b)Fauna motif ----- bird, lizard
so kalau awak tengok dalam nota memang saya dan bagi tentang kedua-dua motif ni. And yang selalu keluar dalam exam adalah tentang Flora motif, for example kalau awak semua tengok dalam nota slide yang ada gambar triangle, itu adalah pucuk rebung, selain tue, kita ada juga bentuk seperti four petal flowers or eight petals flower. 

so pay attention on the motif.
Selain daripada tue, prinsip Zakaria Ali juga di gunakan untuk membuat appreciation dalam gambar2 textile. Contohnya kalau awak tengok balik soalan exam tahun 2018, semester lepas, ada satu gambar textile kain (sila rujuk kembali soalan test) saya bagi soalan yang sama. 

Prinsip Zakaria Ali ada 5 sahaja, and ke lima-lima nie awak perlu guna,
contohnya kalau dia bagi satu gambar textile, so gunakan 5 prinsip Zakaria Ali,
1. Bersatu dari segi ?
2. Berlawan dari ?
3. Berguna
4. Berhalus ?
5. Berlambang....
so di mana nilai estika sesuatu tekstil tu.... FAHAM TAK?

ok kalau faham... kita try buat exercise nie yer...
1. Elaborate on the plant motifs depicted in the Islamic textiles of the Malay world. Provide examples to support your answer. (10 marks)
2. Describe this artwork by using Zakaria Ali's five concepts of aesthetic values.

Awan Larat have two type, which is Awan Larat Melayu Asli and Awan Larat Jawa. Awan Larat Melayu Asli also known as Awan Larat Jawi. Its shape has a large and rare flowers. Its pattern start from one place and destroys another space. The stem is twisted and collided with its soft-folding leaves. Awan Larat Jawa is smaller than Awan Larat Melayu Asli. The leaves and flowers very close together. There are lots of flowers and leaves overlapping. The leaves form straight and doubled.

1.      Textile derived from Latin word TEXERE means to WEAVE. It can produced in many ways such as through embroidery, lace, knitting and weaving. It involves the decoration process and technique of printing and dying threads of plain materials. Various type of design are formed on the textiles. Textile art in malay cover a wide range of creation techniques. It can be created with the dating techniques embroidery, crochet, knitting, meruji thread (embroidery) and weaving. Also involves the process of textile painting and dyeing techniques yarn or fabric base (white). Through various techniques, textile can be formed with the appearance of various decorative motives. Examples is waven, batik, embroidery, and limar.

 

2.      Five concepts of aesthetic value is berhalus, berguna, bersatu, berlawan and berlambang. Berhalus is a form of spiritual process taken or adopted from the nature. Berguna is demonstrate the sharing quality practice among the malay society. Bersatu is the unity from the beginning process until the end. Berlawan is the combination of various design help to soften the tension derives from design. Berlambang is the principles emphasize of symbolism that potray the unity of form and content.

1.      Discuss the ‘awan larat’ design in metalwork of the Malay world. 

 

          Awan Larat defined as a form carving that twited and swirling as white cloud flowing in the sky. Awan Larat also defined as a pattern that has specific rules. It can be drawn in varieties of patterns such as cloud, wave, smoke and many more. Awan Laratwas inspired from nature of clouds flow through the wind. Some said that Awan Larat name was taken from a small child named Awang who scratched the ground that turn into beautiful shape. Awan Larat is the most honored pattern in appreciation that related with Seni Ukir Melayu Klasik. This type of carving is not cared as symmetrical motif. 

 

          The Awan Larat are divided in two typed which is Awan Larat Melayu Asli and Awan Larat Jawa. Awan Larat Melayu Asli has a large and rare flower in shape. The patterns are started from one place and swirling into another space. The stem is twisted and collided with leaves. While Awan Larat Jawa has a smaller shape than Awan Larat Melayu Asli. There are lots of overlapping flowers and leaves. The leaves shapes are straight and not folded. 

 

 TEXTILE IN MALAY WORLD

1.      Elaborate on the plant motifs depicted in the Islamic textiles of the Malay world. Provide examples to support your answer. (10 marks) 

                                     

          In Islamic textiles of the Malay world, there are many textile that can produce in many ways of design are formed on the textile. Such as through embroidery, lace, knitting and weaving. There are various types of design and technique can be formed with the appearance of various decorative motives. There is characteristic in Islamic textile of the Malay world which is motif.  They were using plant motifs in textiles. Plant can be defined as plants that exist in a place and time.  Plants are important role in life on the living things and the development of human culture. Therefore, plants are often used as a dominant motive and inspiration especially to Malay motifs designer. The main focus of these motifs is shoots, flowers, petals, and fruits such as pucuk rebung, tampuk manggis, and bunga teratai. 

    

          Pucuk rebung motifs are the main decoration on the surface of the Malay songket especially in the fabric head. Tampuk Manggis also the preferred choice of songket woven designer. Bunga teratai is usually in batik and symbolic as one of the principles in lives. Flowers are often used as a symbol of nature and divinity. 

 

2.      Describe this artwork by using Zakaria Ali’s five concepts of aesthetic values. 

 

          There are five aesthetics principles in the Malay crafts by Zakaria Ali. The first principle is berhalus. Berhalus is a form of spiritual process taken or adopted from the nature. Creativity and stylization of design among the Malay refers to nature. It is seen as an Islamic process of stylization. 

 

          Second, is berguna. Berguna is the principle that demonstrate the sharing quality practice among the Malay society. In a way it reflects the practice of egalitarian philosophy in the Malay society. Most invention created and developed are to be shared and own by the society as a whole. 

 

          Third, is bersatu. Bersatu is demonstrate the unity from the beginning process to the end. 

 

           Fourth, is berlawan. This berlawan is a combination of various design that help to soften the tension derives from design. The objective of having additional three dimensional design of tetupai in structure of the Malay meeting of the vertical and horizontal frame. 

 

           Fifth, is berlambang. Berlambang is the last five aesthetics principle in the Malay craft. This principle emphasize of symbolism that potray the unity of form and content. 

 

1)      Awan larat is a form of carvings,swirling like white clouds marching.Pengukir wan Mustapha Wan Su defines,Awan larat can be drawn with various shapes and the elements-elements that can be compounded are like ,wave,smoke,clouds,man’s beard,eyebrows,eyelashes,fish tail and plants.Some people say that this name is taken with name of child who’s name Awang because he makes the wavy line and form a beautiful pattern.Awan larat was divided  by two which is Melayu Asli or also as known as awan larat jawi and Awan larat jawa.The difference between awan larat melayu asli and awan larat jawa is the character and the pattern design, awan larat melayu asli,the shape of flowers are large and rare also starting from one place and spreading to another space.It has a coiled stem pattern and soft folded leaf pattern.Another one is,awan larat jawa,the design of awan larat jawa are smaller than awan larat melayu asli , the flowers design are very close and there are lots of flowers and leaves overlapping,also the leaves form straight, and not folded.

 

 

1)      Textile derived from Latin word TEXERE means to WEAVE. It can produced in many ways such as through embroidery, lace, knitting and weaving. It involves the decoration process and technique of printing and dying threads of plain materials. Various type of design are formed on the textiles. Textile art in malay cover a wide range of creation techniques. It can be created with the dating techniques embroidery, crochet, knitting, meruji thread (embroidery) and weaving. Also involves the process of textile painting and dyeing techniques yarn or fabric base (white). Through various techniques, textile can be formed with the appearance of various decorative motives. Examples is waven, batik, embroidery, and limar.

 

2)      In this artwork,they are using zakaria ali’s five concept of aesthethics principles ,the first one is BERHALUS ,berhalus is a form of spiritual process taken or adopted from the nature,as we can see,this artwork pattern has natural elements like leafs and flowers.Also BERGUNA,berguna is demonstrate the sharing quality practice among the malay society.After that is BERSATU. Bersatu is demonstrate the unity from the beginning process to the end . In this design which is the design has continued pattern on the triangle pattern . Other than that is BERLAWAN. Berlawan is the combination of various design to help soften the tension derives from the design. In this design, they have put  another various design like dimensional design to reduce sharpness and tension. And the last is BERLAMBANG. Beralambang is emphasize of symbolism that potray the unity of form and content. In this design 

 

1.Elaborate on the plant motifs depicted in the Islamic textiles of the Malay world. Provide examples to support your answer. (10 marks)

Plant motives are often used in textile in the Malay world. Examples of plant motives can be found in most textiles in the Malay world, like batik, songket and even embroidery. Motives such as pucuk rebung and tampuk maggis. Plant motives are used in the form of stylization, denaturalization and abstract, borrowing the creative process of Islamic art as a medium of reference when creating an artwork as Islam as Islam rejects the idea of representing the Devine with figures from nature. 

2.Describe this artwork by using Zakaria Ali's five concepts of aesthetic values.

The artwork uses Zakaria Ali’s five concepts of aesthetic values. For example, under the concept of Berhalus, we can observe that the artist used a stylized version of nature, such as stylized leaves and other motives. Under the concept of Berguna, the artwork is used as textile, under batik. The production of this artwork boosted not only the artist’s name in the textile industry, but also Malay textile artists in whole. Next, under the concept of Bersatu, we can see the unity formed in the artwork through repetition of motives throughout the artwork to create a pattern, from the beginning to the end. Under the concept of Berlawan, the contrasting colours of the red and black in the artwork provides ease to the tension throughout the artwork, thus creating a balanced artwork. Finally, under the concept of Berlambang, abstract and stylized motives are used to portray meaning in form and context.

 

Metalwork & Jewelries in Malay World

1.Discuss the 'awan larat' design in metalwork of the Malay world.

Metalwork of the Malay world uses ‘awan larat’ designs. Metalwork of most material uses ‘awan larat’ motives of foliage and flora. ‘Awan larat’ motives are defined as forms of carvings (in this case metalwork) that coils and twists like marching clouds. There are two types of ‘awan larat’ motives, awan larat melayu asli and awan larat melayu jawa. Awan larat melayu asli has big flowers and they are spaced apart from each other, with curling braches that starts from one spot and expands meeting with leaves and filling up the spaces. Awan larat melayu jawa on the other hand, have smaller flowers, the leaves and flowers are placed close to each other until they overlap each other, and the leaves are straight and not bent. Examples of ‘awan larat’ in metalwork can be found in works of silverweres and jewelry.

 

Awan larat is a form of carvings, twists and turns, swirling like white clouds marching. Wan Mustapha Wan Su, the carver defines the cloud as a type of pattern design that has specific rules. It can be drawn in various forms.The examples of dissolved elements are waves, smoke, clouds, human beard, eyebrows, eyelashes, fish tails, types of chicken / bird species, chicken / bird bones and plants.

 

 

1. Elaborate on the plant motifs desipcted in the Islamic textile of the Malay world. Provide example to support your answer

The plant motif depicted in the Islam textile of the Malay world is flora motif (pucuk rebung). Pucuk rebung’s motif inspired by the nature. Normally used color red. brown, blue, yellow, pink and black. Rebung is a young shoots grown from bamboo roots. Tapered upwards, large base parts and increasingly upward are smaller. The surface surrounded by a young leaf is triangular shaped and its tip is tapered like the tip of the sword. The picture of the tip of bamboo shoots and the tip of the leaf is named with the shoots of bamboo shoots. "Shoots are shoots of shoots from the newly cultivated shoots that are spiked, in general, shoots of shoots are different from each other".

 

1. Describe the artwork by using Zakaria Ali’s five concept of aesthetic values.

 

          The principle of Zakaria Ali is The Principle of Berhalus. This principle is a form of spiritual process taken or adopted from the nature. Creativity and stylization of design among the Malay refer to nature. In general names given to the design created are much related to the nature itself such as the motif of siku keluang, tampuk manggis and mata lalat. 

 

         

 

         Secondly is the principle of berguna. This principle is demostrate the sharing quality practice among the Malay society.It reflects the practice of egalitation philiosophy in the Malay society. Most invention created and developed are to be shared and own by the society as a whole. 

 

         Next is the principle of Bersatu. This principle is Demonstrate the unity from the beginning process to the end. 

 

         Furthermore is the principle of Berlawan. This principle is the combination of various design help to soften the tension derives from design. The objective of having additional three dimensional design of tetupai in the structure of the Malay house is to reduce the sharpness and tension from the meeting of the vertical and horizontal frame (alang). 

 

         Finally is the principle of Berlambang. This principle emphasize of symbolism that potray the unity of form and content. 

 

 

 

TEXTILE IN MALAY WORLD

Elaborate of the plant motifs depicted in islamic textiles of malay world. Provide examples to support your answer. (10 marks)

Describe the artwork using zakaria ali concept of aesthetic value?

1.      Discuss the ‘awan larat’ design in metalwork of the Malay world. 

Awan larat as a carved, rounded, swirling carved shape like white clouds marching. Usually these engravings are combined with a full pattern. Engravers Wan Mustapha Wan Su defines the awan larat as a type of pattern design that has specific rules. Can be drawn (arranged) in various forms. Examples of discrete elements that can be composed are waves. smoke, clouds. Awan Larat are largely inspired by the nature of the cloud that is marching when blown by the wind. There is also a saying that this name, Awan Larat was taken in conjunction with the name of a young child named Awang who landed the ground until it became barren-shaped. This is the portrayal of the designer (the painter) in his preparations. Usually arstis (the painter) creates the motive of his own leaves, fruit and flowers.Awan Larat is the most honored pattern of appreciation of Classical Malay art. Awan Larat are divided into two types that is Awan Larat Malay Asli dan Awan Larat Jawa. Awan Larat Melayu Asli has a large and rare flower in shape. The patterns are started from one place and swirling into another space. The stem is twisted and collided with leaves. While Awan Larat Jawa has a smaller shape than Awan Larat Melayu Asli. There are lots of overlapping flowers and leaves. The leaves shapes are straight and not folded.In processed work, the concept of Awan Larat was also used by the painter to work with the process.

Textile in Malay World

1.      Elaborate on the plant motifs depicted in the Islamic textiles of the Malay world. Provide examples to support your answer.

Textile derived from Latin word TEXERE means to WEAVE. It can produced in many ways such as through embroidery, lace, knitting and weaving. It involves the decoration process and technique of printing and dying threads of plain materials. Various type of design are formed on the textiles. Textile art in malay cover a wide range of creation techniques. It can be created with the dating techniques embroidery, crochet, knitting, meruji thread (embroidery) and weaving. Also involves the process of textile painting and dyeing techniques yarn or fabric base (white). Through various techniques, textile can be formed with the appearance of various decorative motives. Examples is waven, batik, embroidery, and limar. The motif element of Flora function is to decorate the head (gunung) and leg cloths (gigi), shoots of bamboo shoots are used, usually not pure organic patterns but an organic geometric mixing style. The flora element structure forms are placed in a certain place. The length of the nest cloth is about 180cm - 215cm and its width is about 106cm. on the side cloth, the upper and lower part of the sarong cloth after the mountain, with a small motif by striking the edges that usually have a fine comb. On the gunung cloth, the upper and lower edges are small motif before the edge of the sarong batik cloth is also woven along the edge of the fabric. On the head cloth, the part of the batik cloth that differs from the part of the body of the fabric, usually motifs of bamboo shoots or vertical flowers and placed on the back when worn.

2.      Describe this artwork by using Zakaria Ali’s five concepts of aesthetic values. 

Five concepts of aesthetic value is berhalus, berguna, bersatu, berlawan and berlambang. Berhalus is a form of spiritual process taken or adopted from the nature. Creativity and stylization of design among the Malay refer to nature. In general names given to the design created are much related to the nature itself such as the motif of siku keluang, tampuk manggis and mata lalat. Berguna is demonstrate the sharing quality practice among the malay society. It reflects the practice of egalitation philiosophy in the Malay society. Most invention created and developed are to be shared and own by the society as a whole. Bersatu is the unity from the beginning process until the end. Berlawan is the combination of various design help to soften the tension derives from design. The objective of having additional three dimensional design of tetupai in the structure of the Malay house is to reduce the sharpness and tension from the meeting of the vertical and horizontal frame (alang). Berlambang is the principles emphasize of symbolism that potray the unity of form and content.

1.       Some of the plants motifs used in the Islamic textiles of the Malay world are pucuk rebung and tampuk manggis. Pucuk rebung is a motif that is influenced by the rebung or known as bamboo shoots. Pucuk rebung motif is a very famous motif that is used in songket making. The motif became a trademark of what it is called songket textile by songket makers. To know whether the motifs used in pucuk rebung, the motif must be in a triangular shape no matter what type it is. Another plant motif that is used in the Islamic textiles of the Malay world is called tampuk manggis. Tampuk manggis is pretty much influenced by the fruit, mangosteen or also known as manggis in Malay. The shape of tampuk manggis differs from each design of textiles but roughly the shape is to imitate the shape of the bottom of mangosteens that looks like a flower. Usually they would have 4 petals to make it distinctive. Examples of pucuk rabung motif can be seen in the songket sarong made in Selangor, Malaysia where they used the motifs facing in and out of one another to decorate the centre of the songket. Tampuk manggis however is usually used in batiks and embroidery textiles.

 

2.       The principle of Berhalus

Berhalus is a spiritual process where they would extract it from nature. In the artwork, the songket workers used motifs such as tampuk manggis in the centre of the artwork. Tampuk manggis motifs is influenced by the fruit, mangosteen or manggis in malay. 

 

The principle of Berguna

Berguna is present because despite the artwork or the songket is beautiful it can also be used to make clothes and accessories such as the tanjak.

 

The principle of Bersatu 

Bersatu means the unity of motifs and patterns in the artwork. Example, the arrangement of each motifs in the artwork works together harmoniously despite using very contrasting motifs like between the pucuk rebung at the head and the floral motifs that is on the body of the artwork. 

 

The principle of Berlawan 

 

Berlawan is the combination of various designs to help soften the artwork like the horizontal design of the floral motifs on the body of the artwork where else the pucuk rebung motifs that is arranged to face one another vertically in the centre of the artwork is very contrasting compared to the floral motif. 

 

The principles of Berlambang

 Berlambang is the symbolism that potrays the unity of the artwork from the aspects of form and content. The colours used (red and black) unifies the whole artwork and it can then be used for various usage. 

 

 

METALWORK

 

3.       Awan larat is basically a type of carving that swirls and winds down and usually the designs of awan larat is drawn or based on floral or nature due to Islam forbids the usage of animal like designs in their artwork because Islamic calligraphy and values has been embedded into the design as well. Awan larat carvings has been seen and used to decorate various things such as the boats, gasing, palaces and even the mosques. Awan larat is split into two types where one is called Awan Larat Melayu Asli / Awan Larat Jawi and one is called Awan Larat Jawa. The difference is Awan Larat Melayu Asli uses bigger flowers and it starts from a corner and the designs will spread while Awan Larat Jawa uses smaller flowers that are arranged closely to one another meaning there would be more flowers and leaves intersect one another in the design. Awan larat design in metalwork of the Malay world however are mostly used in brass and bronze ware. Utilities for home usage such as food containers and trays were decorated with awan larat motifs. Awan larat motifs are also used for jewelries such as necklaces and bangles.

Awan Larat is defined of a form of carving which is berlingkar-lingkar, berpiuh-piuh, meleret-leret that is looks a like a clouds that marched. Normally this form of carving will combine to a complete pattern. Awan Larat was divided into 2, Melayu Asli and Jawa. Awan Larat Melayu Asli whom also known as Awan Larat Jawi has a shape of a big flower and thin. The pattern was started from one place and fill in other space. The stick was coiled and collide with the soft leaves. While Awan Larat Jawa's shapes was smaller than Awan Larat Melayu Asli. The leaves and the flowers was close. There is many more flowers and leaves that is overlapping each other. The shape of the leaves was straight and not folded.

Metalwork & Jewelries in Malay World 

1.      Discuss the ‘awan larat’ design in metalwork of the Malay world 

        Awan larat design in metalwork of the Malay world is Awan larat as a form of carvings, twists and turns, swirling like white clouds. The carving was beautifully combined with a full pattern. Usually these engravings are combined with a full pattern. 

        The caretaker Wan Mustapha Wan Su defines the Awan laarat  as a type of pattern design that has special rules. Can be drawn (diawan laratkan) in various forms. Examples of elongated elements are: waves, smoke, clouds, human beard, eyebrows, eyelashes, fish tails, chickens / bird species, chicken / bird bones and plants. 

        The awan larat are inspired from the nature of the cloud that marched when blown by the wind. there is also a saying that this name was taken in conjunction with the name of a young child named Awang who landed the ground until it became pretty. 

        This picture is immortalized by the sculptor in his engraving. The carver usually creates leaves, fruits, and flowers of his own inspiration. This awan larat is the most honored pattern of classic melodramatic art appreciation. This type of engraving is not placed at the center level. 

        Awan larat are divided into two types, namely native awan Larat Melayu asli and Awan Larat Jawa. The native Malay Awan Larat Melayu Asli is also known as the Awan Larat Jawi. 

        Its shape has a large and rare flower. its pattern starts from one place and destroys another space. its trunk is streaked and collided with its soft-folding leaves. Awan larat jawa form lesser than Awan larat Melayu asli. the leaves and flowers are very close together. There are lots of flowers and leaves overlapping. The leaves are straight and do not fold. 

      In metalwork in malay world are the high quality of skills and products which is made of Brass, Silver and wrought iron is still maintained. The good quality, unique and delicate art work can be seen at its finish work of craftsmanship. There are many designs and techniques which depicts the element of nature such as floral and fauna motifs in metal work. 

 

Textile in Malay World 

1.      Elaborate on the plant motifs depicted in the Islamic textiles of the Malay world. Provide examples to support your answer. 

        Textile derived from Latin word TEXERE means to WEAVE. It can be produced in many ways such as through embroidery, lace, knitting and weaving. Involves the decoration process and technique of printing and dying threads of plain material. Various types of design are formed on the textiles. 

        Textile art in the Malay cover a wide range of creation techniques. It can be created with the dating techniques embroidery, crochet, knitting, meruji thread (embroidery) and weaving. Also involves the process of textile printing and dyeing techniques yarn or fabric base (white). Through various techniques, textiles can be formed with the appearance of various decorative motives (RAGAMHIAS) 

        History of textile in malay world it was believed that Indian traders (Gujerat province) first brought the primitive back strap / tension loom, and with it the use of cotton, to the Malay region. Dar al-Tiraz is one of the textile handicrafts Muslims are the most popular at that time in Europe. People – the Muslim set up weaving factories. They produce a variety of form and color of textiles with gold and silver thread embroidery. Examples, woven, batik, embroidery and limar 

        The characteristics of textile in malay world which is clolor is normally used red and brown colors and also used blue, yellow, brown, pink and black. In motif which is calligraphy motif example like arabic script.Next Flora motif which is pucuk rebung, tampuk manggis. Fauna motif which like bird and lizard. Geometrical pattern which is like circle, square, and triangle. 

        The format of the characteristics which is the concept of kain sarung. The techniques weaving by using resist dying thread which is ikat tunggal – Pua kumbu and Ikat Ganda – Limar and cindai Fabrics. 

 

1.      Describe this artwork by using Zakaria Ali’s five concepts of aesthetic values. 

        This artwork is batik and it’s call Sarong from Malay Archipelago. The pelangi technique was most likely inspired by a tie-dyed Indian cloth known as bandhani, produces principally in Gujerat and Rajasthan. The motif create by sewing and stitching create impression known as tritik. 

        In this artwork have a principle of Berhalus which is a form of spiritual process taken or adopted from the nature. Creativity and stylization of design among the Malay refers to nature. It is seen as an Islamic process of stylization. 

        It is also have a principle of Berguna which is demonstrate the sharing quality practice among the Malay society. In a way it reflects the practice of egalitarian philosophy in the Malay society. Realistically the Malay society does not highlight the achievement of an individual. Most invention created and developed are to be shared and own by the society as a whole. 

        In this artwork they used a principle of Bersatu that demonstrate the unity from the beginning process to the end. 

        Furthermore, they also used a principle of Berlawan as combination of various design help to soften the tension derives from design. The objective of having additional three dimensional design. 

        Lastly, it had a principle of Berlambang which is emphasize of symbolism that potray the unity of form and content. 

     Textile art In the malay cover a wide range of creation techniques. It can be creted with the dating techniques embroidery, crochet, knitting, meruji thread and weaving. Plant motif is the form of the vines, leaves, flower, fruits and tree were among those most frequently used in the art of the Islamic world. Next, there are many thing that plant motif been used in Islamic textiles such as tampuk manggis, bunga ros, bunga bintang pecah lapan,bunga cempaka, pucuk rebung and bunga manga. In Islamic societies, textiles were amongst the most value of arts. Than it has a gunung kain, apit kiri dan apit kanan, badan kain, gigi kain and kepala kain.

     Examples like Pucuk Rebung, Pucuk Rebung is an original Malay motif that had been used for long time ago and still applying it as a tradisional Malay Motif. Pucuk Rebung is a fauna motif that influence by the rebung which is known as bamboo shoots.

 

     In this artwork, it has a five aesthetic principle by Zakaria Ali. The principle is berhalus, berguna, bersatu, berlawan, and berlambang. The first principle in this artwork are it is principle of berhalus. Principle of berhalus is a form of spiritual process taken or adopted from nature. In this artwork, the berhalus principle can be seen at the pattern of the flora in this artwork. Then, the second principle is the principle of berguna. This principle demonstrate the sharing quality practice among the malay society. This artwork has a quality among the malay society because it is always used by the malay people to make this kind of artwork a sign of extravangance. Next, third principle is the principle of bersatu. This principle demonstrate the unity from the beginning process to the end. In this artwork it has a unity at the pattern such as the pattern of the flora, lines and shape. Because the pattern is same from beginning process to the end. Beside that, in this artwork it has the principle of berlawan. This principle is combination of various design help to soften the tension derived from design. In this artwork is has a various design such as the flora, lines and a shape to make this artwork look attractive. Finally, the last principle is the principle of berlambang. This principle emphasize of symbolism that potray the unity of form and content. In this art it has a symbolic of a flora which can strengthen the unity.

 

-Metalwork of malay world is the high quality of skills and products which is mode of brass, silver, and wrought iron. The good quality, unique and delicate artwork can be seen at its finish work of craftsmanship. Then awan larat have several motif such as element of nature, element of calligraphy, element of geometry and element of cosmos. Metawork in malay world, there are many awan design such as the element of nature like flora and fauna and element of geometry. Example metalwork that have awan larat is like tea set, trophy, medal and many more.

ID Number  : 20172355832

Group      : KAD1112B

Subject Code : VCS155

 

 

Metalwork & Jewelries in Malay World 

 

1. Awan larat is a form of carvings hoarse, twisting, swirling like clouds marching.Wan Mustapha Wan Sure Sculptor defines a cloud of larch as a coral design that has special rules and can be described waves, soke , clouds, human beard, eyebrows, eyebrows, fish tails and chicken bones

 

                

 

  Textile in Malay World

 

1. Textile art in Malay cover a wide range of creation technique. It can be created with the technique embroidery, crochet , knitting, and weaving. The main function the flora element is to decorate, the fabric of the head (mountain) and foot (toooth), the shoot of bambooo shoots are used,Organic patterns a mixture of organic and geometric styles. For a cloth structure of a length of the long cloth sarong about 180 cm, 215 cm and its weightis about 166 cm . At the edge of fabric the upper and lower part of the sarong cloth after the mountain , with small motif by striking the edge that usually have fine combs.At the cloth head, part of batik cloth that is different from the part of the body of the fabric,the motifs bamboo shoots or vertical flowers and placed when worn.

 

2. The principle of Zakaria Ali is The Principle of Berhalus. The principle of berhalus ia a form of spiritual process taken or adopted from the nature it is seen as an islamic process at stylization. In general names given to the design created are much related to the nature itself such as the motifs of siku keluang, tampuk manggis and mata lalat. Secondly is the principle of berguna .This principle Is demonstrate of egalitation philosophy in the Malay society. Most invention and developed are to shared and own by society as a whole .Next is the principle of Bersatu .This principle is demonstrate the unity from the beginning process to the end.

 

 

 

After that, is the principle of Berlawan .This principle is Combination of various design to help soften the tension derives from design. The objective of having additional three dimensional design of tetupai in structure of the Malay house is to reduce the sharpness and tension 0from the meeting of the vertical and horizontal frame (alang). Lastly the principle of Berlambang is the principle emphasize of symbolism that potray the unity of form and content.

The basic design behind Malay woodcarving is the awan larat (extending clouds). Its usage in a composition is governed by four principles. Firstly, the design element must be evenly distributed in the composition. Secondly, the empty spaces or uncarved areas should be the same as carved areas.  Thirdly, animals or humans should never be depicted and fourthly, when there is a central motif, the other secondary design elements are to be repeated around it. Apart from the awan larat, other common inspirational elements include holy verses from the Qu’ran  and plants such as bean tendrils, groung leaves, and leaves of the water lettuce.

Common source of inspiration for the Malay craftsmen is in nature. 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. However, the awan larat patterns can be divided into three types; awan larat Melayu, awan larat Jawa or cross pattern and awan larat Jawi. Flora carvings using awan larat were ketola, bunga kacang, bunga raya, bunga teratai, bunga cengkih, bunga semantong, bunga kembong, bunga si tampuk manggis, bunga dala, bunga cempaka, bunga telipot, bunga ketam guri, pucuk paku, pepulut, kangkung, jari buaya, kerak nasi and so on.

Plant-based patterns used on their own or combined with other design elements in Islamic Art; calligraphy, geometry and figurative, adorn a huge number of buildings, manuscripts, objects and textiles. Patterns based on plants have always been particularly popular and as many craftsmen became Muslim, pre Islamic motifs were assimilated and a profusion of designs emerged throughout the Muslim world.

One of the motifs is 'Pucuk Rebung'. It is an original Malay motif that had been used for long time ago and still applying it as a traditional Malay Motif. 'Pucuk Rebung' is a fauna motif that influence by the 'Rebung' which is known as bamboo shoots. Bamboo shoots are the edible shoots (new bamboo culms that come out of the ground) 

The theory of five principles aesthetic philosophy that constitute the Malay aesthetic concept of the beautiful that pointed by Zakaria Ali.

In this artwork, we can see that Zakaria portrays 'Berhalus' in it as he uses a stylization nature, which is stylized leaves and plants. The creation of this artwork not only uplift the name of the artist, but the whole industry of textile.

Next is the existent of the concept of 'Bersatu'. We can see the unity created in this artwork along a repetition of motifs all over the artwork to form an artwork.

Then,  under the concept of 'Berlawan', the contrasting colour of the dark red and black in this artwork produce tranquility to the stress of this artwork.

Finally, in the concept of 'Berlambang', abstract and stylized motifs are used to produce definition in form and context.

2.Textiles of the Malay world

  Textile derived from Latin word TEXERE means to WEAVE. It can be produced in many ways such as through embroidery,lace,knitting,and weaving. Involves the decoration process and technique of printing and dying threads of plain material. Various types of design are formed on the textiles.
  Textile art in the Malay cover a wide range of creation technique. It can be created with the dating techniques embroidery,crochet,knitting,meruji thread(embroidery)and weaving. Also involves the process of textile printing and dyeing techniques yarn or fabric base(white).
  Through various techniques,textiles, can be formed with the appreance of various decorative motives(RAGAMHIAS).
  Plant motifs and patterns were used to decorate architecture and objects from earliest Islamic period.Plants appear in many different forms in Islamic art,ranging from single motifs to extended patterns,and natural depictions of flowers to plant forms which are complicated and heavily stylised. Artist drew inspiration from different times.
  Patterns were created using a range of techniques,including repetition of amotif within various grids,reflective and rotational symmetry,and freehand design.


3.Five concept of aesthetic values

Based on this artwork,it has five aesthetics which is the principle of berhalus. Berhalus is a form of spiritual process taken or adopted from the nature. Creativity and stylization of design among the Malay refers to nature. It is seen as an Islamic process of stylization. In general names given to the designs created are much related to the nature itself such as the motifs of siku keluang,tampuk manggis and mata lalat.
  Secondly,the principle of berguna.This principle demonstrate the sharing quality practice among the Malay society. In a way it reflects the practice of egalitarian philosophy in the Malay society. Realistically the Malay society does not highlight the achievement of an individual.Most invention created and developed are to be shared and own by the society as a whole.
  Thirdly,the principle of bersatu. It demonstrate the unity from the beginning process to the end.
  After that,the principle of berlawan. It combination of various design help to soften the tension derives from design. The objective of having additional three dimensional of tetupai in the structure of the Malay house is to reduce the sharpness and tention from the meeting of the vertical and horizontal frame(alang).
  Then,the principle of Berlambang. This principle emphasize of symbolism that potray the unity of form and content.

            There are two type of Awan larat, Awan larat Melayu asli and awan larat Jawa. Awan larat Melayu asli is very large and have a lot of space. The pattern start with one place, fill the space and collided with folded leaves. Awan larat Jawa are smaller than Awan larat Melayu asli. The leaves and flower are close. There are many flower that cross and the staright shape is not folded. Metawork in malay world, there are many awan design such as the element of nature like flower.

TEXTILE IN MALAY WORLD

         Textile derived from Latin word TEXERE means to WEAVE. It can produced in many ways such as through embroidery, lace, knitting and weaving. It involves the decoration process and technique of printing and dying threads of plain materials. Various type of design are formed on the textiles. Textile art in malay cover a wide range of creation techniques. It can be created with the dating techniques embroidery, crochet, knitting, meruji thread (embroidery) and weaving. Also involves the process of textile painting and dyeing techniques yarn or fabric base (white). Through various techniques, textile can be formed with the appearance of various decorative motives. Examples is waven, batik, and others

 

FIVE CONCEPT OF AESTHETIC VALUES ACCORDING TO ZAKARIA ALI

        There are five concept of aesthetic value. first is berhalus, berharus is a form of spriritual process from the nature. Second is berguna, to shows the quality of partnership among the Malay society. Bersatu is the unity from the start process until the end of the process. Berlawan is a combination of various design support used to soften the  tension arising from the design. Berlambang is the prinsiples emphasize of symbolism that potray the unity of form and content