle, quadrant and triangle in shapes. The triangle represents the symbol of human consciousness. It is commonly used as a base for brackets (sesiku) reducing the sharp 90 degree angle, a principle of opposite (berlawan) in Malay aesthetics. Having chosen the basic structure, either one of the four-arabesque structures is needed in the Malay traditional woodcarving motif. Ismail R. Lamya Al Faruqi (1992) has defined the four different structures as the multi-unit structures, the interlocking structure, the meander structure and the expanding structure. The first two structures are discontinuous and the rest are continuous. Most Malay woodcarving motifs exercise one of these structures. In Abdul Halim Nasir's (1987) analysis, these four structures have similarities. He has defined three patterns in the woodcarving motif. They are the complete pattern (pola lengkap), the single pattern (pola bujang) and the combination pattern. Figure 1 shows a diagram of the steps in understanding structures used in the Malay woodcarving motif.
STEP 1:
Basic Form - Basic Structures from Circle, Square or Polygon
/ O On
Vertical Rectangle Horizontal Rectangle / Triangle et Semicircle Qua d- drant Half-Polygon
STEP 1:
Basic Form - Basic Structures from Circle, Square or Polygon
Complete Pattern
Combination Pattern
Single Pattern
Complete Pattern
Step II: Basic Outline — Base Structure from Spiral
* » A l|\0\
The details of the flower motif, usually used by Malay traditional customs, medicine and religious
ceremony are formed from circle based shapes. Each flower symbolises different meaning and
interpretation.
Step III: Detailed Interpretation and Symbolised of the motif
BungaCengkih
(Clove Flower) Used as herbs in traditional cooking for flavour and
sweet smell
Ketam Guri Usually used in wood carving motif to symbolised Semangat or spirit
Bunga Teratai
(Lotus Flower) Symbolised for faith, belief and purity
Fig.2. (a) Step 1: Basic Structures from Circle and Square; (b) Step 1: Basic Structures from Circle and Square; (c) Step II: Basic Outline - Base Structure from Spiral; (d) Step III: Detailed Interpretation and Symbolizing of the motif
5.2 Step II: Basic Outline - Base Structure from Spiral
The next phase is the spiral and sinusoids lines used as the base structure to support the main motif structure. In the first phase, Siti Zainon (1986) defined that the creation of the spiral and meander lines (sinusoids) begins from the basic dotted elements or lines in the basic visual elements. In Malay woodcarving, the element of plants and the cosmos are integrated in a motif as the manifestation of nature's beauty and the great creation of Allah. Plants and cosmic forms are translated into a shape or structure based on the spiral. According to Claude Humbert (1980) in his research based on the mathematical geometry approach, the spiral will complete the sinusoid as the structural basis for foliage and decoration. However according to Syed Ahmad Jamal (1992), the cosmic element Awan Larat is variedly translated as floating clouds, parading clouds and meandering clouds but the floral elements are based on the characteristic of the tendrils and stems as part of the Malay design. The variation of structural lines (spiral and sinusoid) has given a considerable range of possibilities, particularly in foliage decoration. The idea is also represented in Malay literature by Abdullah Mohamed or Nakula (1978):
"...sprouting, bending not pointing upward, pointing downward but not"
(Abdullah Mohamed: 1978)
Nakula (1978) described that the foliage in the woodcarving motif represents the nature of the plant's biological character and it relates to the character of the spiral and sinusoid structured lines. The sinusoid structural line comes as three basic characters, which are single-stranded (narrow or wide), double-stranded plait and plait with two parallel strands. These characteristics are usually used in the Malay traditional woodcarving to interpret the plant and cosmic elements of the Malay woodcarving motifs. A combination of two structural lines also creates intersection-like structures and other structures in the woodcarving motif. Figure 4.4 shows a diagram of the second step in understanding the structure used in the Malay woodcarving motif.
5.3 Step III: Detailed Interpretation and Symbolized of the motif
The last phase in the structure of the woodcarving motif base is a combination of the first and second phase structures with added details on each motif. The circle, spiral structure lines are used to construct the details. This phase also represents the elements of the intricate, beautifications and fineness of Malay aesthetics. Each motif symbolizes the meaning of the carving itself. For example, the lotus flower symbolizes purity and faith. Symbolism is part of the Malay aesthetic principles. Most of the elements used in woodcarving motifs have their own meaning and interpretation. Symbolic meanings in the woodcarving motifs are influenced by the Malay customs, religion, daily life activities and nature. Examples of the plant element used in a woodcarving motif are the Bunga Cengkih (clove flower) which is used as herb and spice for flavour and sweet smell in the traditional cooking. The Bunga Teratai (lotus flower) is used in woodcarving motifs to symbolize faith, belief and purity of the human character. The Ketam Guri, a flower usually used in woodcarving motifs to symbolize Semangat or spirit. The structure must be balanced and harmonious with the whole structure. Based on the characteristic of the motif, it is arranged proportionately to be framed or in boundary during the first phase. The main structure line should move in parallel and interlaid with the flower and leaf motif in order to make the eye focus on the internal area of the motif. Figure 4.5 shows a diagram of the third step in understanding structures used in the Malay woodcarving motif.
5.4 Step IV: Craft Education Artwork
The topic of creating motifs and patterns according to culture, tradition and heritage should be introduced in the syllabus of Dunia Seni Visual in primary and Pendidikan Seni Visual in secondary schools. In primary schools' syllabus be it the KBSR or KSSR, students are encouraged to produce art pieces to show their appreciation towards arts and our heritage. In the Pendidikan Seni Visual KBSM, introduction and the stress on arts crafts like Batik, embroidery (Tekat), cross-etching, ceramics etc. need the students' creativity in creating and interpreting the respective crafts and their traditional motifs. Hence, through the study done on structures of Malay woodcarving, students will be able to create new motifs according to the steps discussed above. At the tertiary level, Universiti Teknologi MARA for example offers programs such as Art and Design Education in Faculty of Education as well as Faculty of Arts and Design where students are given courses such as ADE 630: Craft Design and Function and ADE 680: Craft Design and Society. Both courses require students to expand their ideas in creating new motifs for arts and crafts products like Batik, embroidery (Tekat) and beads embroidery, ceramics, book crafts, shadow puppet etc. Hence, with the 3 step approach in creating a motif through Malay woodcarving structures, students will be able to apply them in creating new motifs in their art pieces.
6. Conclusion
In conclusion, this study describes the connection between the motifs of the traditional Terengganu Malay woodcarving artworks with the philosophical values of the Malays. The aesthetical values of the Malay traditional style are also being stressed and not neglected. It is important for the new generation to really understand the process
of creating the motifs. This will ensure that the motifs bring along the original values and so that the heritage and the traditional culture can be preserved. It is hoped that by conducting further future research which are more thorough in nature, the production of the motifs by younger generation will be done with true understanding of the traditional motifs, one which is not affected by the global modernization as it has becomes an inspiration to my artwork.
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