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
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
11 Textiles : Ikat Limar THE WEFT IKAT TECHNIQUES Many weavers enjoy the woven fabric’s bleeding aspect, which they try to create by experimenting with various tie-dye procedures. Jackie Battenfield, who wrote a book about the ikat technique, studied the ikat textile and developed her own method of producing warp ikat, weft ikat, and double ikat. She utilised two wooden beams with nails to stretch threads and plastic wrap to bind the yarns and colours for weft ikat. Her method takes time since the weft yarn must be looped back and forth around each nail. After the dyeing process is finished, the full length must do twinning between the half groupings on the nails to maintain proper order, followed by positioning the item. This method of tying the weft yarn produces a one-of-a-kind artwork rather than a repetition pattern. However, it is ideal for creating artistic and contemporary ikat works for wall hangings and installations in large buildings. Although the weft ikat technique of ikat limar is no longer used, traditional looms are still used by weavers in the northeast of Malaysia to weave their traditional textiles. However, Pattani, in the southern part of Thailand, and Palembang, Indonesia, continue to weave this particular style of ikat limar. Battenfield, Jackie, 1978. Ikat Technique. New York: Van Nostrand Reinhold Company. Figure 4.2 The warp thread part of The Malay Frame Loom Source: Muzium Tekstil Negara
Textiles : Ikat Limar 12 THE TOOLS USED TO WEFT IKAT LIMAR RAW SILK YARN COLOURED SILK THREAD GOLD THREAD SILVER THREAD METALLIC THREAD RAFFIA ROPE HOOK WEFT YARN SWASTIKA MOTIF
13 Textiles : Ikat Limar THE WEFT IKAT PROCESS Figure 4.2 The swastika motif were created as a base before the designing process using The Malay Frame Loom Source: Muzium Tekstil Negara
Textiles : Ikat Limar 14 The process of weft ikat using swastika motif as a traditional motif of limar cloth. The pattern sketched on the paper determine number of yarns lots and the number of widths required. The menganing process begins by twine the threads on the wefting tool in an organized according to the lots of yarns. The weft yarns are measured to determine the centre part of the pattern and marked using a pencil. Silk thread is stretched on the ruing (a measuring tool) and rahat (spinner) around the peleting (bobbins). 1 2 3 4 5 THE WEFT IKAT PROCESS
15 Textiles : Ikat Limar Raffia rope are used to twine and tied pattern on the weft yarn. The weft yarns that had been ready tied to the wooden frame and put onto the plastic to prepare for the dyeing process. The ramazol dyes such as black den, orange 3R, chili red, brown, soda ash, salt and hot water are mixed, then poured and evenly spread repeatedly over the entire weft yarns to absorb the color. The dyed weft yarns were left for an hour. Then, rinsed using tap water until it is rid of an excess dye and dried in dim place. Once the weft yarns are dried, the raffia rope will slowly be removed to avoid any tearing of the weft yarns. 6 7 8 9 10
Textiles : Ikat Limar 16 Figure 4.3 The warp thread part The Malay Frame Loom Source: Muzium Tekstil Negara
17 Textiles : Ikat Limar Next, the weft yarns will be twine into peleting (bobbins) according to the lot of yarns. 20 units of black peleting (bobbins) is attached to a steel wire seated on top of a tool known as an anian, then the top end of the threads are pulled simultaneously for the menganing process to prepare the loseng threads (warp yarn). 11 The warp yarns are attached to a weaving tool known as Malay kek for the meneguh process. The weaving process is done by inserting the weft yarns horizontally until the design is produced. 13 14 12
Textiles : Ikat Limar 18 Untie the raffia rope The process of dyeing the weft yarns The process of tying motif on the weft yarns Figure 4.4 The close up photo of benang ikat pakan. Source: Muzium Tekstil Negara
19 Textiles : Ikat Limar THE STRUCTURE OF KAIN LIMAR The hand-woven fabric is highly valued in Malaysian culture; the weavers put their hearts and souls into creating the fabric, and various components are given names that are related to the human body. The kepala (head panel) or punca kain (end cloth), the badan kain (main body), and the kaki kain (cloth feet) are the three main components of the rectangular piece of woven fabric. Other components include the pengapit kepala kain border, which encloses the kepala kain in sarongs, and the pengapit badan kain border, which encloses the badan kain of kain lepas. There is another thin border inside the border called kendik that runs alongside it. Although the rectangular shapes of the limar sarong and limar lepas are similar, the size and placement of the patterns vary. Both ends of limar lepas are open and decorated with intricate patterns called punca kain. Before they learned how to form the rectangular fabric into a tube, the kain limar lepas had to evolve. For this reason, women in Terengganu and Kelantan typically wore three pieces of kain punca potong, while men typically wore two pieces. The kepala kain, or central panel section, and the badan kain and kaki kain, or side panels, are what give the Malay sarong its distinctive look. Norwani Md Nawawi, 2016. Ikat Limar: The Ancient Malay Textile. Dewan Bahasa dan Pustaka, p.81 - 89 Figure 4.5 The kain limar songket with pattern inspired by imported textile. Silk and gold thread, natural dyes, weft ikat, supplementary-weft weave. Source: Art Gallery of South Australia
Textiles : Ikat Limar 20 Kain lepas is a length of cloth. The term refers to a piece of material with both ends free. The words “kain” and “lepas” mean cloth or fabric and let go, respectively. Kain lepas limar, also known as kain punca potong in Kelantan, is literally translated as “cloth with cut-off at the ends.” This kain lepas, also known as kain punca potong, consists of a shawl, kain panjang (long cloth), and kain kemban (breast cloth). Due to the hand-woven fabric’s unique properties and the wearer’s size, the length and width of the garment can vary. However, the kain lepas will all have the same shape, which is a rectangular shape with the ends of the fabric unsewn. There are four sections in the kain lepas structure. It has a sizable area of badan kain in the center, pengapit badan on either side of the badan kain, kaki kain on either selvage, and punca kain on either end. There are two types of kain lepas, which are the borders at the selvages, one with kaki kain and the other without. The kain lepas measure between 152 and 300 cm in length and 42 and 106 cm in width. Kain Lepas Punca kain Badan kain Punca kain Kaki kain 152 cm to 300 cm 42 to 106 cm Figure 4.6 Illustration of structure of kain lepas. Figure 4.7 Ilustration of kain lepas measurement.
21 Textiles : Ikat Limar Kain Sarong While a kain sarong is also rectangular, it differs from that style in that it has a kepala kain (head panel) in the center, badan kain (body) on either side of the panel, and kaki kain along the selvage on both sides. As shown in, the kepala kain typically consists of bamboo shoot motifs or an overall design (bunga penuh) with a thin border (pengapit kepala kain) at both ends and no edges (kaki kain). This rectangular piece of fabric is joined at both ends to create the sarong shape. The fabric used to create ikat sarongs was woven on a small loom, and two lengths of the same fabric had to be woven together to create a single sarong. The weaver had to weave the same design twice with the same length, for instance, if the width of the loom (and fabric) was 55 cm, which is less than 100 cm. These two pieces of fabric were then sewn together selvage to selvage to increase the length and width of the sarong. Typically, the width and opening of this type of sarong are wider. Men wearing the traditional Malay garb known as the baju Melayu wear a small sarong as samping. Kepala kain (head panel) Badan kain (main body) Kaki kain (feet of the cloth) Pengapit kepala kain (borderat the head panel) Badan kain (main body) 190 cm to 210 cm 80 cm to 108 cm A kain sarong limar without songket usually has no border pattern (kaki kain). The length of a sarong is about 190 cm to 210 cm and the width is 80 cm to 108 cm. Figure 4.8 Illustration of structure of kain sarong. Figure 4.9 Ilustration of kain sarong measurement.
Textiles : Ikat Limar 22 TERMINOLOGIES IN SARONG AND KAIN LEPAS PUNCA KAIN Punca kain is only present in kain lepas; it is absent from kain sarong. The typical elements of the mots in punca kain are the pucuk rebung pattern, the teluk berantai pattern, and the fine border (kendik) at the hujung punca, which is immediately at the end of the fabric. The bamboo shoot (pucuk rebung) pattern usually comes after the pengapit badan kain border pattern. Sometimes only the center design of the teluk berantai pattern is present instead of the pucuk rebung design, which is typically used for shawls (selendang). BADAN KAIN The main part of the garment is called badan kain. It can be seen in both kain lepas and kain sarong. This section uses a variety of motifs and patterns. These designs adorn the badan kain section of the sarong, which is located on either side of the head panel (kepala kain). Between the two ends of the punca kain, in the middle of the kain limar lepas, is where badan kain can also be found. KEPALA KAIN PENGAPIT KEPALA KAIN Kepala Kain, which translates to “the head of a sarong,” refers to the middle panel of a sarong. This area is sometimes referred to as patak kain in Kelantan and Terengganu, which literally translates to “the back part of the sarong.” This is aptly named because, when worn, it is typically placed at the wearer’s back. It is appropriately referred to as kepala kain because it is the main component of a sarong and kain in this context refers to a sarong. Pengapit kepala kain, or the head panel border, is the pattern that surrounds the main kepala kain pattern on both sides of the head panel (kepala kain) in the sarong. In pengapit kepala kain, the motifs are small, connected to one another, or chained together. In some cases, the border is made up of half the motif from the main body section.
23 Textiles : Ikat Limar TERMINOLOGIES IN SARONG AND KAIN LEPAS PENGAPIT BADAN KAIN DAGING KAIN TEPI/KAKI KAIN The border known as Pengapit Badan Kain is located at the punca (end cloth) of Kain Lepas. Between the main body (badan kain) and the end (punca kain) of kain lepas, it serves as a border. The majority of kain limar panjang, kain limar selendang, and kain kemban (breast cloth) contain it. Pengapit badan kain also has two delicate borders, or kendik, that run along both of its sides and are decorated with small patterns of sisik ikan (fish scales), biji peria (bitter gourd seeds), or kendik tali. The woven material is referred to as daging kain by local weavers in Terengganu and Kelantan, which literally translates to “the flesh of the cloth.” The phrase is used to describe a fabric’s quality, such as the smoothness or roughness of a woven fabric. This term is only known to weavers and locals in the area. Two identical borders, known as tepi kain or kaki kain, which literally translates to “the feet of the cloth,” are present at the outer edges or selvages of the kain sarong and kain lepas. The medium and larger designs make up the two different types of kaki kain. The kain ikat limar typically has a thin ikat line that serves as a guideline on both sides of the cloth instead of a design at the tepi kain. However, if the kain limar is woven with songket, such as kain limar bersongket, there is a pattern on the kaki kain. The tepi or kaki kain is about 10 to 20 cm in size and has a fine border around it. TANAH KAIN Tanah kain, or “ground,” is the term for the color of the limar or songket cloth’s background. This phrase typically describes the region where the dominant color is not found in motifs. For instance, the tanah kain, which is typically a dark red or maroon color, is the dominant color in a vibrant sarong ikat limar of five colors. In kain limar lepas, the main body (badan kain) is typically colored purple, green, or maroon, while the punca kain (end panel) is typically red or maroon.
Figure 4.10 Old silk woven limar jantung bersongket. Origin Palembang, South sumatera. Source: Cetik Ira Irawan via Facebook Textiles : Ikat Limar 24
25 Textiles : Ikat Limar TYPES OF KAIN LIMAR Ikat limar fabric can be categorised into four main types of cloths, namely ikat limar lepas (loose limar), ikat limar bersongket (weft tie-dye with supplementary weave of golden thread), ikat limar tenggarung (weft tie-dye with songket striped pattern) and ikat limar bersurat (weft tie-dye with Arabic calligraphy) Source : Muzium Tekstil Negara Figure 4.11 A green silk limar sarong. The main panel is woven with limar ikat pakan thread and small flower motifs. Originated from Kelantan, years 1900. Source: Muzium Tekstil Negara
Textiles : Ikat Limar 26 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. PLAIN LIMAR COTH LIMAR CLOTH WITH SONGKET Figure 4.12 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 Figure 4.13 A kain limar songket berterabur. Used as kain sarong. Source: Wikimedia Commons This type of ikat limar lepas is woven in plain or tabbyweaves. It can be in full or scattered pattern, stripes or checked. It does not have songket weaves. Usually ikat limar biasa does not have a border pattern.
27 Textiles : Ikat Limar Figure 4.14 Old silk woven ikat limar palembang with Malay motifs. Used as shawl. Source: Cetik Ira Irawan via Facebook
Textiles : Ikat Limar 28 This type of ikat limar tenggarung is woven in a striped plain weave and a supplementary weave of golden threads (songket). The pattern is always in stripes of plain weave and songket. Usually this type of cloth has a border pattern at the kaki kain or selvages. 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. The main purpose for this type of cloth is to act as a shroud for the coffin. LIMAR TENGGARUNG CLOTH LIMAR CLOTH WITH ARABIC CALLIGRAPHY Figure 4.15 A limar tenggarung sarong from silk thread. The main panel is decorated with vertical thin stripes, alternated with jalur sawa pattern. Whilst the head panel is red in colour with chained bays pattern and alluringly decorated with date fruit and chain of four petal flowers motifs. Used as kain sarong. Originated from Terengganu, years 1800. Source: Muzium Tekstil Negara Figure 4.16 A piece of kain limar with Arabic calligraphy. The body of the cloth is yellow and woven with calligraphy of Quranic verses of “Laila Ha Illahllah” which means that there is no God but Allah command and Muhammad is his Messenger. Source: Muzium Tekstil Negara
29 Textiles : Ikat Limar MOTIFS & COLOURS in KAIN LIMAR Malay culture and beliefs appear to be reflected in the motif used in Malay textiles. by several, in addition to neighboring nations Due to the fact that the inhabitants of the Malay Peninsula were initially animists before becoming Hindu-Buddhists and then Muslims, Malay cultures were influenced by religions in this context. Campa, Pattani, Makassar, Java, Palembang, and Aceh were among the locations that served as important trading hubs and weaving centers with the Malay Peninsula. These locations have motifs with similar names and similar motifs, but there are also several motifs with similar names but different motifs. For instance, the motif of the mangosteen fruit, known as bunga tampuk manggis in Kelantan, is known as kembang tampuk manggis in Palembang, but is known as tampuk pedada in Sarawak. One of the compositional elements that fills the empty space in a given design is the motif. A figure or conspicuous portion of a pattern that stands out from the background is referred to as a motif. In textile art, the study of motifs is regarded as a subject unto itself. Studying the ikat motifs’ names and shapes will help you comprehend ikat limar. This will enable one to appreciate it and comprehend how it came to be. The names of the patterns in ikat limar are connected to the wearer’s and the weaver’s environment. The surroundings and the weavers’ way of life serve as inspiration for the patterns. During the Sri Vijaya Empire in the thirteenth century AD, there were also elements of cross-cultural exchange between the Malay Peninsula, Campa (South Vietnam), Cambodia, and Sumatra, leading to the discovery of some motifs that are nearly identical but have different names. Looking back at the Malay Peninsula, the east coast is where Kelantan and Terengganu, two weaving centers, are located. Additionally, this region served as a hub for trade negotiations between the East and the West. Textiles had a growing influence between the first and eleventh centuries, primarily from China in the east and India in the west. The Austey Weston, 1997. Guide to Textile Terms. London: Weston Publishing Limited. Maznah Mohamad, 1996. The Malay Handloom Weavers. Singapore: Institute of Southeast Asian Studies. Figure 4.19 A close up shot of kain tenun songket. Source: Muzium Tekstil Negara Figure 4.18 A close up shot of kain limar with motifs of buah tamar, bunga tampuk kecupu and bunga tampuk kesemak. Source: Muzium Tekstil Negara
Textiles : Ikat Limar 30 Figure 4.20 A close up shot of Cik Siti Wan Kembang attire and accessories.
31 Textiles : Ikat Limar MOTIFS POSITIONS in kain limar MOTIFS ON KAIN LIMAR Motifs on Punca and Kepala kain (The central panel of sarong and the end cloth of kain limar lepas) Motifs on Badan Kain (The main body of the sarong and kain lepas) Motifs on Pengapit Kepala/Badan kain and Kaki kain (Borders of the panel/ main body and the selvages) Motifs are described in three sizes, which are small (S), medium (M), and large (L). S M L from 0.5mm to 20mm from 30mm to 45mm from 50mm to 100mm or more Norwani Md Nawawi, 2016. Ikat Limar: The Ancient Malay Textile. Dewan Bahasa dan Pustaka, p.121. Figure 4.21 A chart of motifs on kain limar.
Textiles : Ikat Limar 32 MOTIFS IN PUNCA AND KEPALA KAIN Pucuk Rebung (Bamboo Shoot) The most prevalent motif is pucuk rebung, which literally translates to "bamboo shoot" and is also known as tumpal in some regions. Pucuk rebung resembles a triangle in general. Before the advent of Islam, the term "pucuk rebung" referred to a temple's roof that was adorned with tepi pucuk api (flame tips). The early Malay communities' long-standing faith in spiritual forces and supernatural beings was strengthened by Hindu-Buddhist influence; however, after Islam arrived, the meaning of pucuk rebung (bamboo shoot) changed to incorporate Islamic teachings. A Malay Kelantanese historian named Mohamad claims that the pucuk rebung symbolizes the universe or gunung sari in a triangular form, expressing the beauty of the universe as it is descended from the “beautiful one” (referring to the Divine Essence of God). God Spiritual world (Alam arwah) Spiritual world (Alam arwah) Real world (Alam nyata) Pucuk rebung is a motif with many variations. These variations can be grouped into five styles: pucuk rebung tunjuk langit, pucuk rebung berjuang, pucuk rebung kendung, pucuk rebung siku keluang, and pucuk rebung gigi bota. However, the pucuk rebung tunjuk langit, pucuk rebung kendung, pucuk rebung gigi bota, and pucuk rebung berjuang are the most common patterns of arrangement in ikat limar. Mohammad, A. 1984. Falsafah dan Pemikiran Orang-orang Melayu: Hubungannya dengan Islam dan Kesenian. Kuala Lumpur: Kementerian Kebudayaan, Belia dan Sukan, p.10. Figure 4.22 A picture of bamboo shoot in the wild, which is the source of inspiration from the pucuk rebung motifs. Figure 4.23 Pucuk rebung symbolisms.
Figure 4.24 Old silk woven ikat limar palembang with Malay motifs. Used as shawl. Source: Cetik Ira Irawan via Facebook 33 Textiles : Ikat Limar
Textiles : Ikat Limar 34 1. Pucuk Rebung Tunjuk Langit Pucuk rebung tunjuk langit denotes that the triangle motif is facing the plain or other isolated motifs for limar lepas, and for the sarong panel, the tips of the triangle do not meet in the middle. This motif is used in pucuk rebung patterns. Figure 4.25 Pucuk rebung tunjuk langit on kain lepas. Figure 4.26 Pucuk rebung tunjuk langit on kain sarong. Norwani Md. Nawawi, 1989. Malaysian Songket. Kuala Lumpur: Dewan Bahasa dan Pustaka, p.90 - 93.
35 Textiles : Ikat Limar Figure 4.27 Attire of Cik Siti Wan Kembang.
Textiles : Ikat Limar 36 2. Pucuk Rebung Kendung An isosceles triangle with various motifs on either side of the triangles that interlock is known as a pucuk rebung kendung. For instance, a row of pucuk rebung might have pucuk susut sembunyi on one side and pucuk rebung lawi itik on the other. The kain limar lepas typically contain this arrangement of motifs. Figure 4.28 Pucuk rebung kendung on kain lepas. Figure 4.29 Pucuk rebung kendung on kain sarong.
37 Textiles : Ikat Limar 3. Pucuk Rebung Gigi Bota Similar pucuk rebung that are arranged with the triangles interlocked to resemble the teeth of a giant genie are known as “pucuk rebung gigi bota.” A typical example of this motif arrangement is in the kain limar lepas. 4. Pucuk Rebung Berjuang Similar pucuk rebung motifs that come together in the middle of a sarong are referred to as pucuk rebung berjuang. It typically appears in limar sarongs. Figure 4.30 Pucuk rebung gigi bota on kain lepas. Figure 4.31 Pucuk rebung berjuang on kain sarong.
Textiles : Ikat Limar 38 Various Types of Pucuk Rebung Pucuk Rebung Kayohan & Pucuk Rebung Tepi Gigi Yu Pucuk Rebung Kayohan’s motif is designed to resemble a tree with branches growing from the main stem. Pucuk rebung kayohan, which has the characteristics of HinduBuddhist influence, is likely the earliest example of the pucuk rebung motif. These characteristics include the shape of a curved hook at both ends of the triangle. Pucuk api, which literally translates to “tip of a flame,” was the name given to the branch that curves into the sha pe of a hook. It is now known as gigi yu. This kind of branch, which is also known as pucuk rebung tepi gigi yu. Pucuk Rebung Lawi Ayam The literal translation of “feathers of the cockerel’s tail” is pucuk rebung lawi ayam: The motifs are arranged side by side, touching the same base, and typically have an inti motif in the middle, or isolated bunga pecah empat, bunga cengkih, or bunga pecah empat motifs. On Limar Bersongket, pucuk rebung lawi ayam have been found. The motif appears sophisticated and intricate. It could be recognized by its feather-like long, rigid edges. The motifs are typically placed on the panel of a sarong along with other floral motifs. Pucuk Rebung Bunga Susut Sembunyi Pucuk rebung bunga susut sembunyi’s motif literally translates as “hidden flower.” Pucuk bunga susut sembunyi is the name of the motif because it is in the shape of a pucuk rebung. This motif has a lot of different iterations. Basically, it is made up of different arrangements of flowers and foliage. Sometimes the motifs are created in the pattern of the pucuk rebung kendong, or in the pattern of the pucuk rebung tunjuk langit and pucuk rebung berjuang. Pucuk Rebung Lawi Itik Lawi itik is a large, narrow triangle with a line border that literally means “feathers of the duck’s tail.” An arrangement of symmetrical flower motifs or a bunga susut sembunyi motif could be found inside the triangle. However, the shape is known as pucuk pandan if it has a shorter structure. Selvanayagam, Grace Inpam, 1990. Songket, Malaysia’s Woven Treasure. Singapore: Oxford University Press, p.158. Figure 4.32 Mind map of various types of pucuk rebung motifs.
39 Textiles : Ikat Limar MOTIFS IN BADAN KAIN (Motifs in the main body of the sarong and kain lepas) The badan kain typically has motifs arranged in mosaic, chained bays, isolated, or striped patterns. The majority of the Malay weavers in Terengganu and Kelantan resided in rural areas surrounded by fruit trees, insects, rivers, hills, the ocean, and other natural features, which served as inspiration for the creation of various patterns. The bunga tampuk manggis, bunga tampuk kecupu, bunga tampuk kesema, and buah cermai are just a few of the motifs that draw inspiration from fruits and flowers. Additionally, the Malays enjoy baking sweet treats, particularly for teatime, the fasting month, and Hari Raya (Eid). As a result, some Malay textile motifs, including potong ladu or bunga ladu, potong tepung talam, bunga putu, and potong seri kaya, are named after these Malay cakes. These motifs typically come in rhombus or diamond shapes with size variations. Bunga Tampuk Manggis In Malay textiles, this motif is very common. Manggis is a variety of mangosteen. The mangosteen represents the spiritual side of human nature and the inner self. The tampuk manggis motif has an eight-petalled arrangement that closely resembles the four to eight lobes at the base of the mangosteen fruit. Its rhomboid-shaped center is surrounded by these petals. Bunga Tampuk Kecupu The kecupu fruit serves as the inspiration for this motif. The fruit’s bottom portion, known as the tampuk, has eight lobes that are joined to a square shape in the middle and has a sour taste. The motifs in ikat cloth occasionally resemble tampuk manggis, but there will be a separation of the petals from the central motif because the shape is not as sharp as in songket. Bunga Tampuk Kesemak The fruit known as buah pisang kaki which is primarily imported from China, is the inspiration of this motif. It has typically has a large, rounded shape, resembling a large flower, and eight smaller, half-rounded shapes that surround an inner shape, like a star or diamond. This motif was very popular in the past in ikat limar. The overall aesthetic is very opulent and traditional, and this particular motif is typically seen in older and traditional ikat limar bersongket. Norwani Md. Nawawi, 1989. Malaysian Songket. Kuala Lumpur: Dewan Bahasa dan Pustaka, p.70. Arnold, T.W., The Old and New Testaments in Muslim Religious Art. Cited in Mohammad Najib Ahmad Dawa, 1996, p.153. Figure 4.33 Various types of motifs on main panel as well as their source of inspiration.
Textiles : Ikat Limar 40 Figure 4.34 Attire of Cik Siti Wan Kembang.
41 Textiles : Ikat Limar Bunga Tepung Talam Rice flour is used to make the traditional Malay sweet cake known as tepung talam. The motif of bunga tepung talam is a motif with a diamond shape with another decoration or motif in the center. This rice cake is typically cut in a diamond shape. It could be large or medium in size, with rhombus-shaped equal sides. Bunga Kembang Semangkok Chinese medicine prescribes bunga kembang semangkok to relieve sore throats. It is a seed that, when submerged in water, spreads out its fibers. The motif has a focal point in the middle and is shaped like a mass of spreadout fibers. This motif’s shape is typically ill-defined, but it tends to be rounded or oval with delicate edges. Bunga Pecah Empat Any motif that resembles four petals is known as a bunga pecah empat motif. Depending on the motif’s complexity, the size of the motif may be large, medium, or small. Bunga Pecah Lapan Any motif with eight distinct shapes that come together in the middle is known as a bunga pecah lapan. It can take the form of a flower with eight petals or a star. Typically, bunga pecah lapan is large or medium in size. Sometimes it is used as the motif at the intersection of the teluk rantai (chained bay) pattern. Buah Cermai Although there are many variations in the buah cermai motif, the size remains the same. The motif is essentially square in shape and frequently has four outer corners. Some of the corner edges are slightly open, and the center is filled with a square or bunga cengkih motif. The motif can also be formed into a square shape with cut-off edges, with straight sides. and straight or “V” shapes at the top and bottom. Norwani Md. Nawawi, 1989. Malaysian Songket. Kuala Lumpur: Dewan Bahasa dan Pustaka, p.69. Figure 4.35 Various types of motifs on main panel as well as their source of inspiration.