Resilent Art Of Malay Traditional Textile

Resilent Art Of Malay Traditional Textile NUR IZZAH BINTI ABDUL KADIR ROSLINDA BINTI RAMLI NADIA NAFISA BINTI ABDUL WAHAB MOHD RAFIE BIN MOHHAMD NOR

1.0 LIMAR 1.1 Introduction of Limar 1.2 History of Limar 1.3 Function of Limar 1.4 Technique to produce Limar 1.5 Type of Limar Fabric and Limar motif 1.6 Conclusion 2.0 TEKAT 2.1 Introduction of Tekat 2.2 History of Tekat 2.3 Function of Tekat 2.4 Technique to produce Tekat 2.5 Tekat motif 2.6 Conclusion 4.0 TENUNG PAHANG 4.1 Introduction of Tenun Pahang 4.2 History of Tenun Pahang 4.3 Function of Tenun Pahang 4.4 Technique to produce Tenun Pahang 4.5 Tenun Pahang motif 4.6 Conclusion 3.0 BATIK 3.1 Introduction of Batik 3.2 History of Batik 3.3 Function of Batik 3.4 Technique to produce Batik 3.5 Batik motif 3.6 Conclusion Introduction of Malay textile PAGECONTENT 01 02 - 03 04 - 08 09 - 11 12 - 17 18- 19 i 29 30 - 31 32 33 - 36 37 38 20 21 - 22 23 24 - 26 27 28 39 39 - 40 41 42 - 47 48 49 References 50

INTRODUCTION OF MALAY TEXTILE Malaysia is rich in uniqueness. Malaysia's multi-racial society necessarily creates various customs and clothing according to race. In addition, there are also various types of textiles that have unique characteristics and a very delicate production process. let's explore together i

LIMAR

1.1 INTRODUCTION OF LIMAR Malaysia is a Southeast Asian country consisting of thirteen states and three federal territories. With over thirty-two million people, Malaysia is the 43rd most populous country and one of only seventeen countries considered to be a megadiverse country. This is due to multi-cultural and ethnic peoples, which directly influence the arts and crafts of Malaysia. Malaysia is very well-known for its rich history and exquisite handicrafts. Due to a mix in culture and a number of tribes who have settled in Malaysia, the Malaysian handicrafts display a mix of the same. Every handicraft has a tale to tell and a reason behind why it is the way it is. One of the rich cultural heritages is exquisite woven textiles. As part of this heritage, Kain Limar (limar fabric) is one of the finest fabrics woven in Malaysia. The limar fabric, which was once synonymous with the nobility and royal family, is difficult to find and could possibly be lost forever without efforts to revive the art. The exclusive woven fabric, which is complicated to produce, flourished since the reign of Cik Siti Wan Kembang in Kelantan. The weaving process is similar to the Pua Kumbu of the Iban community in Sarawak who use the 'ikat' (tie) technique to create a design on the cloth's surface before it is woven with gold and silver thread like a normal songket. The rectangular piece of woven cloth is divided into three main parts, which are the kepala (head panel), the badan kain (main body) and the kaki kain (feet of the cloth). Other parts include the border that enclose the kepala kain called pengapit kepala kain and the border that encloses the badan kain of kain lepas that is known as pengapit badan kain. Within the border, there is also another border known as kendik. There are two types of Limar which are Limar Sarong and Limar Lepas. Both Limar Sarong and Limar Lepas are rectangular in shape but the size and the patterns are different. Limar lepas has both ends designs known as punca kain. The Malay sarong is characterized by a central panel section known as kepala kain and the rest are badan kain and kaki kain. Though the art is increasingly forgotten, there are songket entrepreneurs who are serious in reviving the classic Malay woven cloth as done by Manang Songket. This is to ensure the Limar, especially the Songket Limar, can be worn for years to come instead of ending up as just a museum exhibit. While a normal songket can be finished within one to two weeks depending on its design, the Limar, especially the Songket Limar, requires one to three months for a two-and-a-half-meter piece. Today, not many people know about the ikat Limar cloth. The younger generation must appreciate and continue preserving local heritage such as Songket Limar. 01

1.2 HISTORY OF LIMAR Limar are traditional heritage fabrics that were popular during the reign of Che Siti Wan Kembang, a queen who ruled Kelantan from 1610-1677. The art of Limar weaving comes from Pattani or Old Kelantan which is under the rule of the Langkasuka. This can be proven through the evidence of Limar cloth still being woven in Patani and Surat Thani. There is a similarity between the weaving and Limar in Kelantan even though the name is different which is Chuan Tani cloth. Limar cloth almost disappeared after World War II because it was difficult to get material for weaving purposes. High quality fabrics reserved for royal and wealthy families were very limited after the World War II. The ikat technique has been introduced to produce motif on cloth such as pua cloth, woven by the Iban people from Sarawak which is an ancient weave that still survives today. Pua cloth has a limited length because it uses a back tension loom where the ikat loseng thread (the thread inside the loom) is only one round of the loom. Then the evolution of ikat loseng weaving developed so that the weaving can be woven with unlimited length. This process happens because the kit malay loom can store a lot of loseng thread on the back of the kit. With the availability of kit looms, the weaving method became faster and changed the ikat loseng technique to the ikat pakan technique (threads woven in loseng threads) and it is more complicated and of high quality. On the east coast, the ikat pakan technique can produce high-quality limar cloth especially for the Royal and wealthy people. Kain limar, which is a classic Malay cloth, is no longer used in this era and not many people know about kain limar. Nowadays, kain limar can only be found and seen in museums and in collection owners who know its value. Kain limar also has two types, limar lepas and limar sarong. Limar sarong has unclear motifs on the body, the head and the foot of the cloth while the limar lepas has motifs on the body and the punca kain. Ikat pakan motifs are unclear because the yarn is produced by tie-dye according to a specific pattern. The yarn will be dried and then the bond will be opened and will be rolled into a bobbin to be woven into a benang losen. When the weaving pattern is not clear, the weavers will give the name "bunga cuai" which means the result of an accidental weaving pattern. Benang pakan are woven one by one until the result is limar flowers that follow patterns such as bunga penuh, teluk berantai, corak bertabur, corak jalur, corak siku keluang and corak tapak catur. Kain limar also has a corak berayat or corak bersurat. There are four types, which are kain limar biasa, kain limar bersongket, kain limar tenggarung, and kain limar bersurat. The motifs on kain limar are the same as kain songket motifs, the difference is the use of thread. The basic of motifs on kain limar are such as tampuk kesemak, bunga bintang, tampuk manggis, bunga melur and berayat. The colors of kain limar are colors that stand out like the colors of nature around. Most of the colors on kain limar are maroon, which is commonly found from the root of the pokok mengkudu. Green and yellow colors are very difficult to find probably because those colors are difficult to produce. 02

There is an oral tale of an ikat sarong caused a war between two kingdoms in Kelantan and Southern Thailand in the eighteenth century. In the year 1758, the ruler of Kata Kubang Labu (in Kelantan), Long Muhamad or Long Mamat, killed his wife Tengku Tengah, over a piece of sarong Cindai/Limar. The incident was about a Sarong Limar belonging to Long Muhamad's younger brother, Long Pandak. Long Pandak had given his Limar Sarong to Tengku Tengah for she wanted to copy the beautiful ikat patterns in her weaving. Unfortunately, her husband Long Muhamad saw the cloth in the bedroom and knew whose sarong it was. He thought that his wife was having an affair with his younger brother and killed her without any investigations. This tragedy caused his death too, when Long Deraman, the brother of Tengku Tengah, declared war and killed Long Muhamad in revenge for his sister's death. From this incident, it can be surmised that during those times most women in Kelantan knew how to weave, including ladies of the royal family. In Kelantan and Terengganu, the weaving was and is still done by the ladies. It can also be adduced from the above tale that the Sarong/Limar which belonged to Long Pandak was recognized by Long Muhamad by its patterns and motifs. Motifs in the pattern indicate the personal identity of the wearer, especially for members of the royal family. Most of the fabrics for the royal family were woven by their family members or by a weaver who was reputed for her weaving skills. Moreover, these skilled weavers were kept under the royal patronage. In the 1950s, Limar cloth was called Kain Cindai because of its ikat characteristic as it was done by the tie and dye technique. In those days people did not clearly understand and could not distinguish between the two fabrics as Kain Cindai is not a local fabric but an Indian fabric. According to this tale the Kain Cindai was actually Limar cloth because the Malays only weave Kain Limar and not Cindai Figure 1.2.1 : The Limar Fabric ; Ikat Limar the Ancient Malay Textile,2016. 03

1.3 FUNCTION Textiles are important to Malay culture because apart from their function as clothing, they are also used for ritual purposes in Malay society. In those times, cloth was woven or bought from other countries such as India, China, and Persia. But at that time, it was not easy to have high quality fabric because it was mostly hand woven. Cloth is a very valuable asset for the common man as well as for the rich. High-quality woven cloth was only worn by the rich, while coarse cloth was affordable for common people. The fine woven cloth that the person who owns it also indicates the status of the owner. Clothes are used to distinguish between the ruler and his people. The yellow woven fabric with gold thread can only be used by the royal family and no one else is allowed to wear it. The fine woven fabrics such as ikat limar cloth and gold songket cloth are also used to exchange gifts for example during wedding ceremonies to ensure the marriage relationship between the future bride and groom in Malay wedding ceremonies. In addition, textiles are also one of the royalties given by the Sultan to warriors as gifts of clothing made of quality fabrics. The Ikat Limar cloth is very popular in the northeast of west Malaysia such as Kelantan and Terangganu. Most of these ikat Limar fabrics are used to produce clothes in certain ceremonies. Besides its function as clothing, textiles also possess a spiritual and cultural importance. In other words, textiles are a central element in the performance of ceremonies representing rites of passage related to pregnancy, the birth of a child, weddings, circumcisions and funerals. Malay costume for the ladies 04

Today's Malay women wear baju kurung and baju kebaya instead of the “berkemban” style. These traditional garments can be made from a wide variety of fabrics. For clothing worn at home, less expensive materials are used, whereas more expensive materials are used for business attire and formal occasions. For weddings and formal occasions, songket, a traditional woven fabric with decorations made of golden or silver threads, is typically used. Figure 1.3.2: Berkemban, the traditional Malay.costume for the northeast of West Malaysia in 1900; Ikat Limar the Ancient Malay Textile,2016. Figure 1.3.3: The Sultana of Johor in 1980, wearing a western styledress that was made of kain Limar bersongket; Ikat Limar the Ancient Malay Textile,2016. Figure 1.3.1 : The attire of Kelantanese queen warrior Cik Siti Wan Kembang in seventeenth century; Ikat Limar the Ancient Malay Textile,2016. The ikat limar was familiar in Terengganu and Kelantan. The custom of ikat limar worn by Cik Siti Wan Kembang in the seventeenth century consisted of a sarong made of limar bersongket and green piece of kain limar (punca potong) for the breast cloth. The breast cloth was wrapped around the body tucked in the middle. It was secured with a brooch with the ends of the fabric loose to display the beautiful pattern of ikat limar. A golden belt and buckle called pending were worn around the waist on top of the breast cloth. To cover her bare shoulders, she wore a beautiful long shawl of kain limar bersongket and she held a keris in her hand to show authority. The use of ikat limar cloth was common among royalty. In the 1890s, the sultana from the state of Johor used kain limar bersongket for her dress, which clearly shows the ikat motifs on the cloth, decorated with supplementary golden thread of songket all over the fabric. The dress was of western style using the traditional ikat limar sarong. The shawl of limar bersongket shows much of the tie-dyed part and the decorated golden songket at both ends. 05

Costume of Traditional Dance Nowadays, traditional classic clothing is no longer worn in Terengganu and Kelantan but it is worn during Makyung classical dance performances and also in other Malay dances. The dancers commonly use the kain limar especially kain limar lepas (or kain punca potong) and kain songket for the sarong and the shawl. The queen in the dance usually uses kain songket or kain limar bersongket as her sarong and kain limar lepas as her breast cloth and he shawl. The king wore a songket suit with kain limar lepas for the samping. The others dancers usually use checked kain tenun , batik songket with scattered motifs and plain coloured satin clothing Figure 1.3.6: Traditional malay theater dance where the main dancer is wearing kain sarong songket and limar lepas as seledang (shawl); Ikat Limar the Ancient Malay Textile,2016. Malay costume for the men The Baju Potong Siam (Siamese style shirt) for the top and a pair of three-quarter length trousers worn by the Nobleman. They wore kain samping around their waist over their outfit, which was secured with a sash. The baju potong siam was usually black or white in color, while the hip cloth was made of a kain limar punca potong. The nobleman and members of the royal family wore a tanjak or setangan on their head to keep their long hair in place. The tanjak was usually made from a plain-woven cloth of ikat limar or songket. Different types of tanjak show the status and origin of the wearer. In the early nineteenth century, royalty from Kelantan, Terengganu and Pahang preferred to use a material known as kain geriamut or kain kerang (in Pahang) which is a jacquard silk woven in a stripes pattern. The material used for the baju melayu range from silk or cotton to man-made fabrics, but the samping is usually made from a local hand-woven fabric, which enhances the beauty of the Malay costume. Figure 1.3.4: Malay man wearing tradisional baju melayu with kain limar punca potong as sampin.; Ikat Limar the Ancient Malay Textile,2016. Figure 1.3.5: Malay tradisional attire using ikat limar cloth; Ikat Limar the Ancient Malay Textile,2016. 06

Circumcision ceremony In the circumcision ceremony, the young boy wears a sarong. This ceremony means that the boys are reaching adulthood. Ordinary people use any local sarong but the rich malays choose a sarong made of songket or limar bersongket for their son to wear for the ceremony. Figure 1.3.9: Limar sarong are used for the “berkhatan” or “bersunat” (circumcision) young princes from Terengganu; Ikat Limar The Ancient Malay Textile,2016. The Lenggang Perut ceremony An ancient Malay tradition is the lenggang perut ceremony, which literally translates to "put the belly in motion." It is carried out in the seventh month of pregnancy. It is customary to use a lengthy piece of kain Panjang or kain lepas that has seven distinct colors. The midwife swings the belly by lifting the cloth from the woman's back while she lies on it. For this occasion, kain limar lepas for royalty with seven different patterns and colors are used. The potong jambul ceremony is performed by Malays when a kid is born. This ritual, which is also known as Marhaban, is often carried out forty days after birth. A cradle made with seven pieces of songket or kain limar lepas cloth is used to hold the infant. After the Marhaban, the baby is shown to the rest of the family and guests while being carried by his or her grandfather in a songket cloth or other types of fabric, where the rest of the family and guests cut off a few strands of the baby's hair. Figure 1.3.7: Ikat limar cloth are being sewn into a long strip of cloths for the lenggang perut ceremony; Ikat Limar the Ancient Malay Textile,2016 Figure 1.3.8: The paterna grandparents usually give the traditional textile gifts of golden and silk selendang at the time of a child’s first hair cutting; Ikat Limar the Ancient Malay Textile,2016. 07

Funeral ceremony The Malays honor the deceased by reading verses from the Quran while dressing in dark, white, or off-white attire during funerals. When the dead body is inside the home or on the trip to the cemetery, textiles are typically used to cover it. The coffin is typically covered with a simple piece of white, green, or batik lepas cloth. Sometimes Muslims would additionally drape a limar cloth with Arabic calligraphy that has been woven using the tie-dye method over the coffin. Figure 1. 3.11: Ikat limar fabric known as “kain limar bersurat” used to cover the coffin during the funeral ceremony; Ikat Limar The Ancient Malay Textile,2016. Figure 1. 3.10: Malay wedding ceremony using traditional textiles. The groom is wearing a baju melayu made of songket, while the bride is wearing the baju kurung cekak musang with a songket sarong and limar bersongket shawl; Ikat Limar the Ancient Malay Textile,2016. Malay wedding ceremony Wedding is the ceremony that uses the most local textiles, for decorative displays, furnishing as bedspread, throw cushions, wedding outfits and presents between the bride and groom. During the wedding, many Malays wear the traditional costume and use local woven cloth either for the dress, the sarong or the samping. In the olden days in Kelantan, affluent ladies wore a limar shawl to weddings because it was the most popular and prestigious cloth. According to Hajah Halimah from Pasir Mas, Kelantan, the limar shawl in that time was hand woven and most kelantanese people knew how to weave it. The limar shawl was used for special occasions only, typically for attending weddings, khatam alQuran, bertindik, potong jambul or the lenggang perut ceremonies. After a wedding, there used to be a tradition known as berarak menantu, which is Malay for "procession for daughter in law," according to Hajah Wan Mariam from Pasir Pekan, Kelantan. According to this tradition, the bride received a gift from the family of the bridegroom in the form of yarn to weave for her and her husband. It was the bride's responsibility to learn to weave with the assistance of her husband's family if she did not already know it. They may get to know the girl better as a member of the family in this way. When a major flood struck Kelantan in 1926, this tradition came to an end. 08

09 The undyed silk is wrapped around a frame the same width as the comb. Every motif is made up of rows. The layering of the rows forms the motif. The wrapped silk must be one continuous yarn. In the process of tie and dye, it is important to tie the yarn tightly so that it can resist the dye from penetrating into the fibers. The bundle of yarns is tied using plastic raffia, which is flexible, and is a good resist material. In tying, it is recommended not to tie the yarn too close to the next tying. A bit of space left between tied sections ensures that the dye can penetrate in between the tied sections. After the string has been tied, the thread must be removed from the frame and dyed. The string is then removed and the thread is dried in the sun. Any untied section, which has not been dyed in the bath, should be re-dyed using the rubbing technique after the yarns have been untied. For multi-colored designs, the yarn is retired in different places to hold the next color and dyed again until the pattern is complete. The problem identified is the difficulty in obtaining perfect straight selvages. Sometimes long loops are developed at the selvage once the weft is repositioned. To have a neat selvage in weaving, usually the loops will be twisted and inserted back into the shed before the next beating. Figure 1.4.1: Wrapping the frame. (Source: Weaving techniques: Ikat, knot by knot, Valerie Olla: April 2, 2021 https://www.ockpoptok.com/blog/weaving-techniques-ikatknot-by-knot/) 1.4 TECHNIQUE In recreating weft ikat technique, the most important tool is the weft winding frame, which determines the length of the yarns for the width of the intended woven cloth, and how many repeat the pattern requires. The measurement of the frame must be suited to the width warp ends on the loom. The tool has been named a wefting tool as it is used for calculation and for preparing the weft yarns. The frame is also suitable of winding and tying the yarns. Furthermore, it is designed to be powered by a motor so that weavers can easily concentrate on counting the yarns while it rotates.

10 Figure 1.4.2: Tying weft yarns with waterproof string. Source Sandalwood Fabrics September 29, 2020. https://www.sandalwoodfabrics.com/blogs/news/what-is-ikat Figure 1.4.3: Dyeing and drying the yarn. (Source: Weaving techniques: Ikat, knot by knot, Valerie Olla: April 2, 2021 https://www.ockpoptok.com/blog/weavingtechniques-ikat-knot-by-knot/) Next, after the yarn is dry, it is spun on a spindle to be woven. Since the yarn is a continuous thread, it is important that the pattern is rolled in order. If the order is lost, it is impossible to weave the pattern. The weaver keeps the pattern in order by tying the rolls to the string in the correct order and keeping them hanging on their sides on the loom. The wrap on the loom should be prepared with even tension especially at the selvedge, because when the warp is not evenly tensioned the weft may be pulled in and may lead to an extra length of weft for the next throw of pick while weaving. This may distort the ikat design Figure 1.4.4: Winding the yarn. (Source: Weaving techniques: Ikat, knot by knot, Valerie Olla: April 2, 2021 https://www.ockpoptok.com/blog/weaving-techniques-ikat-knotby-knot/) In producing a neat straight selvage, the length of each weft insertion should be a little longer than the width of the parallel warps, to allow for the crimping of interweaving. In the past, weavers used to weave the same width of cloth and therefore always used the same frame to prepare the weft yarns. Adjustment might have already been made such that the weaving would always have a balanced and straight selvedge. As for today, different widths of weft ikat fabric may be required, which will need a flexible frame, and calculation of the weft length to produce quality weft ikat fabrics.

11 Figure 1.4.5 : Weaving the cloth (Source: Weaving techniques: Ikat, knot by knot, Valerie Olla: April 2, 2021 https://www.ockpoptok.com/blog/weaving-techniques-ikatknot-by-knot/). The length of the frame for making weft ikat must include an extra weft length of five percent of the width of the woven cloth. Two different sizes of width were used to test the ikat weaving and in both cases the technique was successful and produced a fine straight selvage with the pattern placed in the correct position. In weaving weft ikat, it is important to make sure that the bobbins are in sequence because each bobbin carries a certain amount of weft ikat, and is linked to the next to continue to weave the pattern. The difficulty here is to make sure that the pattern is placed at the correct position. The weaving is slow. Lining up the rows to maintain the pattern requires thoroughness. The colors blur at the edges like tie-dye. Designs can take from two days to two months to weave. Ikat is used for many ceremonial textiles. One way to see if a cloth is an ikat is to look closely to see if the colors of the weft threads blur at the edges. PROCESS OF IKAT LIMAR FABRIC

12 1.5 TYPE OF LIMAR FABRICS AND LIMAR MOTIF In Malay textiles, various motifs and patterns from the past are still preserved in songket textiles but not ikat Iimar which is also part of the Malay heritage. New historical perspective on Malaysian motifs and patterns for ikat limar. Ikat limar is an ancient Malay weft ikat cloth, produced by a highly sophisticated technique which involves using tie-dye weft yarns. Ikat limar is documented in classical Malay literature and poems and was regarded as the finest and most valuable textile and thus, it was specially made for the royal court and the nobility during past times. Unfortunately, the ikat limar is no longer produced in Malaysia, due to its complexity in weaving and at present no weavers understand the weft ikat technique. In principle ikat or resist dyeing involves the sequence of tying and dyeing sections of bundled yam to a predetermined colour scheme prior to weaving. Thus, the dye penetrates only the exposed sections of the yarn to form the pattern, which is then woven into the fabric. There is also some similarity in the motifs of ikat limar from Palembang and those from Terengganu/Kelantan, for example, the motifs of bunga tampuk kesemak (Sharon fruit), bunga bintang (star), bunga cengkih (clove) and potong wajik (diamond shape). These motifs can be found in ikat or in songket weaves (supplementary weft weave of the metallic golden thread). However, there exist some subtle differences in the patterns of the ikat limar from Palembang and those from Malaysia. Ikat limar is mostly woven in silk and has beautiful intricate designs. The weft ikat technique of ikat limar is believed to have originated from Patani (southern Thailand) and come to the states of Kelantan and Terengganu through the processes of migration and cultural diffusion. The Siamese influence on the Northern Malay Peninsular states can still be seen till today, for instance in the use of the gigi yu (sharks’ teeth) motifs around the classic Malay pucuk rebung (bamboo shoot), reminiscent of the Siamese hold on the old Malay world. It is said that the Malay designs from Kelantan are predominantly of Cambodian and Siamese influence through Pattani, and the designs from Terengganu are of Sumatran influence through Palembang and Jambi. Prior to the nineteenth century, these textiles were produced under royal patronage echoing the fact that possession of an ikat or songket cloth symbolized wealth and status in the community.

13 KAIN IKAT LIMAR BIASA (PLAIN WEFT IKAT) This type of ikat limar biasa is woven in plain or tabby weaves. It can be in full or corak tabur, corak jalur. It does not have songket weaves. Usually, ikat limar biasa does not have a border pattern. TYPES OF IKAT LIMAR FABRIC Ikat Limar fabric can be categorized into five main types of cloths namely ikat limar biasa(Plain limar).ikat limar bersongket (weft tie-dye with supplementary weave of golden thread, ikat limar tenggarun (weft tie-dye with songket in striped pattern) and ikat limar bersurat (weft tie-dye with Arabic calligraphy) and ikat limar telepuk (weft tie-dye with gild gold leaf). Figure 1.5.1 Kain limar lepas in plain weft ikat. Full ikat limar patterned at the badan kain and pucuk rebung at the end cloth of the shawl Figure 1.5.2 Kain limar sarong in plain weft ikat. Full limar patterned at the badan kain and pucuk rebung at the kepala kain.

14 KAIN IKAT LIMAR TENGGARUNG (STRIPED WEFT IKAT WITH SONGKET ) Limar songket tenggarung made from silk threads in the ikat pakan process and neatly woven with gold threads by double heddle (pijak karat). Badan kain are decorated with a pattern of fine vertical stripes. Interspersed with the python stripes pattern and insertions of gold threads and the amorseco grass (bunga kemuncup) motif. As well as the jantung pisang and four- petalled flower motifs. The head of the cloth bears of the pucuk rebung lawi itik motif, while the borders of the head of the cloth has motifs of the sunshine and bunga tanjung. KAIN IKAT LIMAR BERSONGKET (WEFT IKAT WITH SONGKET) This type of ikat limar bersongket is woven in plain weave with a supplementary weave of golden threads. It can also be called kain songket limar. The pattern can be in full, scattered, striped and checked. The fabrics are woven in weft ikat and inter-woven with songket to give a rich and interesting pattern. Usually this type of cloth has a border pattern at the kaki kain or the selvedge. FFigure 1.5.3 Limar lepas bersongket. Limar shawl with songket design at both ends of the shawl. Figure 1.5.4 Kain limar sarong bersongket. Limar sarong bersongket corak penuh of pucuk rebung lawi ayam. Figure 1.5.5 Kain limar tenggarung made from thread of silk use the ikat pakanprocess. Source : National textile musuem on 14th December 2022 taken by syuhada

15 KAIN IKAT LIMAR BERSURAT (WEFT IKAT WITH ARABIC CALLIGRAPHY) This type of ikat limar bersurat is woven in plain weave and always in the shape of limar lepas. The Arabic calligraphy is always in the main badan kain section and both ends of the cloth are decorated with ikat limar motifs such as a row of pucuk rebung followed by teluk berantai patterns with bunga pucuk motifs and an arrow of kendik biji peria) and pagar istana. Figure 1.5.6 Kain limar bersurat IKAT LIMAR TELEPUK (WEFT TIE-DYE WITH Gild Gold Leaf) This type of ikat limar telepuk is woven in plain weave which can be in the shape of limar sarong or limar lepas. The ikat pattern is decorated with gold leaf that usually placed at the kepala kain or at the main badan kain section and both ends of the cloth. The technique of telepuk is done by calendaring the limar cloth first, then gilding the gold leaf according to the limar design. The development of the telepuk requires very tedious work where the pattern is formed by having motif which undergoes the wood carving process and it is used as stamp for making telepuk cloth. This process is repeated according to the design intended as it shown the patience works of the telepuk maker. The golden motifs of telepuk eventually enhance the subtler colour of limar fabric which gives a difference look from the kain limar bersongket. Figure 1.5.7 Ikat Limar Telepuk

16 SIMBOLISME MOTIF OF LIMAR FABRICS Motifs such as tampuk kesemak, bunga bintang, tampuk manggis, bunga melur and berayat are popular motifs in limar cloth. The use of this fabric is usually made for clothing. Three pieces of limar cloth were worn by Cik Siti Wan Kembang. Types of ikat limar consist of five main categories: ordinary ikat limar, ikat limar bersongket, ikat limar tenggarung, ikat limar bersurat and folded ikat limar. The ikat limar pattern consists of limar bunga penuh, limar corak tabur, limar corak berjalur, siku keluang, limar bercorak papan dam and limar bersurat. Motif is a compositional element that fills space in a design. The author makes a study about the shape and name of the ikat limar motif which leads to the appreciation and understanding of its origin and development. According to the author, the name of the ikat limar motif is related to the environment and lifestyle of the weavers. Motifs are divided into three main parts: Motifs of the root and head of the cloth, motifs of the body of the cloth, and motifs of the clamps of the head/body and the feet of the cloth. The motifs of the base and the head of the fabric are mostly various types of buluh, bunga melur, bunga matahari, bunga cengkih and bunga putu. The motifs of the fabric body are usually arranged in the form of a mosaic or strip pattern. Weavers take elements around them as motifs, such as fruits, insects, rivers and hills. While the motifs of the kepala kain /badan kain and the kaki kain use elements of plants, animals and palace fences. The colors of are blended with the diverse natural environment of Malaysia. Despite having limited dyes, weavers are able to produce dense and beautiful ikat limar colors. Traditionally, weavers produce colors from natural plants such as mengkudu, kunyit, asam gelugor and daun taruam. Figure 1.5.8 Limar bersongket is the mixture of songket and ikat decorated with various motif on kain limar lepas. Sources(s): Norwani 2015 Figure 1.5.9 The border pattern in the sarong is motif bunga ati-ati in glide reflection of frieze pattern

17 Figure 1.5.10 Motif Pucuk eebung lawi ayam and bunga bintang at the kepala kain limar. Figure 1.5.11 The motif of Pucuk rebung lawi ayam at the panel of the limar sarong shows the motif is in symmetry and repeated . FFigure 1.5.13 The design of the pucuk rebung lawi itik . FFigure 1.5.14 The design of the pucuk rebung berjuang . Figure 1.5.15 The design of the pucuk rebung kendung . Figure 1.5.12 The motifs are pohon rhu, bunga tudung celak and bunga pecah empat situated at the border pattern

18 1.6 CONCLUSION In the northeast of Malaysia, weavers are still using traditional looms to weave their traditional textiles but the ikat pakan technique of ikat limar is no longer being practiced. However, this kind of ikat limar is still woven in Palembang, Indonesia and Pattani, Southern part of Thailand. It is believed that there were cultural exchanges between Southern Thailand, Northeast Malaysia and Indonesia, which thrived until the thirteenth century. Evidence of these cultural exchanges is in the form of ninth-century bronze sculptures excavated in Southern Thailand, which are similar to those found in central and eastern Java. There is also some similarity in the motifs of ikat limar from Palembang and those from Terengganu/Kelantan, for example the motifs of bunga tampuk kesemak (Sharon fruit), bunga bintang (star), bunga cengkih (clove) and potong wajik (diamond shape). These motifs can be found in ikat or in songket weaves (supplementary weft weave of metallic golden thread). However there exist some subtle differences in the patterns of the ikat limar from Palembang and those from Malaysia. Ikat Limar is mostly woven in silk and has beautiful intricate designs. The ikat pakan technique of ikat Limar is believed to have originated from Pattani (southern Thailand) and come to state of Kelantan and Terengganu through the process of migration and cultural diffusion. The Siamese influence on the Northern Malay Peninsular states can still be seen till today, for instance in the use of the gigi yu (shark’s teeth) motifs around the classic Malay Pucuk rebung (bamboo shoot) reminiscent of the Siamese hold on the old Malay world. It is said that the Malay designs from Kelantan are predominantly of Cambodian and Siamese influence through Palembang and Jambi. Prior to the nineteenth century, these textiles were produced under Roya; patronage echoing the fact that possession of an ikat or songket cloth symbolized wealth and status in the community. Generally yellow-colored textiles were all exclusively for royalty and for that reason common people were forbidden to use them. Only much later were they allowed to wear them on the wedding days. By the nineteenth century, these rules became more relaxed and more affluent commoners started to own their own ikat limar and songket. Unfortunately, the art of making ikat limar gradually ceased to exist after Second World War and only songket weaving has survived to the present day. Today, not many people know about the kain limar. Its patterns, colors, motifs and the uses of the ikat limar are little known, probably only to those who still possess it. Knowledge of the ikat weaving technique also have been lost. A book on Ikat limar the Ancient Malay Textile by Norwani Md. Nawawi make research about the methods for making Ikat Limar, the writer found many ways of getting the effect of Ikat patterns. The method of weft ikat by Jackie Batten field is a good for a single piece of artwork. While the Japanese method is more complicated and not suitable for ikat Limar pattern. From the visiting countries Thailand, Indonesia and India about the technique, the writer found some similarities from preparation of weft yarns between Thai mudmee and the Indonesian limar cloth. The preparation of the weft yarns involves a revolving frame. From this research, it emerges that the tool for making weft ikat yarns is the key for making weft ikat fabric. However, in order to produce ikat limar fabric, one should ascertain first the motifs and patterns of the traditional ikat limar.

19 There are five main types of ikat limar, namely ikat limar biasa (plain limar), ikat limar bersongket (weft tie dye with supplementary weave of golden thread), ikat limar tenggarun (weft tie dye with songket in striped pattern), ikat limar bersurat (Arabic calligraphy) and limar telepuk. The ikat limar cloth were commonly woven in maroon color and were highlighted with touches of oranges, blue, light brown, green and white color. Sometimes it had two colors that showed only the background and the motifs. The ikat limar consists of six main types of patterns that can be identified. They are limar corak penuh (overall or full-pattern), limar corak berterabur (isolated or scattered pattern), limar corak jalur (striped pattern), limar corak siku keluang (chevron or zigzag), limar corak tapak catur (checked pattern) and ikat limar bersurat (weft tie dye with Arabic calligraphy). Normally ikat limar patterns repeat in a symmetrical setting to form the overall cubical or mosaic designs. Most of the motifs were inspired and developed from the natural surroundings, beliefs and the Malay culture. For more decorative pieces, golden or silver metallic thread were introduced through the songket technique. However, today weaver only uses the songket technique and the technique of ikat limar have slowly disappeared.

TEKAT

20 2.1 INTRODUCTION OF TEKAT Malaysia consists of various cultures, and customs. Apart from that, Malaysia is also rich in textile art. There are various types of traditional textiles and one of valuable textile it is Tekat or tekatan.It also known as bersuji embroidery. Tekat it a process to embroidering gold thread on the base fabric. velvet is usually used as the base fabric. Tie work requires a fielder to stretch the velvet fabric, weave a motif mold and gold thread to form a tie flower. tekat is a gold or silver thread embroidery decoration that is sewn with full delicacy on the base fabric. The art of tekat is also called tuji timbul, suji timbulan, tekat bersuji and tekatan Figure 2.1.1 Tepak Sirih Tekat. Source : Tekat Benang Emas Workshop, on 27th Januari 2023 taken by Mohd Rafie Bin Mohhamad Nor . Figure 2.1.2 . Clutch Tekat ,Source : Tekat Benang Emas Workshop, on 27th Januari 2023 taken by Mohd Rafie Bin Mohhamad Nor .

21 2.2 HISTORY OF TEKAT The origin and development of tekat is directly linked to the use of clothing and equipment of the royal family or palace. The early development of tekat art can be traced back to the beginning of the 15th century, which was during the majesty of the Malay Sultan of Melaka. The effect of the use of embroidery can be seen among the Chinese community who are descended from Baba Melaka. They use deep embroidery for their clothes. In the history of Perak, the art of tekat was appointed as the official dress for Sultan Abdullah Muhammad Shah II who was the 26th Sultan of Perak. At first, the use of clothes made from this art of tekat was prohibited at all for ordinary people even though they had the title of rich people and tycoons except by the grace and approval of the Sultan only. The skill in the art of making tekat was also monopolized by the royal group only at that time.Until today, tekat art is still produced by the people of Perak Darul Ridzuan and Negeri Sembilan Darul Khusus. The state of Perak Darul Ridzuan is a state that works a lot on gold thread embossing art crafts. Today, Perbadanan Kemajuan Kraf Malaysia, Perak State Development Corporation and the tourism industry are always promoting the art of tekat and have encouraged Tekat craftman to produce higher quality and sustainable creations. Directly, the subtlety and uniqueness of tekat art can help introduce the quality of the art to the local community and foreign tourists. Figure 2.2.2 . Picture of Sultan Idris i,Source : Arked Negara, google . Figure 2.2.2 . Picture of Raja Nuteh Aishah, Queen of Sultan Idris I,Source : Arked Negara, google .

22 EXPERT OF TEKAT Hajah Azizah Binti Mohd Yusof comes from the village of Panang Changkat, Bukit Candan, Kuala Kangsar, Perak. is a strong handicrafts figure who has been chosen by the Malaysian Handicrafts Corporation. She was appointed as 'Adiguru' because of his expertise in the field of Tekat. this skills are inherited from her mother and family heritage from generation to generation. She have own Gallery , it is Gallery Tekar Bennag Emas Hajah Azizah. this gallery is located at No.73,Kampung Padang Changkat, Kuala Kangsar, Malaysia. Hajah Azizah once represented Malaysia to Japan, Saudi Arabia and Brunei to make demonstrations. Mardziah Binti Abu Kassin is the daughter of Hajah Azizah Binti Mohd Yusof. Now she is continuing her mother's legacy. She is also a determined entrepreneur and have a own hoploat in the town of Kuala Kangsar. She often gets orders from the palace. Apart from that, she is also always active in following the activities carried out by the Malaysian Handicraft Corporation. Figure 2.2.3 . Picture of Hajah Azizah Binti Mohd Yusof, Adiguru Tekat,,Source : web Kraftangan Malaysia. . Figure 2.2.4 . From left, Nadia Nafisa, Nur Izzah,Mardziah, Mohd Rafie and Roslinda,Source : Mohd Rafie Bin Mohhamad Nor .

23 2.3 FUNCTION Tekat is produced on a fabric consisting of velvet fabric making it look elegant and the use of gold thread makes this tekat based product look expensive and luxurious. The items that are usually cut are bed covers, jewelry cases, and cases, and decorative cases Beside that Muskat is the official dress of His Majesty the Yang di-Pertuan Agong and the Ceremonial Officers of the National Palace. This shirt comes from the country of Muscat, which is an Islamic country that is close to the country of Iran. Muskat became the official dress of Kedah State Government officials. This official dress was first worn in 1960 which was during the coronation of His Majesty the Third Yang di-Pertuan Agong which was inspired by His Excellency Tunku Abdul Rahman Putra Alhaj when he became the first Prime Minister of Malaysia . This shirt has been modified from the official clothes of Kedah State Government Officials. This shirt is made of black woolen thread sewn with gold thread tekat with the pattern of awan larat and hibiscus which symbolizes the national flower of Malaysia. This shirt is thigh-length and long-sleeved. Usually, this shirt is worn with long trousers embroidered on the legs and a hood in occasions in conjunction with His Majesty's Coronation Day, His Majesty's Birthday, His Majesty's official visits at the Pertuan Agong, to the states throughout Malaysia and during the Opening Session of the Parliamentary Conference Term. Figure 2.3.1 Datu Jack MK Lee with Muskat , This Article publish on : Sunday, 23 April 2017 @ 5:16 PM . Figure 2.3.2 Yang di-Pertuan Agong Al-Sultan Abdullah Ri'ayatuddin Al-Mustafa Billah Shah agreed to attend the 16th Yang di-Pertuan Agong Enthronement Ceremony at Istana Negara today. - BERNAMA photo

24 2.4 TECHNIQUE OF TEKAT There are three technique of tekat. It is Tekat timbul benang emas,Tekat gubah and tekat perada. Tekat timbul benang emas It uses mempulur as a cloud to form a motif pattern. mempulur is hard paper that is cut and punched according to the motif pattern. gold thread embroidery will cover the paper on the velvet fabric. Tekat gubah does not use mempulur, it is produced by embroidering and forming motif patterns through red thread that called untina. This technique usually sequins and beads. the base cloth of the composition is plain cloth. The use of tekat gubah is to decorate serving veils, tepak sirih, bridal shoes, sejdah, head coverings, wedding ceremony equipment, door handles, royal clothes and so on. Tekat Perada or Tekat Kertas Perada Bertebuk it uses Gold paper, locally known as kertas perada, is actually thick gilded paper. This is carefully cut into the required design, normally into a Malay arabesque, the awan larat or kerawang. The gold paper then stitched onto the cloth and its edges secured with four gold threads couched with red silk threads, in similar fashion to the Tekat Gubah. Sometimes coloured cloth or spangles are added. The art of embroidery and applique have since been put to good use to enhance our contemporary lifestyle. It is now used as decorative wall-hangings, embroidered cushions and pillows and others It used to stretch the base fabric to facilitate embroidery in addition to avoiding wrinkles or folds. The size of pemidang depends on the width of the base fabric or the type of item to be produced. cuban is a large needle to wrap gold thread It is made of carved bamboo, branched wood, silver or carved horn. Cuban made of 2 bamboo cuttings tied in the form of a bar. Thread is used to tie usually gold thread, silver thread, white thread or cotton thread and various colors can be used to tie. But gold color is more suitable and more attractive. Gold and silver threads are used as decorative threads while white threads are used to tighten the position of the gold neck on the mempulur. The white thread is not visible on the surface of the fabric. TECHNIQUE TO PRODUCE TEKAT TIMBUL BENANG EMAS TOOL AND MATERIAL PEMIDANG 1. 2. CUBAN 1. 2. 3. THREAD 1. 2. MEMPULUR 1. Fattening used as the main form or structure. mempulur is made from hard paper.

25 Velvet fabric is used to produce the cut because it matches the sewing material used and enhances the beauty of the embroidery. There are various colors of velvet fabric such as red, blue, dark blue, purple, green and black. Yellow color usually use for Royal Family. The white thread on the needle is used to sew the gold thread Embroidery scissors are used for final finishing as well as cutting the excess of embroidery thread. VELVET FABRIC 1. 2. NEEDLE 1. A PAIR OF SCISSORS 1. Figure 2.4.1 . Type of Pemidang ,Source : Tekat Benang Emas Workshop, on 27th Januari 2023 taken by Mohd Rafie Bin Mohhamad Nor . Figure 2.4.2 . Picture of Mempulur, Cuban and Gold Thread : Tekat Benang Emas Workshop, on 27th Januari 2023 taken by Mohd Rafie Bin Mohhamad Nor .

26 MEMPULUR The motif is sketched on hard paper paper is cut according to the motif sketch smooth the edges Roll the gold thread on 4 pieces of 3''x3' sized hard paper separately and make sure the thickness of each thread is the same, four threads on hard paper are wrapped around the cuban and it is necessary to ensure that the wrap is neat White fabric is cut according to the required size White fabric is stretched on the field Velvet fabric is placed on top of white fabric and sewn with rough stitching. Put the mempulur on the velvet fabric The gold thread on the cuban is placed across the string and it is necessary to ensure that the gold threads are arranged neatly. The white thread will sew the gold thread on the side of the fabric The whole forming mempulur needs to be covered with gold thread to ensure the result of this pressing is neat and high quality. STEP TO PRODUCE TEKAT TIMBUL BENANG EMAS 1. 2 . CUBAN 3. PEMIDANG 4. TEKAT PROCESS Figure 2.4.2 . Picture of Process to produce Tekat : Tekat Benang Emas Workshop, on 27th Januari 2023 taken by Roslina Bnti Ramli .

27 2.5 MOTIF OF TEKAT Motifs in Malay folk art are inspired by plants and animals such as birds and poultry or known as flora and fauna. Geometric motifs are also Awan larat. In addition to that, there are also motifs inspired by food such as wajik cut motifs. Flora motif is very popular compare to fauna and geometric motif. Usually creeping plants, flowers, leaves and flowers are the main choice.This plant motif is manipulated and modified into interesting variations. Flower motifs that are often used are cempaka flowers, asam batu flowers, lily flowers, horned flowers with petals split into eight, kenanga flowers, flowers split into five, hibiscus flowers, lotus flowers, pomegranates, jemin flower leaves, yam leaves, peria leaves, paddy and scallion leaves Gemometric motifs are preferred because they are simple. such as triangle, rhombus,square, straight line,multiples of the letter S and so on. Awan larat pattern is an interlocking pattern based on a type of carving that is often combined with plant motifs to create a more complex pattern Figure 2.5.1 Flora motif , source : google . Figure 2.5.2 Fauna motif , source : google . Figure 2.5.3 Awan larat motif , source : google . Figure 2.5.4 Geomatric motif , source : google .

28 2.6 CONCLUSION The conclusion is that this art is very valuable. We are very lucky because the Malaysian Handicrafts Corporation always takes care and ensures that the country's priceless treasures are always preserved. Besides that, the young generation needs to know and learn this knowledge so that this is not lost in the world. As we already know the production process is very thorough and takes up to 3 to 6 months to prepare a product. Because of this situation ,people start to uses modern technology, for example, this gold thread embroidery is produced using an embroidery machine. Products produced using this embroidery machine are completed faster and the price is cheaper. The original traditional Tekat are usually sold for thousands of Malaysian Ringgit, but products produced through embroidery machines are sold for only hundreds and below of Malaysian Ringgit However, modern embroidery machines still cannot produce Tekat as smooth Traditional Tekat, and modern tekat does not use mempulur, therefore the results can be distinguished when compared to Traditional Tekat. Besides that, we are proud with the efforts of young designers Rizman Ruzaini make a collaboration with Cik Puan Azrinaz Mazhar Hakim their create a designs with Tekat element. Figure 2.6.1 Picture of Rizman Ruzaini Tekat Collection , source : google .

BATIK

29 Figure 3.1.1: Batik Lukis Source: Matase FB . Our Batik has been well known in international market. Its high-quality designs and unique patterns captivate the hearts of fans of traditional clothing. Batik art is not only loved by Malaysians, but even tourists are also interested in it. They make it a souvenir upon returning to their home country. Through the efforts of the government to recognize the Art of Batik, last 1st December 2021, through Berita Perdana TV1 broadcast by Radio Television Malaysia (RTM). Our Ex-Prime Minister, Yang Amat Berhormat (YAB) Dato' Sri Ismail Sabri Yaakob has declared 3rd Dec every year as Malaysian Batik Day. The selection of the date is in recognition of the support and efforts of His Highness Tun Datin Paduka Seri Endon Mahmod, who is the wife of the former Fifth Prime Minister, Tun Abdullah Ahmad Badawi. 3.1 INTRODUCTION Malaysia is very famous for handicrafts, one of which is Batik. Batik is generally known as the art of decorating fabric patterns with decorative motifs and special dyes. This batik art is produced by using the technique of patterning textiles through the process of applying wax and thread dyeing. Batik art varies according to the country and culture in a certain area. In Malaysia, Malaysian batik is known as a field of traditional handicrafts that is famous and loved by all walks of life. Malaysian batik motifs are heavily influenced by the environment such as flora and fauna. There are 3 types of batik in Malaysia, Batik Lukis, Batik Blok, and Batik Skrin. Figure 3.1.1: Hari Batik Malaysia Source: Matase FB . Apart from that, to protect this very valuable art, the government also issued instructions for government employees who are on duty to wear Batik Kurung (for women) and Batik Shirts (for men) every Thursday through the government's efforts to protect the heritage art.

30 Figure 3.2.1: Picture of Block , Source Google . Malaysian batik is known as one of the most famous traditional handicrafts in Malaysia. It is a printing technique known as 'mencanting' batik. It is done by applying melted wax and dyeing it with color. According to history, batik was first introduced in Kelantan since 1910. In fact, it was earlier than that. Around the 1770s, a type of batik known as Rainbow Batik was introduced. Until now, Malaysian batik clothing manufactured are mostly concentrated in the states on the East Coast, Kelantan, and Terengganu. There are many batiks manufacturing in Malaysia in the state of Kelantan where most of these manufacturing is more of a tradition handed down from generation to generation. Markets such as Pasar Siti Khadijah, Bazar Siti Aisyah, Buluh Kubu Bazar, and Tok Guru Bazar in Kelantan which on average sell various types of batik. Buluh Kubu Bazaar, Bharu city is the first Bazaar built in the state of Kelantan. This bazaar was built by the Kelantan State Technological Development Corporation in 1980. This bazaar was built to accommodate Kelantan batik and handicraft dealers. 3.2 HISTORY OF BATIK MALAYSIA The word batik is believed to come from two Javanese words 'ba' and 'tik' which mean a drop of wax and some also believe that the word batik comes from two Javanese words namely amba and nitik. 'Amba' refers to write, while 'nitik' means make a point. Batik in particular means fabric painted with attractive and bright patterns. Since the 15th century, humans have discovered the traditional method of making batik where at that time the Malay community used potatoes as a seasoning tool. Now the same method is used but has been changed using more modern tools which are metal blocks. Figure 3.2.2: Siti Khadijah Market, Kelantan Source: Noorulhudah Ali

31 Apart from the state of Kelantan, Terengganu is also one of the states that has been working on batik for a long time. Most batik manufactured are run on a small scale and this business is monopolized by women. This enterprise can also be done part-time and does not use a large capital. This factor is also one of the reasons why this industry has been established since long ago in states such as Kelantan and Terengganu. Business activities can be said to have become a culture especially for the residents of Kelantan. Figure 3.2.3: Tok Guru Bazar, Kelantan Source: Noorulhudah Ali Figure 3.2.4: Buluh Kubu Bazar, Kelantan Source: Noorulhudah Ali Figure 3.2.5: Payang Market, TerengganuSource: Ahmad Bin Ghani Figure 3.2.6: Shop at Siti Khadijah Market Source: Noorulhudah Ali

32 3.3 FUNCTION OF BATIK MALAYSIA 3.3.1 Clothing The main function of batik is clothing, especially for women. Various types of clothing that can be designed from batik fabric. We can usually see women wearing baju kurung, some also make kebaya. Batik can also be used to make kaftan shirts or baju kelawar. Blouses, cardigans and pario are also a choice for batik fans. Batik can also be worn by men, where long-sleeved batik shirts and short-sleeved batik shirts can be found in the market now. Figure 3.3.1.1:Matase Sutera Collection Source: FB Matase Sutera 3.3.2 Fashion Accessories Apart from that, batik is also used as a fashion accessory such as shoes, handbags, neckties, scarves, wallet, face masks. 3.3.3 Home Decoration Batik can also be used as decorative material such as fans, wall decorations, tablecloths, tissue containers, pillows. Figure 3.3.2.1:Accessories from Batik Source: Google Figure 3.3.3.1:Accessories from Batik Source: Google

33 3.4 TECHNIQUE 3.4.1 Batik Lukis Process 1. The fabric is cleaned first to remove all the dirt and starch on the fabric. The fabric must be completely dry before the next process. 2. The fabric is stretched in the 'Pemidang Kayu'. 'Pemidang Kayu’ is usually 4 meters in size. Figure 3.4.1.1:Pemidang Kayu and canting Source: Noorulhudah Ali 3. .The motif is drawn on the fabric using a pencil first, if the batik painter is already skilled there is no need for a preliminary sketch, he can continue to the next process by using Canting. Canting is a tool specially designed to replace a pen to draw motifs on fabric. Its design allows the mixing of hot liquids. Traditional canting is made of copper, bronze, zinc or iron material. Figure 3.4.1.2:En Faizu bin Sidik is sketching on the cloth Source: Noorulhudah Ali 4. Heat the wax until it melts - a mixture of white wax, rosin, and cooking/coconut oil. The candle should always be hot throughout the canting process 5. The process of drawing is done on the cloth earlier by using canting. Take the hot wax mixture using a canting. Then sketch the motif according to the pencil sketch earlier, for skilled painters they continue to use to draw motifs. This painting process needs to use a mixture of wax that is always hot 6. Before the coloring process we need to mix the color, the color powder is mixed with plain water. Figure 3.4.1.3:Heated wax mix, rosin wax and white wax Source: Noorulhudah Ali Figure 3.4.1.4:Pn Siti Hajjar Mixing color Source: Noorulhudah Ali

34 Noorulhudah Ali 7. Then the process of coloring the motif and the fabric background is done. The coloring process can be started either by coloring the motif first or the background first. The coloring process is done using a brush and a mixture of dyes. When coloring motifs, the use of normal water is also necessary to speed up the color settling in the motif. To speed up the process of coloring the background we should use a bigger brush and in the small part we use a slightly smaller brush. 8. When the fabric is ready to be dyed, the dye on the fabric will be left to dry. 9. Once the fabric is dry, the fabric will be lifted and soaked in glue (sodium silicate) for half an hour. Then hang on hangers to remove excess glue. The function of this glue is to turn off the color. Figure 3.4.1.8:Sodium silicate, Cement loops to soak the cloth with Sodium silicate , Source: Noorulhudah Ali Figure 3.4.1.5:Pn Siti Hajjar is coloring the fabric background , Source: Noorulhudah Ali Figure 3.4.1.6:Pn Siti Hajjar is coloring the motif , Source: Noorulhudah Ali Figure 3.4.1.7 Fabric that has been dyed , Source: Noorulhudah Ali

35 10. After hanging for another half hour to remove excess glue, the cloth should be rinsed with plain water. This rinsing process is done 2 times in different cement loops. Rinsing is done using plain water. Wrap the cloth again to remove excess water 11. Then the cloth is boiled in boiling water. The cloth is boiled so that the water is bubbling. This process aims to remove the wax on the motif. 12. The fabric is lifted and rinsed again 3 times in different cement loops 13. Then soak in clean water overnight to ensure the excess color is completely removed. 14. Then lifted and dried until dry Container to soak cloth overnight. Drying is better in the heat of the sun to get better fabric quality Once dry, it can be folded and packaged for sale Figure 3.4.1.9 :Cement Loop with plain water , Source: Noorulhudah Ali Figure 3.4.1.10:Container for boiled the cloth , Source: Noorulhudah Ali Figure 3.4.1.11 :Clothes are dried , Source: Noorulhudah Ali Figure 3.4.1.12 Ready cloth Source: FB Matase Sutera i

36 White cloth is boiled to soften and remove starch, then the cloth needs to be dried. The fabric is laid out on a flat table. Make sure the fabric is flat. The resin mixture is heated, and the surface of the metal block is dipped into the melted wax. Melted wax in the block is applied to the fabric surface according to the desired pattern The fabric that has been stamped with wax is colored or dipped in the color solution. The applying process will be done repeatedly with different blocks and colors to get a varied pattern and interesting colors. Then the cloth was boiled with water mixed with soda dust. The fabric is washed and rinsed until the color completely fades. Then the cloth is dried until dry 3.4.2 Block Batik Process/Cap Batik/Applied Batik The process of making this block batik or another name batik cap or applied batik is different from painted batik. This block batik uses the process of stamping part of the embossed pattern on the surface of the block with melted wax on the surface of the fabric. The wax works to create a pattern effect on the surface of the fabric when the fabric is dipped in a dye solution. The applicator block is made of steel material. The tasting table is covered with a sponge. 1. 2. 3. 4. 5. 6. 7. 8. Figure 3.4.2.1 Proses stamping source , google Figure 3.4.2.2 Proses coloring source , google Figure 3.4.2.3 Boil the fabric , source , google Figure 3.4.2.4 dry the fabric , source , google

37 3.5 BATIK MOTIF Malaysian batik motifs are heavily influenced by the environment such as flora and fauna. To meet market demand there are many motifs produced. 3.5.1 Flora motif Commonly used for batik fabric and batik sarong. This motif is a motif based on plants such as flowers, leaves, flower buds, shoots, and buds. This motif is used singly or scattered. This motif is the main motif of batik design. Motifs that we often see bamboo shoot, cempaka flower, kananga flower, tulip flower, orchid flower. 3.5.2 Fauna motifs Elements with fauna motifs are also the choice of batik designers. We often see butterfly motifs, besides birds, chickens, beetles, deer, storks, deer fish and many more. 3.5.3 Geometric motifs These motifs are usually used for the legs such as fine lines, rib machete motifs, banji or swastika motifs and cloud fringe motifs. For straight lines arranged into motifs such as shells, snails, grids, and intersecting nets. Kawung motifs in a square arrangement are also often used. The ceplok motif with a square arrangement filled with other shapes such as flowers, birds and cross lines is a mixture of organic and geometric styles. 3.5.4 Object motifs The motif of artificial elements is quite modern. Usually used for yard batik. Examples of object motifs are moon kites, fishing nets, kites, torches 3.5.5 Abstract motifs Abstract motifs irregular and very delicate motifs, processed according to the creativity of the batik. The motifs are very free, making this batik very popular with batik lovers. Figure 3.5.1.1 flora motif , source , google Figure 3.5.2.1 fauna motif , source , google Figure 3.5.2.1 fauna motif , source , google

38 3.6 CONCLUSION Batik is part of Malaysia's identity. Where the uniqueness of Malaysian batik is well known all over the world. However, not all batik lovers are aware of the meticulous process required to create this priceless heritage. The development of batik in Malaysia is very good. Where we can see the changes in motifs produced as well as the colors used according to current developments and needs. Therefore, batik remains one of the products of our culture. The value of a batik that is produced is determined by the length of time it takes to produce it as well as the fineness of the drawing that is drawn on the batik itself. Batik is also used as a symbol of our cultural heritage that must be preserved. Therefore, many efforts are made by the government to defend the art of batik itself. The knowledge and history of batik is also applied from the beginning where we can see that children are also taught the art of batik at school. Not only at school, but at university too we can learn about batik. In the fashion world, many fashion designers use batik as one of the materials to produce successful designer clothes. This we can see the development and progress in the field of batik itself is very advanced. Especially in the states of Kelantan and Terengganu. The beauty of Malaysian batik makes us Malaysians very proud. A culture that we must maintain forever, it is for our children in the future.

TENUN PAHANG

39 4.1 INTRODUCTION Other than the luster of songket and the hues of batik, Tenun Pahang has recently begun to emphasise the importance of the cultural of a Malay community. Thisfinely woven fabric is synonymous with Pahang's traditional Malay clothing. The delicate designs and decorative patterns made to decorate Tenun Pahang cloth. he designs of specific patterns on material or textiles are used as a symbol of rank, racial identity, belief, religious ritual and other things. Furthermore, the beauty of Tenun Pahang cannot be extracted from the designated basic pattern. Various motifs, designs and different colours are found in Pahang woven cloth. A simple variety of ornaments looks sweet to make sampin, kain sarong, baju kurung, kebaya and other things. The following items are used: corak anak lebah, sepit udang, bunga cengkih, biji peria, tapak catur, corak Muar, and corak berjalur the decorative patterns that are still used by the weavers of Pahang. This traditional pattern design is the identity of Tenun Pahang Diraja. Each piece of woven thread showcases the skill of the weavers to express and express their ideas and imagination. 4.2 HISTORY Tenun Pahang has been known to be in the province since the 17th of Masihi. Originally from the Bugis territory, it was given that name by a prominent Bugis person by the name of Keraing Aji, who was also known as Tok Tuan. Efforts to resuscitate this business have gained the interest of English, such as Cecil Wray, a resident of Pahang. He has organized a plan to encourage weaving and knitting businesses for women in Pekan. This effort was not going well; a new plan offered to women the opportunity to learn about ‘menerau’, ‘mencelup’ and ‘bertenun’. Cecil Wray's plan has attracted the attention of Tengku Mariam, who has subsequently approved the plan's publication. Tengku Puan Mariam's leadership in the scenario of Tenun Pahang's business when it was about to fail. The company that started in Mangkasar is now expanding to other towns in the area. Baginda, after becoming Duli Yang Maha Mulia Tengku Ampuan Pahang, began to send silk fabric Tenun Pahang to King Baginda, Sultan Ibrahim, Sultan Johor, at the time. This company has expanded to Pulau Keladi, Benta and Jambu in Mukim Langgar. Tenun Pahang was also introduced to the English people in London in 1928 when Puan Selama Sulaiman, a reliable weaver from Kampung Parit, was brought to England to show the ways of weaving.

40 In the year 1941, weaving activities reached their peak until the arrival of the Japanese in Malaya during the world conflict. Weavers at that time only focused on the existing supply of raw materials. The chaotic political situation due to the war made supplies such as silk thread and cotton difficult to bring in. Business development activities have been ongoing since the state government gave 1948 Assistance in the form of raw materials and improved weaving tools to maintain this heritage enterprise. Efforts to grow this company need to be approved by the National Government and also the RIDA (Rural Industry Development Authority), or now more often known as MARA (Majlis Amanah Rakyat). To increase motivation to weave more quickly, RIDA at that time had already transferred young weavers from Pulau Keladi to Kuala Terangganu. RIDA's involvement has also reached out to the weaving centre at Pulau Keladi. A mandate supported the establishment of this business from the Third Prime Minister of Malaysia at the time, the late Tun Abdul Razak, who had given the Lembaga Kemajuan Pahang Tenggara (DARA) a mandate to establish the Tenun Pahang Diraja Company in the year 1974. Following that, Perbadanan Kemajuan Negeri Pahang and Perbadanan Kemajuan Krafttangan Malaysia carried out the initiative to build Tenun Figure 4.1.1 - KDYMM Al Marhum Sultan Sir Abu Bakar Riayatuddin Al Muadzam Shah and his brothers wear Pahang Malay clothing from the Tenun Pahang Diraja cloth type. Figure 4.1.2 - Tengku Ampuan Besar Pahang, Tengku Meriam binti Sultan Abu Bakar, Pahang

41 4.3 FUNCTION Kain Sampin, a product made from Tenun Pahang Diraja, is worn by women and men with traditional Malay attire such as the sarong and baju pasang. This kind of Tenun Pahang Diraja attire is often designed for formal events like as weddings and other social functions Figure 4..3.1 Lines of KDYMM Her Majesty Raja Permaisuri Agong Tunku Hajah Azizah Aminah Maimunah Iskandariah Binti Almarhum AlMutawakkil Alallah Sultan Iskandar Al-Haj official clothing using Tenun Pahang Diraja Figure 4..3.2 collection of Kraftangan Mlaysia, Pekan, Pahang Figure 4..3.3 Tengkolok and clutch from fabric tenun pahang.

42 4.4 TECHNIQUES USED IN WEAVING TENUN PAHANG Songket weaves and Tenun Pahang Diraja both use the same basic techniques, yet there are subtle variances in the end product. Each piece of Tenun Pahang Di Raja is the result of a painstakingly developed procedure. The production process involves a handful of distinct phases. There are a few steps to the production: 4.4.1 Cleaning of Silk (Melikas) Cleaning raw yarn is the procedure of thoroughly detangling the silk threads before to soaking and cleaning. The raw yarn is cut into 30 smaller hanks and soaked overnight in ash-infused water solution. The ash derived from the skins of mango, coconut, and durian fruit. Alum is also used to soak the yarn. Then it was washed and boiled in regular water to get rid of any starch or extra ingredients. Figure 4.4.1.1 Melikas process – soaking and cleaning the raw yarn (2022, Youtube: Tenun Pahang Diraja) 4.4.2 Dyeing After the yarn has been spin, it is then colored according to the specifications. The threads are colored using two methods. Natural dyes were traditionally utilized in the weaving business prior to the introduction of synthetic colors. The more labor-intensive traditional method which involves using raw ingredients such as onion skin, which is golden yellow in color, tarum or salum leaves, which are blue in color, sandalwood tree, which is purple in color. The yarns are then immersed in the dye solution until evenly colored and left to soak. Chalk water soaking ensures that the colors are locked in. after soaking and rinsing until the water runs clear, a lime water solution removes any unwanted odours before leaving the yarns to dry. . Figure 4.4.2.1 Dyeing process – by using natural dyes (2022, Youtube: Tenun Pahang Diraja)

43 4.4.3 Spinning the Threads (Menerau) After drying, the yarn is loaded into a rahat and spun using a peleting. The name for this is melting. There are two types of rakah: feed Darwin and golden Darwin. Weft Darwin is only used for the threads in the weft. It is made of rattan or rope and bamboo. Darwin gold is only used for gold thread. Because gold thread is thick and heavy, it is made of wood or wire. The thread is wound onto a 'peleting' made of bamboo using the 'rahat' and 'guwing. This method is utilised to simplify weaving and complete the spin thread according to the weaver's desired design. The 'rahat' and 'guwing' are also required when preparing the 'pakan' thread for weaving by spinning it into the smaller 'peleting'. In order to provide a greater selection of hues, synthetic dyes have lately been developed. After letting the cleaned silk soak in a mixture of powdered dye and water for a while, the color is set by adding salt and soda to the mixture. Once the yarns have been submerged, they are taken out and air dried for a full day. After that, they are washed in fresh water and squeezed to remove any remaining dye, after which Figure 9 - Dyeing process – by using synthetic dyes they are dried once more. Figure 4.4.3.1 Menerau process – The pelenting. (2019, Blogspot: Agar Aku Tidak Lupa) Figure 4.4.2.2 Dyeing process – by using synthetic dyes (2022, Youtube:Tenun Pahang Diraja) Figure 4.4.2.3 Dyeing process – leaving the yarns to dry (2022, Youtube: Tenun Pahang Diraja)