CARVING MOTIFS IN TIMBER HOUSES OF KELANTAN ANDTERENGGANU

Ismail Said1, Zumahiran Karnarudin/

1Associate Professor, Department of Landscape Architecture, Faculty of Built Environment,Universiti Teknologi Malaysia, 81310 , Sekudai, Johor, Malaysia

2 Doctoral Candidate, Faculty of Built Environment, Universiti Teknologi Malaysia, 81310,Sekudai, Johor, Malaysia

b-ismail@utm.my

ABSTRACT

Prominent timber houses of Kelantan andTerengganu are adorned with decorative carvedcomponents depicted in motifs of flora. geometryand Arabic calligraphy. Consistency in patterns ofmotif , particularly flora, results to establishment ofidentity to the vernacular architecture of north­eastern region of Peninsular Malaysia. This paperpresents an analytical study of the visual forms ofmotifs of carved components in the houses ofKelantan and Terengganu which denotes itssignificant attributes and uses . Carvings of ninehouses in Kelantan and four houses inTerengganu were analyzed by interpreting 13 setsof carving measured drawings of the houses. Thedrawings were obtained from Centre for the Studyof Built Environment in the Malay World (KALAM)at the Department of Architecture in the UniversltiTeknologi Malaysia (UTM). Interpretation of mot ifsis based on meanings described in the textsaccompanied the drawlnqs and literatures ofMalay woodcarving, and triangulated withnarrations from the two woodcarvers. Theanalysis of the documents revealed that severaltypes of carved components with distinctive motifsin two and three dimensional compositions wereplaced in certa in orders within the fabrics of thehouses. Wall. door and window ventilation panels,railings. gate panel and stringers are types ofcomponents characterized by the shape ofperforation and incision With relief or non-reliefcarvings . These components were crafted inrelation to the house form and architecturalelements such as wall. door, window, stair andgate. The significant aspect of the placement ofthe carvings in the houses is that it enhancesbeautiful ambiance and signifies regional identityto the vernacular architecture of these two states.

1. INTRODUCTION

Woodcarving is considered as an integralcomponent to the vernacular Malay houses ofKelantan and Terengganu, the north-eastern

states of Peninsular Malaysia. It is ornamentationto lhe timber architecture of the region. Motifs offlora , geometry, Arabic calligraphy and cosmicfeatures are depicted on panels of doors, walls,railings and vent ilation components in differentshapes and sizes (Ismail , 2001). Common motif ,especially flora, contributes to the identity of north­eastern region which originated from thearchitecture of Langkasuka Empire dated as earlyas 14lh century (Farish and Eddin, 2003) .However, differences arise in intricacy andcomplexity of the mot ifs and its stylization . Theintricacy and complexity of carving suggest acertain degree of skillfulness and creativity of thetraditional craftsmen in the fabrication of thecarved components (Muhammad Afandi, 1995) .The proficiency of shaping woodcraft with theskilful use of the media offers the craftsman ameans of artistic expression (Jackson and Day .2005). Most of the carved components found inthe houses depict floral design with perforatedand rel ief carving .

This paper presents a preliminary finding of adescriptive study of the carving motifs shaped or.various forms of carved components found in thetraditional timber houses of Kelantan andTerengganu. The major research question is whatare the types of motif depiction that shaped thecomposition in woodcarving in Kelantan andTerengganu timber houses .

2. METHODS

2.1 Analytical Review on Measured Drawings

The analytical review was conducted onthirteen prominent Malay timber houses. Ninehouses were located in Kelantan and the otherfour houses were located in Terenqqanu. Table1.0 shows the information of the houses inciudingthe types of architectural forms and year ofconstruction, owners and locations of the houses.Several factors determine the selection of thehouses which include: (1) the houses representthe type of dwelling architecture that originated

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trom the east coast region of Peninsular Malaysia,(2) the houses were decorated with excell entcarvings which are regional and d istinctive in

character, (3) the houses provide acomp rehensive collection of carved componentswhich are relevant for visual analysis purpose.

Table 1.0: Timber houses of Kelantan and Terengganu

! N Type of House Year Owner Location of House

I10 Built

1 Rumah bumbung 1920 Eneik Hassan B. Mohd Jalan Pengkalan Chepa , Kola Bhaeu, Iperabung lima 's Am in Kelantan

2 Rumah Bujang 1850 Tuan Hj. Mohamad ! 1408, Jln. Post Office Lama , Kota ;Berserambi Dua 's Dobah (Tuan Hj. BharuBerad ik Mohamad Abdullah)

-~~

3 Rumah Bujang 1800 I Wan Aisyah Jalan Sultanah Zanab, Kota Bharu's

4 Rumah bumbung 1920 Hj. Wan Ahmad Hj. Jalan Post Office Lama, Kota Bharu,perabung lima 's Abdullah Kelantan

f---- - -5 Rumah bumbung 1930 Hj . Yaakub Mohammad 2623, Kampung Sireh , Kota Bharu

, perabung lima 's ,

-._--6 Rumah bumbung 1937 Wan Hussain Bin Wan 4962 , Kampung Sireh , Kota Bharu

perabung lima Abdul Rahman

-7 Rumah bumbu ng 1933 Hassan Bin Yusof 4963 Lorang Tukang Perak.,

perabung lima Kampung Sireh, Kota Bharu

~pung Belongan , Bachok,8 Twei ve-pillarded 1800 Tok Yakubhouse! Long-roofed 's . Kelantan

I house

19 Rumah bujang 1920 Haji Wan Sulong Jalan Sultanah Zanab, Kota Bharu,berserambi dua ! 's Kelan tanberadik

10 Rumah Bujang 1887 Hjh Mariam Hj. Mat 168, Kampung Hiliran Masjid , KualaI Berkernbar Dua Terengganu

Beradik:

11 Ruma h bujang 1850 Hj. Awang Kampung Losong Haji, Su, Kualaberselasar s Terengganu

'~ 1 9 1 412 Rumah bumbu ng Data ' Biji Sura (Nik Duyong Keeil, Kuala Terengganulimas Mohamad bin Hitam)

13 Rumah bujang 1800 Tok Ku Paton D62 , Paloh Makam Tok Ku, Cabangberserambi dua 's Tiga , KT, Terengganu

Iberad ik

rI

A set of measured drawings which consists ofplans and elevations of the 13 houses includ ingcrossed sectional and detail drawings wasreferred for deta il descriptive analysis to identifythe types of carved components and determine itsmotifs and ordering principles of composition.These measured draw ings and the reports were

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produced and documented by the students ofarch itectural program from the UniversitiTeknologi Malaysia. Edit ion and reproduction of afew documented drawings were made to improveits visual Quality and accuracy for the purpose ofanalysis and data display. The objects whichprovide raw mate rials for visual investigation must

be also viewed. understood. or placed in someanalytical framework before they can be regardedas data (Emisson and Smith, 2000) .

2.2 Interview with Woodcarvers

Personal interviews were conducted with thetwo prominent woodcarvers to obtain theirverification on the carving motifs and reasons ofselecting the motifs. The first woodcarverinterviewed was Norhaiza Nordin from KampungRaja in Terengganu and the second one wasMuhaimin Hasbullah from Temerloh in Pahang .Each interview was carried out in approximatelytwo-hour period with the adoption of standardizedopen-ended interv iew questions. Narrativeinformation from the woodcarvers weretriangulated with the measured drawing data .

3. RESULTS AND DISCUSSION

The analysis revealed that a collection of 13types of architectural components were fitted withcarving : ventilation panels of window. door andwall. railings of verandah and staircase, wall panel,leaves of door and gate. stnnqer. gate , roof eave.bracket and gable end. The visual forms of thecarved components were fabricated with specificcarving motifs, types of incision, shapes, sizesand layouts. The distinctive forms of the variouscarved components are apparent with respect toits placement and layout in the interior as well asexterior fabrics of the timber houses. Thecomponents were carved either: (1) in relief ornon-relief, (2) perforated or non-perforated, and(3) overlapped or non-overlapped forms .

Plant elements including flowers, flower buds,leaves, tendrils. fruit, and shoot were the mostpopular design pattern employed in the carving.They were combined to form one completecarving with. a certain degree of complexity andintricacy. For example, as appeared in the carvedventilation panel on wall found in MohamadDobah's house (Figure 1). This relief, perforatedpanel is equ ipped with floral elements including acentral flower that serves as an origin . The centralflower is surrounded by the complementary motifsof other plant elements Ilke branches, leaves,stems and tendrils in intertwining and meanderingcharacters. In short. the depictions of plantelements are in specific characteristics withdistinctive features . This motif represents theunending growth and movement of life in naturalplant (Rosnawati, 2005 ; Norhaiza, 2008).Additionally , floral motif was acceptable in theMalay art because Islam permils the use of non­figuralive elements in the artistic work (Othman,1995). Perhaps it is rational for craftsmen todepict the motifs of liVing plants in its natural state

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for the sake of following certain order andmovement in plant life instead of being obliviousto it. This is suggestive indication of theircognizance state of mind to the life in nature.

Figure 1: venti lation panel fitted onwall of rumah ibu(main hall) at Mohamad Dohan's house with intricatefloral desinn

It appears that carved ventilation panels insingle rectangular layout were the commonlyfound in three-dimensional Format that contributeto high visual intricacy and complexity. Forexample, the horizontal rectangular panel found atexternal wall of Wan Sulong house as illustratedin Figure 2 has carving in quadruple overlapscharacter represents the intertwining of the plantmotif with complex arrangement of elements givesalmost a three-dimensional look. The designqualities in the panel including depiction andcomposition of floral motifs in high rel ief andcarved with perforation were contributory toprobably the highest degree of visual intricacy andcomplexity , Several layers of elements of floralmotifs such as flowers, branches, stems andleaves were intertwined by having their curvy linesto cross over or under each other in delicatemovement, This delicate and complexarrangement of rloral elements in three­dimensional effect and with detail characteristicsis certainly the most difficult carving techniqueapplied on this panel. Certainly. it requ ires highlevel of carving skill and ingenuity in fabricatingthis type of panel.

Figure 2: Carved ventilation panel with the highestcomplexity in carving form found at external wall of WanSulcnq house

Flora motifs were manifested through the choiceof several types of plants such as ketum bit, ketem

glJri, bayam perekst (all are weeds grown in houseyards) and kek~(;ang (climbing legume} asdecorative elements utilised in the carvedcomponents . Parhaps the plant motif such asuetsm guri was favor-ed by the woodcarvers dueto its flowers in vivid and striking color. Full­bloomed flowers especially those ir. hright colorsare eye-catching living things which have becomecentral object in the carving cornposiuon. Spiralingtenerils are also represented as the predominanttheme in a few s;:\mples of carved componentsfound ;n the houses as apparent in the I/er.tilalio['\pClne/.

Spirals are depicted as dominant features inventilation panels of windoW and door and onwalls with non-relief motifs . The depiction ofsimilar type of motif with slight different incomposition signifies the craftsmen ingenuity andcreativily in the fabrication of the carvedcomponents (Figures 3, 4 and 51. The centralelements of the carvings probably the plantbranches are depicted differently for each panel.The fabrication of the carvinqs with three differentcharacters of central elements was perhaps adefining feature that characterized the form ofeach panel. Beauty is portrayed in these panelsby its elegant and gentle movement of the spiralelements. All panels exhibit inward organicmovements of the spirals which spread from thecentral branches with!n the rectangular borders .The panels with this tyre of floral compositionserves as one of carving archetypes originaledfrom this region and imitated by several craftsmenwith individual artistic approach. Another possiblereason is that these panels were produced by thesame master craftsman who was originated fromTerengganu and wa.s hired by the house ownersto fabricate the components with distinctivefeatures (Abdu! Halim and Wan Hashim. 1990). Itappears that this type of non-relief floral motif wasmostly prevalent on ventilation panels foundabove windows and doors as seen in the houseswhich were e:tll located in Kuala Terengganu.Terenqqanu,

FiglJre 3: Carved panel witI'. creppingplant Motif fittedauove door of rumah ibu at Mariam house

Figure 4: CEl'Ved panel with creeping plant mont fittedabove door of rurnah ibu at Blji Sura house

Figure 5: Another carved pelnel WItt1 creeping oran :rnotil filted above door of rurneh itJu at Wan Embongl"ouse

Fabrication of carved components for housesetting was not limited to the application of carvingmotif from floral elements alone. It also includes

other types or motifs such as geometry andcalligraphy which were normally produced in non­

relief and non-overlapped forms . Flora , geometryand Islamic calligraphy are the three major types01 motifs used by Malay woodcarvers Zulkifli

(2000). It is apparent that the woodcarvers f lomthe states of Kelantan and Terengganu also

preferred non-figurative motif like geometry asapparent in the wall ventilation panels found at

Awang and Mariam houses (Figures 6a and fib,respectively). These two perforated panels exh'oit

dis!indive carvinq features which are sirnitar incharacter. Motifs of vertical strloes dominate bothpanels. The series of vertical lines were stretchedlongthwist! across the horizontal bands formingrhythmic composition of strip and band pattern .

Tho two-dimensional composition of non-reliefmotifs enhances the vertical rectangular layout of

the two panels. 1 tle visual form of these panelswhich are similar in character and sli~htly different

in compositional elements also signifies the

craftsmen ingenuilY and creativity In thefabrication of HIe carved components for [hespecific locations and purpose.

Figure 6: Carved component with yeometricalmotif in strip (band) p.qttArn situated at Awanghouse (a) and Mariam h::>usp. (b)

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4. CONCLUSION

F,gure7: Carved panel with a motif of calligraphy foundabove doors of rumah ibu and bedroom at 8iji Surahouse

In summary. motifs in carving of Kelantan andTerengganu houses displayed distinctive visualcomposition . The carvings for house components

were not objects crafted in a simple way butinextricably bound up with designated function ,artistic qualities and skillfulness possessed by thetraditional craftsmen. The relationship betweenthe compositional motifs, function and the layoutof the carvings affects the overall visual form ofthe carved components. Its visual forms wascrafted and subscribed by the woodcarvers to beseen or used primarily in domestic setting thuscreating pleasant ambiance.

5. REFERENCES

Abdul Halim Nasir. (1987). Traditional MalayWoodcarving. Kuala Lumpur: Dewan Bahasa danPustaka.

Abdul Haum Nasir and Wan Hashim Wan Teh(1996). The Traditional Malay House. Shah Alam :Fajar Bakti Sdn. Bhd.

Emrnison, M. and Smith, P. (2000).Researching the Visual: Images , Objects,Contexts and Interactions in SOCial and Culture!Inquiry . London: SAGE Publications lid.

Farish A. Noor, and Eddin Khoo. (2003). Spiritof Wood the Art of Malay woodcarving. Singapore :Peri pius Editions (HK) ltd.

Ismail Said. (2001) . Art of Woodcarving inTimber Mosques of Peninsular Malaysia andSouthern Thailand , Jurnal Teknologi, 34(8) Jun.45-56.

Jackson, A. and Day, D. (2005). CollinsComplete Woodcarver 's Manual. London: HarperColiins Publishers.

Muhaimin Hasbollah , Personal Communication:Motif of Woodcarving, Ternertoh, Pahang, 2.00B.

Muhammad Afandi Yahya. (1995). SimbolismeDalam Seni Bin» Rumah Melayu Kelantan(Symbolism in Malay House of Ke/antan) . KualaLumpur: Dewan Bahasa dan Pustaka.

Norhaiza Noordin. Personal Communication:The Art of Woodcarving, 200B.

Othman Mohd. Yatim. (1995) . Islamic Arts .Kuala Lumpur: Dewan Bahasa dan Pustaka.

Rosnawati Othman, (2005). The Language ofthe l.anqkasukan Motif, Indonesia and the MalayWorld, Vol. 33, No 96, 97-111.

Zulkifli Hanafi. (2000). Po/a-Pola Hiasan DiDalam Bangunan Tradisional Melayu.(DecorativePatterns in Malay Traditional BUilding). KualaLumpur: Dewan Bahasa dan Pustaka,

- ' ---_.__ .. -. .__._ _._-- ." ---'..

The study found that figurative elements eilherin abstract or real-life image was never applied ascaving motif on any type of carved componentfrom the timber houses . This suggests that motifsof nora, geometry and Islamic calligraphy were thethree principal types of compositional elementsused by Malay craftsmen from the states ofKelantan and Terengganu .

Motif of Islamic calligraphy possesses aestheticvalues and it is normally used in carvedcomponents to convey Islamic messages.Calligraphic elements depict the form of Arabiccharacters, verses from the Quran and localArabic writing called Jawi (Abdul Halim Nasir,19B7). This motif was widely used in mosquesand houses ornamentation particularly in Kelantanand Terengganu . A few prominent houses like 8ijiSura house, also known as Kota Duyong, wasadorned with various forms of Islamic calligraphydepicted on several carved panels. For example.the carved ventilation panel fitted above the doorsof main hall and bedroom as illustrated in Figure 7represents primarily Ouranic verses enclosed bythe embedded semi-circular structural frame . Thesymmetrical repetition of the same calligraphymotif and pattern or. both sides of the panelcreates a sense of balance and consistency incomposition. Appa rently, the uniq ue cha ractar ofthe carved component is in the intertwiningmovement of the calligraphic elements thatembrace the non-rel ief surface of the rectangularpanel. In many cases , calligraphic elements wereusually found in isolation or in complementary withthe other two major kinds of motifs.