Warisan Seni : Anyaman Mengkuang oleh Rafizah Abdul Rahman, Kurator Sejarah seni anya mengkuang sudah bern ianntelol-agreta yn itel chyeslto wat ut seni yang biasanya ditradisikan oleh kaum wanita terutamanya semasa waktu dahulu apabila ia dijadikan kerja s lan supaya tidak melenc ENMU t\ Balers mur padi.Sejarah seni anyaman mengkuang sudah bermula lama sebelum zaman kemodenan Malaysia. la adalah seni yang biasanya ditradisikan oleh kaum wanita terutamanya semasa waktu dahulu apabila la diadikan kerja sambilan supaya tidak melengahkan ‘masa selepas musim menuai padi Pada mulanya, item yang biasa dianyam adalah tikar sembahyang dengan menggunakan motif-motif kelarai yang digubah dengan inspirasi dari alam semulajadi ataupun persekitaran penganyam itu Inspivas ini dapat dillhat daripada nama motif-motif seperti "Bunga Melur®, “Tapak Harimau”, "Bunga Cengkih", "Kepala Lalat", “sisi ikan” dan "Bunga Teratai". Kadang-kala, ada juga motif yang dinamakan mengikut penciptanya sendiri seperti “Kelarai Mok Mek” (oleh Hajah Semek dari Terengganu) dan ada juga yang mengikut sesuatu kejadian seperti “Kisar Mengiri” (sempena kisaran padi). kepada seslapa yang mengambil masa untuk betul betul meneliti anyaman mengkuang, keindahannya memang dapat dilihat, Pada peminat seni in, dalam kerumitan anyaman adanya terserlah keajaibannya, Alangkah malangnya, ramai orang kita sekarang tiada masa untuk berhenti seketika sempena ‘menghayati keindahan seni tvadisional ini kerana ‘erlalu sibuk mengejar kepentingan dir sendir. Oleh sebab itu, sumbangan daripada individu individu seperti Haji Ismail bin Salleh kepada | penjagaan dan penerusan sejarah warisan kita Menghuang weaving has a history that started since fong before the time of modern Malaysia. It is fan art traditionally done by women after the harvesting in the paddy fields has been done and they have time on their hands that they do not want to waste. In the beginning, prayers mats were the items commonly made and with patterns that were inspired by Nature and the weavers” surroundings itself. The names of the patterns themselves reflect this like in Bunga Melur, Tapak Harimau, Bunga Cengkih, Kepala Lalat, Sistk than and Bunga Teratai. other times, patterns can also be named after the creators themselves like in Kelaral Mok Mek (after Hajah Semek from Terengganu) or an event like in Kisar Mengiri (inspired from the grinding of the paddy after harvest). For those who take the time to stop and look at its beauty, the intricate ins and outs of the menghuang leaves on a design are truly ‘mesmerizing. Unfortunately, most people nowadays always seem to be in too much of a hurry and have ‘stopped looking. That Is why someone like Hj Ismail Bin Salleh is 80 important to the preservation of our cultural history. A teacher for almost 4 decades in Kota Bharu, Kelantan where he has always lived: he has certainly earned his right to the name, Cikgw Ismail, that everyone calls him by. As he was @OTE CIEL cece Psi ee Ro econ Scar eacrrg chin ama) mengkuang, Oat aval fagi dis flah mempelaar erst ieee asc) Porn ca aes Walaupun sudah bertahun lama Cikgu small bersara Peer near Muncods anew eae ulturun es acuehcck Gears Use Stame arcu dacs aunt ns gece maa yu) ‘mengkuang kepada guru-guru di sekolah rendah, tae crie tere Marius Pe oH ures utara Per Menara or cy inte Greenies Cea Pere nara Ssewaktu seni tradisional dlajar dengan leluasnya Cie eons het cane war Gorey ecue chr ay tamice Suu cut cura na el Poseurs Mccrr ramets CoC cue ecu elec pertukangan dan alat-alat yang diguna digantikan Cer reyrerunets (tcl) Earnest acta teacher of art, Clkgu says that he even used to be fondly called as “Cikgu Seni He has been attracted to mengkuang weaving since he was Br Crem ner saat CMa GUL a Reece ed POUCA Ooch dled seeking him out to learn from him. Although it has been many years since he retired as 4 full-time teacher, Gikgu ismall who ts now 66 ‘years old, still regularly receives offers to impart ‘ls knowledge of this traditional art and gives in house training to teachers at primary schools. He rycen a are eee to offer his knowledge to those interested to earn. Ce yaaa ee al traditional arts used to be widely taught at schools and mengkuang weaving was part of the CT etec aia eri ata ay RLU Munem cata eee Aa ca mE amc Pe ee eater Ca rn aaa Le halls, wood and chisels took over the classes. Cligu yr oer ea ai to survive on to the future generations if they are acre ate ea a ete ace) Peete eae ore Cikgu has dedicated many years to researching and studying the art of mengkuang patterns of ourddan tidak dapat diwariskan ke generasi masa depan kami kalau mereka tidak dijar untuk menghargainya semasa di sekolah lagi. Kalau kemahiran dalam bidang industri lebih dinlaikan, adakah peluang untuk warisan kta terus hidup dan mengembang? Demi keazamannye untuk memastikan warisan tradisi seni anyaman menghuang kite tidak dilupakan, Cikgu Ismail telah merujukan matanya selama bertshun-tahun untuk menyelidiki dan rmempelajari motf-motf kelaai ham orang duly Sekarang, beliau telah berjaya merekodkan dan ‘memahiti 70 motif lama, dan awal tahun in, telah mendapat ilham untuk menganyam corak-corak songket menggunskan mengkuang apabila membaca Dbuku-buku bertopik songket. Setahu Cikgu tsmai beliau lah seorangnya yang telah mengembil corak kein songket dan menterjemahkannya kepada anyamanmengkuang. Untuk memastikan yang penterjemahannya betul, beliau telah berunding dengan pakar tenunan songket dan mereka berkata yang beliau memang tepat sekali. Perbezaannya hanya adalah mereka menggunakan benang dan Cikgu tsmail menggunakan daun mengkuang, Sebagai seorang dalam bidang yang tidak dramaikan aur lai, Cikgu smal seurmpama kumbang ditaman yang dipenuhi bunga. Keistimewaannya ialah enganyam wanita dapat meliat kesungguhan minat Cigu ism dan membiaran belau membangunkankan kemahirannya ke tahap yang tinggi att in his determination te pee history ard le sy To date, be mastered yo weeving e032 he come up with the idea te songeet des looking through bast: on 2 brows, he is the only ane thet he consulted songbet experts he bre 2 did their weaving We ws doing it correctly with the anly 2fferer they use thread and he us told by ther th Literally the thorn amang the (sone of the few men whe menghuang weaving. Wonderfully © women weaver: did nat ches Interest and left him alone to de: ‘And develop it he did. The menghuang works that Cibgu lanai! created for this “Warizan Sen) < dnyar Mengkuang” exhibition are truly an #7 documentation of this traditional ar, Ever ¢ quaint titles ofthe weaving petterns ther charm us into appreciating the works even rare Names like Beras Poteh, Tampub Pinang Eerertal Che Kedah, Siku Keluang Bunge, Empat Seeil® and Titi Hujan literally draw you tothe past and allow you to imagine what it might have beenCee eee ene ed ae Se eed nae Ge ee et eet Geel eee tenes Ce td ae eet tel ee eee eee ed Re eae eae! i nee eras Se ee er Coreen eg ee age ey ee Ce es ee ks Co eee ee eet eee ee ae} CAC ase ieeeecy daripads Kelantan dan Terenggans tetapi ada Iga salah satunya yang berasal dari Sarawak rae err ike then in the beginning as the women of the ae ee et Lt CL Daa bape Ct eas Te ie en) Pe i ppg Ce dd peri err errmnr Tamar Cabit, Bunga Bintang Pecah Lepan, Kui Pa ey Aone ol ee Ee uncovered axd weaved for this show are from (ene ee ee originating all the way from Sarawak that he is Ie te re eer te eT Tee tee eats ‘even the journey be took ta uncover, document and recreate the designs of oar past has tae hin this rd abst lin ad ben ghetto {feels bas potential and & sil developing and bope CP Tt) ket ‘happen. the man is busy enough with trying t2 recover the crestions of ear past and making sare tet ya’2uat selarang, Cikgu small belum lagi dapat taken belaral mengkuang tersendii yang uaskan baginye. Beliau berkata bahawa petjlanannya untuk mencari, merekodkan dan ‘memahiri motif-motif kelara ilham orang dulu pun sudsh mengembil masa yang cukup lama Welaubagaimanapun, ada juga beberapa corak gubzhan sendiri yeng beliau berasa ada potensi yang tinggi dan sedang dijayakan tetapi kejayaan ini tidetdah dia tergesa-gesa untuk mencapal, Masa Giegu Ismail sudzhpun cukup penuh dengan uszhanye untuk merangkumi dunia seni anyaman mengkueng dan membangkitkan kembali tradisi lama kite supaye dapat berkekalan sehingga ke masa depan. 22k Hata Allahyarham Nik Rashiddin Nik Hussein, seorang pengukir kayu termasyhur yang juga dari Kelantan, “Orang tanpa sejarah adalah orang yang tiad2 mass hadapan...sebab tiadanya sejarah membuatkan orang itu hilang arah hidupnya.” (Spirit of wood, 2003) Sejarah kita memang jelas dipandang dalam ‘pameran “Warisan Seni: Anyaman Mengkuang” ini ddan cikgu Ismail lah yang memegang kompasnya, Kuala Lumpur, 31 uly 2007 As ike the late Wik Rashiddin Nik Hussein, Kelantanese master wood carver says, “A people with no history area people with no future... for it isthe lack of history that makes a people lose their direction in life.” Spirit of Wood, 2003) The “Warisan Seni: Ayaman Mengkuang” exhibition ls truly a showcase of our history and clkgu Ismail is holding the compass. at July 2007, Kuala LumpurJABATAN KEBUDAYAAN DAN KESENIAN NEGARA KEMENTERIAN KEBUDAYAAN, KESENIAN DAN WARISAN MALAYSIA n This book is published by NN Gallery [www.nngallery.com.my] in association with ‘The Ministry of Culture, Arts and Heritage Malaysia. ©2007 NN Gallery. All rights reserved. All rights reserved. No part of this publication may be reprinted or reproduced, stored in a retrieval system, or transmitted in any form or by any means, mechanical, electronic, photocopying, recording, or otherwise, without prior permission in writing from the publisher. All works of art are reproduced with permission of the copyright owner, Concept & Design by Andy Lee, ISBN 978-983-43012~3-1F chee re F a eee CO | a