Tuesday, 22 October 2019

Malay Wood Carving with Floral Element Motive


A Carved wood panel with main flower
with the motive of ‘Bunga Mas’

By Dr Mohd Zamri Jusoh


There are various types of motive embedded to Malay wood carving. However, the original idea came from the development of Islamic civilization in the Middle East of Asia. This explains why the motive of arts which are basically growth up from such beautiful and meaningful calligraphic writing, then to be expressed in the architectural monuments and buildings to generate the highest level of Islamic art terminology [1]. Furthermore, at the early age of the arts and design for wood carving, the wood carvers used the Islamic technology approach to improvise the art to higher level, including the geometrical motive with spectacular shapes and designs. In Malaysia, one of the most beautiful and popular pattern in wood carving is the floral motive. The floral motive is the expression by the wood carver based on nature of floral elements that can be founded in their living areas. Any competent wood carver can interpret and generate such intricate floral elements in their product based on his own inspiration [2]. The interesting part is, a good wood carver can redraw the floral element and even makes it more attractive by adding their own styles and techniques to the wood carving product so that the wood carving product is beautiful and has many striking features compared to the actual floral elements.
The wood carver in Malaysia has an enormous contribution to the wood carving with floral pattern. Usually, they use a small part of any actual floral element and then modify the whole picture by using their own imagination [3]. Basically the floral motive is based on every part of the floral element can be easily observed in the nature of floral element in surrounding environments [4].The basic elements in wood carving with floral pattern are listed as follows: [5]
i.                Sources
ii.              Stems
iii.             Leaves
iv.             Flowers
v.              Fruits
The sources are the most important element in any wood carving with floral pattern. The sources can be determined as the starting point or the first element of the whole floral element. Based on observations, the floral can be growth in natural substances such as soil, vase, water, seed and main flower. Another element that is so important for the floral pattern is the stem. The stem is related to the branches, sticks and twigs of trees. The size and diameter of the stem in any wood carving with floral pattern is not a matter, but the variation of shape and direction of the stem can shows the physical character of the whole floral element used in the wood carving product. In many ways, the leaves can be one of physical complement that can be used by wood carver to decorate and design any species of floral existence. The leaves can be drawn and carved at anywhere in the wood carving panel as it can be used to cover any empty place in the wood carving panel. The flower element is the main character in any wood carving with floral pattern. This is because the flowers are the most beautiful part of the wood carving product. The wood carving with floral pattern still includes some numbers of flower element located whether at the middle of the wood carving panel or usually located symmetrically with each other. The fruits element in wood carving with floral pattern is another element that is important to complete the floral motive for a single plant. The shape and characteristic of the fruit element usually based on the actual shape of the fruit for such plant species. 

  
References
1.     Rosnawati 2005, The Language of the Lankasukan Motive, Indonesia and the Malay World, Routledge Taylor & Francis Group. Vol. 33 pp 97-111
2.     Noraim A. Sharif 2010, Seni Kraf Pilihan Terengganu- Seni Ukir Kayu. Yayasan Diraja Sultan Mizan, p52
3.     Farish A. Noor, Eddin Khoo 2003, Spirit of Wood: The Art of Malay Woodcarver, Periplus Edition ,pp 9-25
4.     Ismail Said, Zumahiran Kamarudin 2009, Carving motifs in timber houses of Kelantan and Terengganu, South East Asian Technical Universities Consortium (SEATUC), pp 45-49
5.     Norhaiza Nordin 2009. Ukiran kayu Warisan Melayu. Perbadanan Kraftangan Malaysia. First Edition. p9

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