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Analysis of the application of Tenun Pahang Diraja worn by Tunku Azizah Aminah
Maimunah Iskandariah Binti Almutawakkil 'alallah Sultan Iskandar.

Nur Amalina Syahirah binti Mohamad

2018222866

AD242/4A

University Technology Mara ( UiTM) Shah Alam

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Number Contents Pages

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1. Title 1

2. Tables of content 2

3. Introduction 3

4. Research Objectives 4

5. Statement of Problem 5

5.1 Delimitation 6

5.2 Limitation 7

5.3 Hyphotheses 8

5.4 Research Question 9

6. Statement of Significance 10

7. Research Methodology 11

8. Review of Related Research and Literature 12

9. Chapter Outline 13 - 18

10. Bibliography 19

TABLES OF CONTENT

INTRODUCTION

Silk weaving in Pahang originated from the Malay people of Bugis descent. When the Dutch
conquered Macassar Island, they sought refuge in the Riau Islands of Indonesia and later
they migrated to Pahang to avoid the fighting and war in Riau.

A high official of the Bugis, known as Tuk Tuan Keraing Aji, was one of those refugees who
came to Pahang in 1722 and he settled at Kampung Mengkasar, Pekan. Not only was he a

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master weaver and fully conversant and truly knowledgeable in silk weaving, he was also a
connoisseur of fine fabrics and clothing, having collected fine fabrics and clothes from
various parts of Indonesia.

As a master weaver extraordinaire, he was regarded as a pioneer of new designs and

patterns for kain sampin and kain sarong. He taught silk weaving and the various processes
to many of the womenfolk of the village including the surrounding areas. But more
importantly, he contributed towards the creations of new patterns and designs for the fabrics.
In time this unique silk weaving industry flourished in Pekan and its high quality and designs
especially known far and wide and "branded" as it were, as Tenun Pahang.

Tuk Tuan Keraing Aji was buried at the Islamic Cemetery in Kampung Mengkasar, (the
grave can be seen there). The students he taught in Pekan continued his work of teaching
the weaving techniques and processes to their generations, and the transmission of
knowledge continued until now, encouraged by the Pahang state government by the
establishment of the Kompleks Budaya Pulau Keladi.

As the most famous woven silk in Pahang, Tenun Pahang was conferred royal status
"Diraja" by HH Tengku Abdullah Sultan Ahmad Shah, the crown prince of Pahang on the 8th
of May 2006.

In fact even today, the mesin kek, the special machine to weave the Tenun Pahang Diraja,
can still be found in most homes in the village, and men and women of the village, young
and old, continue to carry out weaving activities during their spare time.

https://en.wikipedia.org/wiki/Tenun_Pahang_Diraja

OBJECTIVE

1. To define which type of techniques, material and finishing process of royal woven
fabric.
2. To define symbolize motif and pattern that decorate of royal woven fabric.
3. To identify the aesthetic value of Tenun Pahang Diraja.

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STATEMENT OF PROBLEM

1. How royal woven fabrics have become a part of Malaysian culture used especially in
honor and official ceremonies ?
2. How the delicate fabric is be very expensive ?

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3. What are the ways to increase production and quality and to promote Pahang Royal
weaving products in international fashion ?

https://www.google.com.my/search?sxsrf=ALeKk03MD2Ugmz2TpTEzJjN-gjRTHTEryA
%3A1591855979550&source=hp&ei=a8vhXoy2H8nc9QOktpr4Bg&q=problem+statement+a
bout+ten

https://www.nst.com.my/lifestyle/jom/2019/11/540671/jom-go-exquisite-royal-pahang-silk

https://www.pknp.gov.my/index.php/pautan/tenun-pahang-diraja

DELIMITATION

1. Improvisation and multiple patterning form another aesthetic tradition shared by the
people who made quilts. Multiple patterning are important in royal and priestly fabrics, for the
number and complexity of patterns are important in a fabric increase in accordance with
owners status.

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2. Cloth woven for priest may feature various woven patterns within each strip, as a variety
of strips each featuring a different pattern.

3. Multi-ple patterned cloth communicates the prestige, power and wealth of the wearer for
only the well educated and the wealty can name the different pattern.

LIMITATION

1. Distance constraints due to study in nature and difficult to study because being home
temporarily due to movement control commands.

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2. Feasibility and practicability when formulating research questions. A modest or even

mundane research project which has been thoroughly carried out and reported is better than
a large and complex one which, although it may seem more exciting prospect, I difficult to
carry and is likely to be end up with more questions that it started with.

3. Research is not concerned with the expression of your own beliefs, opinions and views
although if are carrying out a survey of some kind of study of students, attitude to religion, it
may be concerned with the opinions and views of others.

HYPHOTHESIS

1. The royal woven weave has become part of the culture of the people of Malaysia
used especially in honor and official ceremonies.

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2. Tenun Pahang Diraja is produced in the traditional way by maintaining artistic

sophistication and gaining the admiration and attention of fans of traditional and domestic
goods.

3. Royal weavers commonly used for sarong, shawl and scarves are now being applied
in modern fashion design in keeping with the latest trends and tastes. It is also used by local
and foreign fashion designers especially for official government ceremonies and royal
customs.

RESEARCH QUESTION

1. What is the difference between the traditional pattern of royal embroidery and the
exclusive pattern ?

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2. How this weave is produced ?

3. What is the difference between using a traditional weaving machine and using traditional?

STATEMENT OF SIGNIFICANCE

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1. Woven art is a legacy that continues to hold a special place in the archipelago's culture.
The factors driving the development of the art of weaving can be highlighted in the
geographical importance of the region.

2. Heritage of traditional weaving by hand is deemed a Malay community intelligence.

3. Privileges and beauty Malay-woven fabric is woven in a pattern that reflects the greatness
of weaving and designers.

RESEARCH METHODOLOGY

This chapter looks at the various research methodologies and research methods that are
commonly used by researchers in the field of information systems. The research

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methodology and research method used in this research is acknowledged and discussed.
The chapter starts off by providing a comprehensive introduction to research. Then the
research methodologies and research methods particularly used in information systems are
discussed. A significant effort has been made to clarify and provide distinctions between
research methodology and research method. During the course of this research, when
investigating the literature on research methodology and research methods, it was found that
many researchers were using the two interchangeably. Therefore the two sections on
research methodology and research methods have been treated separately. A section that
compares and differentiates between the two is presented first, followed by the section on
research methodology. Then the different types of research methodology are described and
the two main types of research methodologies namely qualitative research methodology and
qualitative research methodology is discussed. The research methodology that has been
utilised for this research is discussed and the reason why the particular research method
was chosen with proper justification is explained. Then research methods in general are
discussed and the types of research methods suitable for information systems research are
explained. The differences between the qualitative and quantitative research methods are
elaborated upon. Since secondary data sources have been used in this research, a section
is included to discuss the differences between the two and to explain the advantages of
using secondary data sources for research. Then the research method, that is, the actual
data collection and data analysis method is described and justification is provided on why
the particular research method was chosen. Case study research method is combined with
grounded theory research method for document analysis of archival data that was accessed
via the Internet. Descriptive methods have been used to investigate the opportunities and
issues of cloud computing with mobile phones for developing countries.

REVIEW OF RELATED RESEARCH AND LITERATURE

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The state of Pahang has long been known for its originality and distinctive cultural heritage.
Weaving is one of the traditions that not only possesses high values but also contributes to
the state's and national tourism industry. However, currently, this tradition is seen to be
facing extinction and vulnerabilty due to the entrepreneurial’ critical factors and socio-cultural
environment. This paper aims to identify the role of the entreprenuers in developing the
Royal Pahang Weaving products. The study explores the entreprenuers’ involvement as the
key drivers of Pahang heritage weaving. There are seven factors of sustainability from the
entreprenuers perspectives: product, the price, place, promotion, the physical evidence of
customer service, process and the people. All these factors played a major role in weaving
development and their importance seems to be inter-dependence in ensuring the
sustainability of the weaving heritage.

Kain Tenun Pahang Diraja or Royal Pahang Weaving cloth is a traditional woven fabric and
its production flourishes in the state of Pahang. This fabric possesses its own unique
characteristics and produced only by one local weavers. Indonesia, a neighbouring country
its also know for its wearing cloth. This paper discusses the production of royal yarn. This
yarn was made by by Tunku Azizah Aminah Maimunah Iskandariah Binti Almutawakkil
'alallah Sultan Iskandar.

CHAPTER OUTLINE

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Chapter 1 : Plan of the study

Introduction

Compared to songket and batik, weaves especially Tenun Pahang Diraja seldom draw
attractions. But, its presence is also left unaware by people. Young generationseems to lose
interest in this kind of weaves. This art is normally appreciated by persons who are directly
involved in fashion. Tenun Pahang Diraja is one ofthe famous heritages that belong to Malay
ethnics. Tenun Pahang Diraja is also famous due to its beautiful arts included of its motif,
subject, color, techniques,and instruments. These factors have made these arts last until
today. Abdul Ghani(1997), has mentioned that at the early stage, Tenun Pahang Diraja used
to be as a body decoration and tattoo ad after that it became to bark cloth, silk and the use
of synthesis fibre.

Tenun Pahang Diraja seemed to be only an ordinary kind of weaves. This weavecontains
high value of symbolism in Malay culture and beliefs. It is symbol ofcultural uniqueness,
traditional beliefs in the local community life. Buang (2001), inher writing stated that Tenun
Pahang Diraja is still considered as quality weave andon par with the rest such as
Terengganu Songket , Kelantan Songket , Telepok, Limar,Mastuli, China Silk, Indian Silk
and Siamese Silk. Unfortunately, as time goes by,these arts are forgotten and it is not an
impossible thing that one day this art will extinct. Tenun Pahang Diraja needs to be exposed
and commercialized so that it can become one of the heritages that represent the Pahang
state.

Statement of Problem

Woven fabrics of course woven woven fabrics and also of woven woven fabrics above all
woven fabrics while toraja fabrics become woven fabrics above all woven fabrics ntt
therefore lurik woven fabric may be flores fabrics of course woven fabrics next weaving back
for that reason woven fabric flores many patterned subsequently woven fabric baron as a
result of woven fabrics borneo quite textiles Sulawesi therefore woven cloth back and woven
blanket Jepara otherwise woven fabric Hobo probably woven fabric of aceh may weaving
native subsequent fabric weaving yogja finally soft weave as a result of cotton weaving even
more native weave cloth toraja finally weave cloth rather than weave while cloth weaving It
seems like rote custom weave first adonara weave first indonesian weave cloth as a result of
sumba weaving even some more woven fabrics ntt of course sumba woven fabrics even
more woven fabrics for log woven fabrics therefore woven fabrics in english even more

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special woven fabrics ntb instead of woven woven woven fabrics for that reason fabric first
weave first weave woven cloth with java weave instead.

Weaving is a process of making fabrics made with two components namely lusi and feeding,
which is by combining yarns long and horizontally. In other words, it crosses between the
luscious threads and feeds alternately. Woven fabrics are usually made of wood fiber,
cotton, silk, polyster and more.

The art of weaving is closely linked to the knowledge system, culture, beliefs, environment,
and social organization systems in society. Because the social culture of the community is
diverse, the art of weaving in each area is different. Therefore, the art of weaving in the
community is always specific or unique, and is part of the cultural representation of the
community. The quality of the weave is usually reflected in the quality of the material, the
beauty of the color, the motif, the pattern and the style of the decoration.

Weaving is common in Indonesia, especially in Java, Sumatra, and Borneo. Typically woven
fabrics are manufactured on a household scale. Some of the areas famous for its woven
production are West Sumatra, Palembang, and West Java.

Statement of Significant

Woven art is a legacy that continues to hold a special place in the archipelago's culture. The
factors driving the development of the art of weaving can be highlighted in the geographical
importance of the region. Heritage of traditional weaving by hand is deemed a Malay
community intelligence. Privileges and beauty Malay-woven fabric is woven in a pattern that
reflects the greatness of weaving and designers.

Methodology

This research method is created or researched through the internet, through the web and so
on.

Chapter 2 : Review of related research and the literature

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The state of Pahang has long been known for its originality and distinctive cultural heritage.
Weaving is one of the traditions that not only possesses high values but also contributes to
the state's and national tourism industry. However, currently, this tradition is seen to be
facing extinction and vulnerabilty due to the entrepreneurial’ critical factors and socio-cultural
environment. This paper aims to identify the role of the entreprenuers in developing the
Royal Pahang Weaving products. The study explores the entreprenuers’ involvement as the
key drivers of Pahang heritage weaving. There are seven factors of sustainability from the
entreprenuers perspectives: product, the price, place, promotion, the physical evidence of
customer service, process and the people. All these factors played a major role in weaving
development and their importance seems to be inter-dependence in ensuring the
sustainability of the weaving heritage.

Chapter 3 : Analysis of questionnaire data

Objective 1

PROCESSING OF TENUN PAHANG DIRAJA

Tilt: Tie the straps to make them tight and close. Silk that has been trained on Reel wood is
mounted on Catuk and fastened to Likas or Ruwing leaves.

Rehearsal: The early stages of weaving work. This work is done through a tool called
'Detarau' or Ground Meter, where the thread is placed on a Ruwing site.

Harassment: Adjust the pattern (yeast) of the fabric, which is one color alternating with the
other color until the 'collar' section of the sheath is complete (according to the width of the
spacing of the choice). Harvesting also means defining the short length of woven fabrics as
well as sheets made of a certain size.

Exercise: Dry the silk yarn again by tying it to a freckle named Cat and Bamboo Reel.

Flashing: The process of knitting yarn to be as rough or as smooth. To thread a thread you
must use 3 or 4 Layers mounted on the Picker tool. Then the root cause of the Thread is
pulled and made one. A bowl of clean water is provided, so use it to loosen the silk thread
before fastening it on the other tape. This process takes 2 to 3 days to bind the thread.

Scoop: Drain the water (about 3/4 dry) so that the yarn does not wrinkle and is in perfect
condition.

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Pulling: Pushing yarn into the gear teeth for the process of rolling yarn to the roll board.
When this process is complete, the yarn is then connected to the 'Karap' and then placed on
the Cake equipment for weaving until done.

Objective 2

Symbolize motif and pattern that decorate of royal woven fabric :

BASIC MOTIF OF TENUN PAHANG

a) Pattern Jalur Melintang atau Mengiring

b) Pattern Jalur Menegak atau Berdiri

c) Pattern Berpetak (Tapak Catur)

PATTERN BANGSAWAN

a) Pattern Dato’ Mahmud

b) Pattern Orang Kenamaan

c) Pattern Datuk Bandar

d) Pattern Tok Muda

e) Pattern Tengku Ampuan

f) Pattern Tun Razak

MOLDED WOVEN TENUN PAHANG

a) Pattern Tubok Sekampung

b) Pattern Selumbar Nibong

c) Pattern Belah Buluh

d) Pattern Beragi

e) Pattern Tapak Catur Berlapis

f) Pattern Beranak

g) Pattern Seluang Mudik

h) Pattern Bugis

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i) Pattern Pahang Jalur 7

j) Pattern Jalur Melintang Di Tengah

Objective 3

Tenun Pahang Diraja has its own distinctive pattern of decorating the fabric through its
delicate patterned designs through striped, horizontal and vertical patterns.

Believed to be from the Riau region of Indonesia, the weaving was brought to Pahang
around the 16th century by a Makasar general led by Tok Tuan who visited and settled in
Kampung Mengkasar, Pekan, which was responsible for improving the way of weaving local
silk fabrics at that time.

Chapter 4 : Summary, findings, conclusions, and recommendations

Tenun Pahang Diraja.The fine fabric produced in Pahang using this centuries-old silk
weaving technique is commonly worn as sarong, sampin, selendang and other traditional
clothing.Tenun Pahang recently gained recognition when Johor princess Tunku Tun Aminah
Maimunah Iskandariah Sultan Ibrahim wore a dress made from the fabric for her
wedding.The fabric had been given to Tunku Tun Aminah by her aunt Tengku Puan Pahang
Tunku Azizah Aminah Maimunah Iskandariah Sultan Iskandar.

Although Tenun Pahang has been around for centuries, the industry only flourished lately
under the patronage of Tunku Azizah to the point it was conferred royal status in 2006.She
said recently this unique cultural heritage would be lost within a few more years if there were
no steps taken to preserve it.As to its origins, Institut Kemahiran Tenun Pahang Diraja
Tengku Ampuan Besar Meriam manager Fairuz Hafiezal Rosli said it was believed that a
Bugis nobleman named Tok Tuan brought the technique to Pahang in the 17th century.“The
technique is believed to have come from Riau or Sulawesi. There was already silk weaving
in Pahang at that time but the nobleman improved it and it eventually became known as
Tenun Pahang.

“He expanded the weaving technique and since then, it has been passed down through the
generations as a heritage of Pahang,” he said.Fairuz said a feature of Tenun Pahang was
the thin lines called “sepit udang” that distinguished it from other types of woven silk.

Among the basic patterns produced as Tenun Pahang were horizontal lines and squares
besides other contemporary designs, he added.Fairuz said the making of Tenun Pahang

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was a very complicated process that required plenty of patience.“The steps involved are
melikas, mewarna, menerai, menganing, menyusuk, menggulung, mengarat and menenun.
It starts from separating the silk all the way to weaving using the traditional loom known as
kek siam.“It is time-consuming work and those who wish to pick up this craft must have
patience as a trait. We usually allow trainees to try it out first to see if they have interest,” he
said.

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BIBLIOGRAPHY

https://www.google.com.my/search?sxsrf=ALeKk03MD2Ugmz2TpTEzJjN-gjRTHTEryA
%3A1591855979550&source=hp&ei=a8vhXoy2H8nc9QOktpr4Bg&q=problem+statement+a
bout+ten

https://www.nst.com.my/lifestyle/jom/2019/11/540671/jom-go-exquisite-royal-pahang-silk

https://www.pknp.gov.my/index.php/pautan/tenun-pahang-diraja

https://en.wikipedia.org/wiki/Tenun_Pahang_Diraja

https://www.mstar.com.my/xpose/mode/2019/04/27/tenun-pahang

https://www.justfabrics.co.uk/advice/all-about-woven-fabric-and-its-uses/

http://www.dirajapahang.my/portaldiraja/?page_id=640

https://www.pahangtourism.org.my/index.php/about-us/latest-news?start=85

https://www.mstar.com.my/xpose/mode/2019/04/27/tenun-pahang

http://spaj.ukm.my/jws/index.php/jws/article/view/84

https://www.channelnewsasia.com/news/asia/malaysia-queen-royal-tenun-pahang-fabric-
weaving-tunku-azizah-12133794

https://pknp.gov.my/index.php/en/pautan/tenun-pahang-diraja

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