IZZ AALIYA ANIZAM
Title: BUSANA CIK SITI WAN KEMBANG Editor: Izz Aaliya b. Anizam Zaim Durulaman First Print 2023 All Rights Reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, including photocopying, or by any information storage and retrieval system, wihtout permission in writing from PERBADANAN MUZIUM NEGERI KELANTAN Published by: PERBADANAN MUZIUM NEGERI KELANTAN Jalan Hospital, 15000 Kota Bharu, Kelantan. Tel: 09-748 2266 Faks: 09-747 3366 Website: www.muzium.kelantan.gov.my Emel: [email protected] Printed by: PRINT EXPERT SDN. BHD. No. 22 & 24 Puncak Bestari, Jalan Niaga Bestari 8, Puncak Alam, 42300 Bandar Puncak Alam, Selangor
“Kalau tuan pergi ke bendang, Jangan petik buah rumbia: Tuan laksana bulan mengambang, Cahaya meliput alam semesta.”
CHAPTER 1: PADUKA SERI MAHARAJA PUTERI CIK SITI WAN KEMBANG CHAPTER 2: BUSANA CIK SITI WAN KEMBANG CHAPTER 4: TEXTILES: KAIN LIMAR - The weft ikat techniques - The structure of kain limar - Types of kain limar - Motifs & colours of kain limar BIBLIOGRAPHY CHAPTER 3: CLOTHING FITTINGS & ACCESSORIES GLOSSARY
TABLE OF CONTENTS 1 - 2 3 - 4 5 - 8 9 - 54 11 - 18 19 - 24 25 - 28 29 -54 57 - 61 62 - 65
1 Paduka Seri Maharaja Puteri Cik Siti Wan Kembang CHAPTER 1: PADUKA SERI MAHARAJA PUTERI CIK SITI WAN KEMBANG Cik Siti Wan Kembang is a legendary politician who once held a landslide victory in the Malaysian state of Kelantan in the southeast. Historically, she is said to rule Kelantan from 1610 to 1677 AD. She is also often the main character in the story of historical stories that the locals often tell. However, there is still no clear archaeological evidence to prove the authenticity and existence of a character that is constantly hovering in the classical and folklore, especially with the background of the Malay community. She was said to have ruled a state called State of Taman Serendah Sekbun Flowers Tegayong and used the name of the title of the Princess. She was born in 1580. Source: Rupa & Gaya Busana Melayu Edisi-2 by Azah Aziz
Paduka Seri Maharaja 2 Puteri Cik Siti Wan Kembang Cik Siti Wan Kembang’s reign at Mount Chinta Wangsa became famous for many to visit by traders from domestic and foreign, including Arabs who have called Cik Wan Kembang with the call of “Cik Siti”. She had a deer that she liked, a performance from his people living in Mount Ayam. This deer picture was applied to gold at state expenses, and was later immortalized as part of the Kelantan state’s powerful emblem to this day. When Sultan Mansur Shah (Kelantan) died in 1526 M (928 H), Raja Gombak was referred to as Sultan using the title Sultan Gombak. After baginda Raja Gombak became putera angkat in 1548M, Raja Ahmad, the grandson of Sultan Mansur who had previously been made putera angkat, was crowned Sultan Kelantan in 1548M. With the consent of Raja Muda Mansur Shah III, Sultan Ahmad Shah ibn. This is because Raja Gombak doesn’t have any children. Then, Sultan Ahmad was married to Cik Banun Princess Seri Nara D’aja, the cousin of King Hussein next to Lela Wangsa Pahang’s wife. The two of them were given a princess named Cik Siti Wan Kembang. His Majesty Sultan Ahmad died in 1561M, when his 4 -year -old Princess Cik Siti Wan Kembang, and therefore King Hussein of Johor was appointed the King of the King of the Kelantan government. According to Kelantan History Book of Sa’ad Shukri Haji Muda, when King Hussein died in 1610M (1018H), Cik Siti Wan Kembang was abducted as King of Kelantan the same year. He lived in Mount Chinta Wangsa, Ulu Kelantan, about 40 kilometers southeast of Kuala Krai. BACKGROUND REIGN Hassan Shuhaimi, 1987. Kelantan Zaman Awal: Kajian Arkeologi dan Sejarah di Malaysia. Kelantan: Perbadanan Muzium Negeri Kelantan, p.37 - 38. Alias Muhammad, 1989. Kelantan: Politik dan Dilema Pembangunan. Gateway Publishing House, p.4 Figure 1.1 Kelantan’s state official emblem Figure 1.1 Kelantan gold coins with deer motif. This symbol of the golden deer has actually been used by the state of Kelantan for a long time, for example as a gold coin that became the value of people’s expenses once upon a time. Source: Bank Negara Malaysia Museum & Art Gallery
3 Attire of Cik Siti Wan Kembang Since the rule of Cik Siti Wan Kembang (1610–1677) in Kelantan, this phrase has been in use. One of the last states to still wear shirts made of three strands of fabric, thought to be a remnant of Sriwijaya Malay culture, was Kelantan. Although the general style is the same as that of the previous era, there are differences in the use, size, and “placing” of the scarf or scarves. The use of this scarf is crucial for protecting the wearer’s shoulders, hands, head, and back while also making the wearer appear more polite than in earlier generations. The expansion of Islam in the state of Kelantan is thought to be closely related to this strategy. The fabric used to make this Cik Siti Wan Kembang clothing is more meticulously arranged to produce a distinctive and timeless shape. To enjoy movement and create ripple waves when the wearer steps, the sarong fabric is made of heavy jong songket cloth that has been folded and tied thousands of times. The people of Kelantan continued to dress in this way through the Malacca and Thai eras and into the British era. During the reign of Tengku Long Mansor (1896– 1900), this style was no longer worn. CHAPTER 2: ATTIRE OF CIK SITI WAN KEMBANG Abbas Alias and Norwani Md. Nawawi, 2003. Pakaian Melayu Sepanjang Zaman. Kuala Lumpur: Dewan Bahasa dan Pustaka, p.12 Figure 2.0 The attire of the Kelantan queen warrior Cik Siti Wan Kembang in the seventeeth century.
Attire of Cik Siti Wan Kembang 4 THREE MAIN PIECE OF ATTIRE CIK SITI WAN KEMBANG KAIN KEMBAN The kemban is traditionally worn by wrapping a piece of cloth around the torso folding and pinning the edges, and tying a second string to secure it. A smaller angkin or sash is then wrapped around the abdomen to close the garment. The majority of court ladies in the palace dress in this style of traditional batik. KAIN SARONG The heavy songket jong fabric used to make the sarong is woven with dense gold thread. It is folded in front in a thousand folds pattern to allow for fun movement and to display how the waves of the fabric ripple as the wearer walks. KAIN KELUBUNG The use of this scarf is very important for covering the shoulder, hands, head and back of the wearer at the same time making the wearer look more polite than the previous era. This method is believed to be closely related to the strengthening of Islam in the state of Kelantan. Zaidi Saidi Ibrahim, 1998. “Aspek-aspek Budaya Ekonomi Masyarakat Kelantan Sebelum 1909” in Warisan Kelantan I. Kelantan: Perbadanan Muzium Negeri Kelantan, p.40. Abbas Alias and Norwani Md. Nawawi, 2003. Pakaian Melayu Sepanjang Zaman. Kuala Lumpur: Dewan Bahasa dan Pustaka, p.112 Figure 2.1 The kain kemban wrapped around the torso. Figure 2.2 The kain sarong that was act as the bottom to cover the lower abdomen. Figure 2.3 The kain kelubung act as the shawl to cover the head or hair for religion purpose.
5 Clothing Fittings & Accessories CHAPTER 3: CLOTHING FITTINGS & ACCESSORIES Gandik Cucuk Sanggul Bunga Kemboja (Cambodia Flower) Cucuk Sanggul Berjurai Dokoh Tali Pinggang Gelang Tangan Keris Figure 3.0 The accessories and clothing fittings that was wore by Cik Siti Wan Kembang
Clothing Fittings & Accessories 6 CUCUK SANGGUL A pierced hairpin in the form of a stylised fan, studded with three clear gemstones. GANDIK The gandik or crown is a symbol of the sovereignty and power. The crown is made of gold and is adorned with precious gems, pearls, other precious stones and various motifs TALI PINGGANGA A 14- carat gold belt made by a Malay craftsman from Kelantan. The entire length features the crest of the Kelantan Government in a pierced design. CUCUK SANGGUL BERJURAI Cucuk sanggul berjurai is a hair pin that often decorated with beads, flowers, or other ornaments.
7 Clothing Fittings & Accessories A Dokoh or gold pendant crafted by the Malay craftmanship from Kelantan. Designed with fine filigree and gold beads. DOKOH The pending created by the Malay workmanship is made of solid gold. The surface is engraved arising a cord of ropes and golden grains that are motivated by the bunga kiambang and the seeds. Pending surfaces are hit by various colors. PENDING Traditional Malay accessory that is worn on the wrist. It is typically made of gold and is often adorned with precious gems, or precious stones. This accessory is considered a symbol of beauty and a sign of wealth. GELANG TANGAN KERIS PEKAKA The Keris is a type of dagger that has the appearance of the former that resembles the head of the Pekaka bird. This dagger is made of wood and horns. These dagger eyes are usually longer than other daggers and the shape is straight.
Clothing Fittings & Accessories 8 Cik Siti jarum bergiling, Kuncup menjadi jarum, Kembang memjadi payung, Raja perempuan berpakaian gemilang, Terpesona siapa memandang, Cik Wan Kembang berkemban jantan, Kain Limar melekit di kulit, Songkit bertabur merah pulasan, Ikat reribu pancung ke bawah, Pendingnya emas sepuluh mutu, Bertatah delima intan baiduri, Kain panjang lampai di bahu, Dikembang selebar alam, Dilipat sebesar kuku, Disemat keronsang daun budi, Dokoh di dada sayap keluang, Gelang tangan katan tebu, Gelang kaki naga berjuang, Selipar dipakai madu kencana, Di tangan kanan keris kerajaan. Rambut disanggul mayang mengurai, Sanggul berhias sisir permai, Di puncak sanggul memegah tiga, Bunga anggerik suntingan telinga. Source: Busaneka
9 Textiles : Ikat Limar The empress of Kelantan is rumoured to have worn three pieces of limar cloth as sarongs, scarves, and kemban during the reign of Cik Siti Wan Kembang. While the Sarong Limar cloth is a songket cloth that is used wrapped around the cloth at the waist and wrapped with a waist strap or pending in the middle, the twin cloth often does not include songket. Once more representing the magnificence of the renowned Maharani Kelantan, a scarf made of limar fabric will be worn on the exposed shoulder. Songket Limar is a Malay textile weave that is highly prized. - DR. NORWANI MD NAWAWI Figure 4.0 A silk punca potong limar cloth with purple and red in colour. The main panel has flowery and geometry pattern with and sepit udang motif, whereas the cut ends is woven with pakan thread and small flower as motifs. Worn as shawls and belt. Originated from Kelantan years 1900. Source: Muzium Tekstil Negara CONTENT LOCKED PLEASE PURCHASE THE BOOK TO CONTINUE or ENTER THE ACCESS CODE (REFER TO THE BOTTOM PART OF YOUR PURCHASE RECEIPT) TO CONTINUE
Textiles : Ikat Limar 10 CHAPTER 4: TEXTILES: IKAT LIMAR Malay weavers mastered the art of silk ikat and produced the kain limar, one of the most beautiful woven silk textiles found in Southeast Asia. The silk limar is produced using the weft ikat technique, whereby the weft threads are tie-dyed according to certain patterns. It is a technically demanding and time-consuming process. Dyes were obtained from plants and fruits, and made with recipes handed down through the generations. The kain limar is a classic Malay woven cloth widely produced in Kelantan, Terengganu and Patani. Members of royalty and nobility wore it. In the past, female aristocrats wore the kain limar as a bodice wrap, sarong and head cover, while the men made it into a samping, head-dress, or wrapped it around the waist as a sash. Kain limar was also used as an important piece during such ceremonies as gift presentations and spiritual cleansings, and as a shroud for the coffin. Weft ikat, also known as ikat limar, is thought to have originated in Pattani (southern Thailand), and through migration and cultural diffusion, made its way to the states of Kelantan and Terengganu. Norwani Md Nawawi, 2016. Ikat Limar: The Ancient Malay Textile. Dewan Bahasa dan Pustaka, p.61 Figure 4.1 A silk punca potong limar cloth with purple and red in colour. The main panel has flowery and geometry pattern with and sepit udang motif, whereas the cut ends is woven with pakan thread and small flower as motifs. Originated from Kelantan years 1900. Source: Muzium Tekstil Negara CONTENT LOCKED PLEASE PURCHASE THE BOOK TO CONTINUE or ENTER THE ACCESS CODE (REFER TO THE BOTTOM PART OF YOUR PURCHASE RECEIPT) TO CONTINUE