CRAFTS AND THE VISUAL ARTS IN MALAYSIA TEXTILES AND EMBROIDERY Development of local textiles Cultural significance of textiles: Malay Cultural significance of textiles: Sabah and Sarawak Malay woven cloth Batik craft and industry Malay embroidery and tekat Textile embellishment Straits Chinese embroidery and beadwork Textiles of Sabah Textiles of Sarawak Malay dress Chinese and Indian dress Costumes and ornaments of Sabah Costumes and ornaments of Sarawak eimyleyanaomar/PDA/KU/MAH-DPH2012/SEM2/YEAR1 1
39
Embed
05e Crafts and the Visual Arts in Malaysia-textiles and Embroidery
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Transcript
CRAFTS AND THE VISUAL ARTS IN MALAYSIATEXTILES AND EMBROIDERY
Development of local textiles
Cultural significance of textiles: Malay
Cultural significance of textiles: Sabah and Sarawak
• Traditional textiles and embroidery in Malaysia are valued not only for their functionality, such as when used for clothing, but also for the beauty and status that they represent. The development of textiles and weaving techniques was in concert with the discovery and use of new materials: from tree bark and plant fibers in prehistoric times, to cotton, silk, gold threads and dyes. The Malay term kain (cloth) generally refers to any textile produced using the weaving technique.
• Various textiles are produced from cotton using many techniques such as direct weaving (tenun langsung), single ikat (ikat tunggal) or embroidered weaving (tenun sulam). Of these techniques, single ikat, using a tie-dyed yarn, is one of the most familiar, and characteristic of some Bornean indigenous textiles. Silk textiles include those with gold thread or gold and silver yarn using the double ikat technique (ikat ganda). Today, the east coast states of Peninsular Malaysia are especially well known for songket and batik, and Perak for fine embroidery such as tekat.
• Many textiles have cultural significance, for instance, cindai (imported from India) and local kain limar and songket have long held a place in Malay society, being used for important occasions and traditional costumes. Colors also played a role; it was recorded in 1405 that the ruler of Melaka was sent as a gift a suit of silk clothing and a yellow umbrella. The latter has been the emblem and color of Malay royalty ever since. The pua kumbu of Sarawak also has spiritual significance.
• Among the Malays and other indigenous peoples, abstract designs and motifs based on nature are the most favored. The Malays use an interplay of geometric forms to pattern their sarong and songket, including interlocking chevrons and diamonds. Stylized designs such as awan larat (meandering clouds) and pucuk rebung (bamboo shoots) are two typical designs. The Iban of Sarawak use woven motifs to symbolize an event, thought or even a dream, with designs handed down from mother to daughter, while the people of Sabah prefer stripes and geometric designs
• The Straits Chinese are known for their embroidered kebaya, a long-sleeved blouse with characteristic intricate lacework worn with a sarong, and their highly elaborate beadwork found on accessories such as belts, slippers, handbags, tapestries and bedspreads. The products of these crafts are once again popular among Malaysians.
• Some textile crafts continue to thrive partly due to prevalent fashion trends, but others have declined due to the laboriousness and intricacy, and thus cost, of production. For these latter crafts to survive, innovations are required, be they design, function or production techniques.
• Prior to the arrival of Europeans in the 16th century CE, the early textiles and weaving traditions of the Malay Peninsula, Sabah and Sarawak were heavily influenced by trade with Indian, Chinese and Arab merchants of the ‘water silk route’. Inspired by the foreign textiles imported in this way, unique indigenous and local textiles evolved and flourished.
• Textiles and clothing play an important role as ritual paraphernalia in Malay culture. At one time, some of the more exotic and luxurious textiles, for example, yellow coloured textiles and those woven with gold thread, were exclusively used for the attire of royalty and the aristocracy. Cloth was not only made into blankets (ulas modom), infant carriers (kain dukung) and long shawls (selendang panjang), but was also offered as ritual gifts.
• The textiles of Sabah and Sarawak form part of the traditional costumes of the indigenous people of these states and are used for ceremonial occasions and special purposes. Of these textiles, those of the Iban, especially the pua kumbu, have distinct religious significance—pua kumbu features in Iban myths, has traditionally been an important part of their ceremonies and rituals, and has symbolic designs and a creation process which are inextricably connected to their beliefs and the supernatural world.
• The first textiles produced locally were woven from local plant fibres, which were later replaced by cotton. Early trade with merchants from India, China, Persia, Arabia and elsewhere introduced new textiles and materials and new dimensions of weaving, as did the introduction of the frame loom by Europeans in the late 16th century. Traditional styles of weaving are still practised today and there has been an increase in handwoven textiles such as songket.
• The word ‘batik’ in Malaysia generally describes the process of decorating cloth using the block printing (cap) or hand-drawn (canting) techniques, or a combination of both. The method of dyeing and colouring varies with the use of material of various textures, such as cotton, silk, rayon and organza. It may also be identified by the range of traditional designs and motifs used. Batik has become a symbol of national pride and a form of attire for all races. It is now distinctly Malaysian.
• Malay embroidery and tekat The art of gold thread embroidery has long been practiced by Malay women. As it was originally a court art, such embroidery was traditionally associated with royal garments and court paraphernalia. In tekat embroidery, gold and silver threads are embroidered on a dark base fabric, usually velvet, and may be embellished with glass beads or sequins. It is now usually crafted for special purposes, such as to adorn the bridal dais and matrimonial bed, or to decorate food covers, pillow ends, bridal hand-held fans, betel sets, shoes and curtains.
• Traditionally, woven fabrics were often embellished. Cloth was polished using cowrie seashells to produce a lustre (kain gerus) or gilded with gold leaf or foil (kain telepuk). Rainbow cloth (kain pelangi) was tie-dyed using the dye resistant technique or other types of decoration were applied, including gems, mirrors, beads, sequins and appliqué work. However, until the early 20th century, gilt decoration was solely within the province of royalty and the aristocracy.
• The Straits Chinese heritage is reflected in a wide range of traditions and crafts, such as the contribution of Chinese embroidery and Malay costume embodied in the elegant Nonya kebaya, traditionally worn by their women and now a fashionable form of attire for all Malaysian women. They were skilled at silk and metal thread embroidery and beadwork and, consistent with other heritage items, their motifs had predominantly Chinese and European influences.
• Unlike other locations in the region, neither Hindu or Islamic cultures left a mark on the traditional material culture of Sabah, except for that of the coastal peoples. The production of indigenous textiles remained largely intact, although it is now a declining art. From intricate linangkit panels to hand-woven dastar head cloths and embroidered kain pis, the indigenous woven crafts of Sabah are worthy of admiration, and should be preserved.
• The earliest cloth used in Sarawak was made of tree bark and formed the clothing of most of the state’s indigenous groups. The subsequent introduction of the back strap loom and cotton yarn, probably originating from India, led to the establishment of a continuing weaving tradition and the creation of woven textiles for clothing as well as ceremonial and ritual purposes. The most famous textile is the tie-dyed pua kumbu of the Iban, whose weavers also produce a form of brocaded cloth and a striking supplementary weft textile called sungkit.
• The Malays have a long tradition of wearing elaborate costumes indigenous to their own culture, and have always worn them with pride. The rich colours, motifs, luxurious fabrics and the way clothes were worn displayed status and their celebration of beauty. Traditional styles are still worn today for everyday as well as more formal wear.
• The rich and vibrant costume traditions of the Chinese and Indians of multi-ethnic Malaysia are evident not only in their everyday life but also on religious, festive and formal occasions. The traditional cheongsam, embroidered kebaya and sari are the costumes most embodying the style and essence of Chinese, Straits Chinese and Indian women respectively. A wide variety of textiles are utilized including sumptuous brocades, velvet, satins and silks, gauzy chiffons, delicate lace and simple cottons.
• The population of Sabah is heterogeneously and culturally diverse, as are its equally varied range of traditional costumes.These are relatively plain and simple, but are enhanced by an array of jewellery and ornaments. The need to meet new modesty standards, to establish identity and differentiate between the ethnic groups and the growing emphasis on cultural tourism and the attendant economic benefits have led indigenous craftsmen to reinvent and modify inherited artistic traditions and styles of costume and ornamentation.
• The traditional costumes of the peoples of Sarawak are adorned with distinctive beadwork and needlework, a variety of metal objects, feathers, animal teeth, claws and tusks. Jewellery and ornaments including resplendent headdresses, colourful pompoms, and unique rattan and silver corsets are also worn. The prevalence and importance of beads in Sarawak, as decoration and as part of animist rites, continue even today