AN ANALYSIS OF ISLAMIC ARTS IN MALAY WORLD

(TEXTILES : WEAVING)

Student Name : Huda As-safa Binti Mohamad Zafarullah

Student ID : 2022664928
Group : MCAAD111 2B
Lecturer : Madam Nurkhazilah Idris
Course Code : VCS 155
Course Name : Islamic Art In The Malay World

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ASSESSMENT CRITERIA

TOTAL MARKS 30%

REPORT WRITING Marks

1 Introduction (Historical Background) /2

2 Contextual (Problem Solving)

Small “c”
Capital “C” /8

3 Formalistic (Creative Process)

Imitation
Denaturalization
Stylization
Abstraction /12

4 Conclusion /2

5 References /2

6 Format /4
(Minimum pages 11 & not more than 15 pages).

Total : / 30 %

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LECTURER OF SIGNATURE
Date :

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TABLE OF CONTENT

No Table of Content Pages

1. Introduction 4
Historical Background

2. Contextual (Problem Solving) 5-6

Small “c”
Capital “C”

3. Formalistic (Creative Process) 7-9

Imitation
Denaturalization
Stylization
Abstraction

6. Conclusion 10

7. References 11

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INTRODUCTION

Background history of Songket Weaving.

A wonderful songket is a handwoven item of traditional Malay clothing that features

vivid metallic threads to create the songket designs. It is believed that since the fifteenth
century, the art of songket weaving has come to the Malay Peninsula through trade, migration
and political marriages. Under the patronage of the Malay sultanates of the Malay Archipelago,
such as the Malay Kingdoms of Palembang, Minangkabau, Riau and the principalities of
Patani, Brunei and Bugis Makassar, textile, songket weaving flourished along the coastal cities
of the Malay Archipelago.

The menyongket (a Malay word meaning to embroider) supplemental weft technique,

in which gold or metallic threads are added and weaved into the fabric, is used to create the
songket motifs. It is not just the use of gold threads that form exquisite motifs that determines
the beauty of a songket. Historically, the value of a songket has been determined by the creative
skill of the weaver, who combines the use of patterns and motifs with the community's
perceived value of gold.

Songket weaving is a meticulous, time-consuming, and difficult procedure that

demands the weaver's whole attention. A traditional songket sarong takes two to three months
to create. So, a nicely woven songket fabric would demonstrate the weaver's superior
handiwork and skills. Today, it is used predominantly as traditional Malay ceremonial uniforms
for royal ceremonies, weddings, birth of a baby and circumcision exercises, Malay holiday
events and official state functions. The songket is only worn by the kings and their families as
opposed to ancient times. As of recent, the songket was transformed into clothing, fashion
accessories such as handbags and home items like place mats, cushions, tables runners and
gifts.

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AN ANALYSIS OF ISLAMIC ART IN MALAY WORLD

The Problem Solving Process :

No Level of Contextual The Problem Solving Process:

. Element An Analysis of Contextual Elements.
in Islamic art
(Concept of Tawhid)

This songket contain a very exclusive look, which is from

1. Small *c* the bold red colour and gold threads. Its filled with motif
of Pucuk Rebung and Badan Bintang Berterabur. The
Which involves with the rebung motif is the motif that dominates the design of the
obvious, surface Malay songket weaving art pattern, especially in the head
“content”. part of the fabric. It is also seen that there is the inverted
repitition of the pucuk rebung motifs. There were also a lot
of repetition of Badan Bintang Berterabur motifs on the
center part of songket.

Kain Songket Tanah Merah is one of the unique Malay

2. Capital *C* handicrafts because its aesthetic value is not only evident
on the surface of the cloth but also rich in symbols that
Which through its contain values that are very valuable for life and humanity.
representation of the I believe that the motif of pucuk rebung seen in the cultural
ostensible motifs, context of the Malay community which means strong,
figures, characters, tenacious, fertile, resilient and humble. Next, Badan
or events, seeks to Bintang Berterabur motif relates to the beauty of the stars
reveal a deeper at night.
message or
“Content”.

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 The artifact is about a kain songket weaving. The brocade family of textiles includes
songket. It is a magnificent, luxurious ceremonial fabric, handwoven in silk or cotton, with
elaborate patterns and gold (and occasionally silver) threads that stand out in soft relief on the
background material. The fabric has a beautiful shimmering appearance due to the interaction
of light and soft shadow, making it the "queen" of handwoven fabrics.

In this report writing has a problem-solving process named The Problem-Solving

process which consists of the small ‘c’ and the capital ‘C’. The small ‘c’ is a process where we
have to observe the obvious content on the surface. In this artifact, the obvious surface content
is the luxurious look which contains bold red colour and the gold threads that elevate the look
of the songket. It is covered in Badan Bintang Berterabur and Pucuk Rebung motif. The Malay
songket weaving art pattern is dominated by the rebung motif, particularly in the head section
of the fabric. On the songket, Badan Bintang Berterabur motifs were also frequently repeated
as well as the Pucuk Rebung motifs.

The next point is about the capital ‘C’. It can be described as a process that goes through
its representation of the ostensible motifs, figures, characters or events, seeks to reveal a deeper
message or ‘Content’. One of the distinctive Malay handicrafts is called kain songket tanah
merah because in addition to its beauty value being seen on the cloth's surface, it is also rich in
symbols that represent ideals that are essential to human life and humanity. I think the symbol
of pucuk rebung is understood in the Malay community's cultural structure to indicate someone
who is strong, tenacious, fertile, powerful, and humble. It's similar to the well-known Malay
proverb "Melentur buluh biar dari rebungnya," which states that in order to build a good or
better future, we must start from the root. Other than that, Badan Bintang Berterabur motif
associates with the beauty of the stars at night.

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The Creative Process :

No Stage of Creative Process The Creative Process:

. (Concept of Tawhid) An Analysis of Formalistic Elements.

1. Imitation of Nature This artifact contains an imitation from the nature tree
which is called Pucuk Rebung (Bamboo Shoots).
This nature imitation
process can be
defined as a The imitation of the bamboo shoots is placed in a
replicating or triangular shape which is similar to its usual feature.
mimicking process
even as process of
elevating Allah
S.W.T.’s creation as
the source of
inspiration of artistic
expression.

2. Denaturalization of From the realistic organic forms element which is the

Nature tree, it continues to transform into organic outline
shaped. It is mainly to avoid the depiction of Allah
The process is a phase
where the idea S.W.T’s creature.
development process
where the styling or
object transformation
from its natural
inspirational source
towards a form which is
instance from the Bamboo shoots
realistic physical feature
of Allah S.W.T’s
creations.

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3. Stylization of Nature The stylization for this artifact is the inverted repitition of
the bamboo shoots motifs which is the triangle shape. The
motifs is also styled in two different pattern.
This process is termed as
process that combines
organic features that
which has been
expounded in the process
of imitation and Triangle
stylisation with physical shape
visual features that are
geometric in forming one
complete design patterns.

The organic shape in this songket is the bamboo shoot.

4. Abstraction of Nature
There is also a geometric shape found in this motif which
The abstraction process is the triangular inverted repetition shape.
can be defined as idea
development process that
focuses on the original
form to become the
structure modular design Geometric
composition that are
organic or geometric in
features. These are then Organic
portraying the features of
Islamic that is also
known as Ummayyad.

Geometrical shape. The structure modular design

composition are based on organic and geometric features.

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 The imitation of nature can be described as a process that’s replicating or mimicking
even as process of elevating Allah S.W.T’s creation as the source of inspiration of artistic
expression. The artifact contains imitation from the nature tree which is called Pucuk Rebung
(bamboo shoots). The imitation can be seen at the head part of the fabric. The imitation of the
bamboo shoots is placed in a triangular shape which is similar to its usual feature.

Besides from that, there is also a Denaturalization of Nature in this creative process.
The process is a phase where the idea development process where there are the styling or object
transformation from its natural inspirational source towards a form which is instance from the
realistic physical feature of Allah S.W.T’s creations. We were forbidden from depicting the
creation of God's creatures, thus the denaturalization of the natural elements continued into the
denaturalization phase. Hence, from the realistic organic form elements which is the bamboo
shoots, it continues to transform into organic outlined shaped to avoid the depiction of Allah
S.W.T’s creature. The put lined organic shape shows a difference between the natural
inspirational source form and the modified into the opposite from the realistic nature form
elements.

On top of that, the Stylization of Nature is defined as a process that combines organic
features that have been developed through imitation and stylization with physical visual
features that are geometric in order to form one complete design pattern. Thus, it has been
spotted that this artifact contains the triangular inverted repetition. This results the viewer’s eye
to feel satisfy when they look at this kain songket and also admire it. It is because the repetition
of shape was arranged in a maintained size and the space between one and another. Moreover,
the motifs is also styled in two different patterns.

Lastly, the abstraction of nature is termed as an idea development process that aims on
the original form to become the structure modular design composition that are organic or
geometric in features. In this artifact, the type of structure modular design contains geometric
shape. The geometrical element that can be found in this artifact is triangle shape. The shape
were abstracted into framing composition where the triangle geometric shape framing the
bamboo shoots. Moreover, the triangle shape were also designed to be in repetition at the head
part of the fabric with balanced space between one and another.

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CONCLUSION

The conclusion is the art of songket weaving is not only beautiful to see from afar but
remains beautiful and charming even from up close and even more important than that, it is
loaded and rich with philosophical values that can elevate the nation's art heritage. In this
context, it does not just talk about the "appearance" aspect of the songket from the external
point of view, but specifically talks about the songket from the "soul" or internal point of view.
Clearly, songket is not just a piece of clothing, but a tool to uphold custom and raise the dignity
of the nation.

The art of songket weaving may one day diminish if the younger generation is no long
er interested in the weaving professions. Therefore, it is essential to find means of preserving
the skill of songket weaving and encouraging young people to acquire this art. Therefore, with
the idea created by Allah S.W.T to make the artwork an interesting for us to study a very
creative and innovative Islamic culture.

In this writing, we learned that weaving from the artifact explains the transformation
from Allah S.W.T’s nature creation, until the abstraction of the elements that were used. Other
than nature elements, its also contains geometrical shape which is the triangle shape.

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REFERENCES

Bibliography
Reference to a book :
Adanur, S. (2001). Handbook Of Weaving. Auburn University , Alabama, USA : CRC Press.
Selvayanagam, G. I. (1991). Songket : Malaysia's Woven Treasure. Oxford University Press.
Aziz, D. A. (2015). Seni Tenunan Songket : Identiti, Lambang dan Tradisi Budaya Melayu.
Universiti Teknologi Mara.
Reference to a journal publication:
Kheng, J. N. (2010). Sustaining the Magnificent Craft of Songket Weaving in Malaysia.
Textile Society of America Symposium Proceedings .
Reference to a report:
Kheng, D. J. (n.d.). Revitalising the Craft of Songket Weaving through Innovation in
Malaysia. Universiti Malaysia Sarawak .

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