Topic 4

TRADITIONAL CRAFT:
FORM AND FUNCTION

❑ The forms in traditional Malaysian design grew from
the purpose or function of the utensil, and from the
characteristics of the material used.
❑ However, aesthetic consideration is evident in most

cases, making the resulting object satisfying to the
senses. Styles of form and ornamentation have
evolved to suit the requirements and personal tastes
of the users.
POTTERY FORMS
❑ The evolution of pottery in Peninsular Malaysia is of
interest. One reason, paradoxically, it its lack of
technical sophistication.
❑ Because of this, contemporary Malay pottery has
retained some of its original elements including its
flowing form and quality of clay used. Decoration is
restricted to impress and engraved motifs, with ribs
added.
❑ All Malay pottery products are unglazed, with the focus
on retaining the natural quality of the clay used.
❑ Malay pottery, mostly water containers and cooking

pots, has a few basic forms that differ from Indian
(simple and unadorned) and Chinese (glazed) pottery
and the two types of pottery manufactured in Sarawak
hand-moulded and glazed Chinese Pottery).
FIBRES
❑ Easy access to and availability of pandanus, bamboo
and rattan, which grow abundantly in the jungle and
along riverbanks, have made them the material of
choice for numerous functional and domestic objects ,
such as fish traps, baskets, trays and food containers.
Of these, even everyday objects such as portable fish
traps exhibit an elegance of form and proportion.
MENGKUANG LEAF
FISH TRAPS
TIKAR MENGKUANG
❑ Another art is plaiting. Leaves and reeds, trimmed
into thin strips and dyed, are plaited into articles
such as mats, baskets, pouches and food covers,
incorporating a wide array of geometrical patterns
arranged with complementing and contrasting
colours.
❑ Plaited bamboo was also used as a housing
material-an excellent example of this is the
Patterned bamboo walls of the Istana
Kenangan in Kuala Kangsar, Perak.
Istana kenangan Kuala Kangsar, Perak
WOODCARVING
❑ With the abundance of wood available in Malaysia, it is

natural that creativity is emphasized in objects made from
this material. Many of the favourite motifs and designs are
floral and geometrical, while several them suggest
inspiration sourced from the animal kingdom.
❑ Examples can be found in wall panels-in both relief and
pierced work, partitions, boxes, on boats, sculptures,
musical instruments and carved Kris handles. Some
carvings take on the form of awan larat (floating clouds)
inspired by the form of clouds in a clear, tropical sky.
MALAY WOOD CARVING
TEXTILES
❑ Bark cloth and woven cotton were the earliest materials to

be used as textiles. But as more varied and ‘superior’
imported materials became available through trade with
India. China and Europe, there was a gradual shift to their
use.
❑ The availability of luxury items such as silk and metal
thread enabled weavers to make prestigious materials for
the ruling class. Influenced by Indian weaving and design
methods, weavers all over Malaysia adopted the use of the
back strap loom.
SONGKET
BATIK BLOCK
BATIK BLOCK
BATIK LUKIS
❑ Later, the frame loom was introduced from Europe, which
allowed for more freedom of movement and enabled
weavers to produce wider pieces of cloth than those made
on the back strap loom.
❑ The indigenous groups of Borneo still use the back strap
loom and the use of natural dyes is a feature of the muted,
natural colours of indigenous textiles, particularly the Iban
'pua kumbu of Sarawak.
❑ Besides the basic function of using textiles to cover the
body, textiles are also often used as art.
PUA KUMBU
METAL WEAPONS
❑ A wide range of tools and cutting implements with elegantly shaped
blades developed in all areas of Malaysia as needed for domestics,
farming and ceremonial purposes.
❑ Generally, decoration is found on the wood or bone hilts and knife

sheaths rather than the blades themselves. Among the glories of
Malay visual art are weapons (blades).
❑ In this case, the kris are workmanlike weapons, but ceremonial kris
are far more elaborate and ornamental. In contrast to other blades,
such as the Japanese sword, the blade of the kris has organic
characteristics.
❑ The blade, which is not poured into a mould, is made out of iron
strips beaten while the meatal is hot. The double-sided blade is
broad at its base, tapering in various arrangements of
odd-numbered curves-5, 7, 11,13,15,17, and so on.
❑ Kris blades with large numbered curves are rare, while the keris
sepukal has no curves at all. The curvy shape of the kris blade
reflects the flow of the river and waves at sea. Various metals,
hard and soft, are applied in layers, and finished with the
application of acid to provide the desired finish .
KERIS
UTILITARIAN METALWORK
❑ Products made from brass, such as cooking pots and kettles,

evolved as items for use by the common folk. Over time, many
items related to religious ceremonies were also made from brass.
❑ The states of Terengganu and Kelantan are well known for

brassware production. Terengganu craftsmen took the craft to
Brunei, which led to the craft being imported to other areas of
Borneo.
❑ Brassware from Terengganu and Kelantan differs greatly from

those made in neighbouring countries in that there is little
decoration, with an emphasis on the shape and function of the
object rather than ornamentation.
RAGALIA AND JEWELLERY
❑ A tradition of wearing elaborate regalia and personal adornment was
inculcated by the Malay rulers and also adapted by the Peranakan in
their elaborate wedding trousseaux. Gold was the metal of choice, but
silverware was also used liberally.
❑ Due to the influence of Islam, vegetal and geometric motifs were often
used as decoration. Repousse and filigree techniques were enhanced in
Malay gold and silver jewellery, such as waist buckles and breast
ornaments as well as kris sheaths, tobacco boxes and sirih (betel) sets.
Many of the traditional forms of jewellery are now only worn on
ceremonial occasions and modern forms more suited for everyday wear
have evolved.
THE MIMBAR
❑ The quintessential Malay design is the mimbar (pulpit).
Examples of designs in traditional Malay woodcarving found in
Melaka, Negeri Sembilan, Perak, Penang and Kedah suggest a
uniformity of style whose religious underpinnings are detected
in the fine and rigorous workmanship.
❑ The type of design is determined by the location on any given

surface on the mimbar. The most common is the square border
with plain mouldings that tone down the continuous interlacing
of scrolls of stalks and leaves.
❑ Chinese influence is best seen in the design, the
composition and the choice of subject matter on the
mimbar at three Melaka mosques, Masjid
Terengkera, Masjid Pengkalan Rama , and Masjid
Kampung Hulu, all completed around 1728, Under
the Dutch, Melaka attracted wealthy Chinese Muslim
traders who were probably of the Hanafiah
persuasion.
MOTIFS
Traditional Malay Muslim designs are found on houses and palaces in,
woven into mats, engraved on kris and other weapon handles or
adorning pottery batik cloth and other textiles.
They are largely floral and geometrical, or a combination of the two.

A set of motifs is employed that is susceptible to repetition, elaboration
and distortion, stylized in curvilinear scrolls and convolutions.
Repeated patterns are a strong element in Islamic art
Repeated patterns are a strong element in Islamic art; the

repetition signifies continuity-no beginning and no end. Floral
designs may be interwoven in continuous coiling spirals of
leaves; they are smooth and uncluttered, emitting a classicism
imitated by contemporary designers.
CALLIGRAPHY
❑ Calligraphy is a key feature of Islamic art. The
names of Allah and the Prophets and excerpts
from the Holy Qur’an are frequently used as
decoration on coins, ceramic ware, metal ware,
carpets, textiles, tombstones, books,
woodcarvings and as architectural features,
particularly in palaces and mosques .
❑ It is also used extensively in modern Malaysian art
.

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TRADITIONAL CRAFT:

FORM AND FUNCTION

❑ However, aesthetic consideration is evident in most

❑ Malay pottery, mostly water containers and cooking

❑ With the abundance of wood available in Malaysia, it is

❑ Bark cloth and woven cotton were the earliest materials to

❑ Generally, decoration is found on the wood or bone hilts and knife

❑ Products made from brass, such as cooking pots and kettles,

❑ The states of Terengganu and Kelantan are well known for

❑ Brassware from Terengganu and Kelantan differs greatly from

❑ The type of design is determined by the location on any given

They are largely floral and geometrical, or a combination of the two.

Repeated patterns are a strong element in Islamic art; the

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