Textiles : Ikat Limar 42 Bunga Tiga Dara Bunga tiga dara literally translates to “three maidens”. Modern songket rarely uses this motif, but the traditional ikat limar bersongket does. This motif is large, with the main flower in the center and symmetrically positioned leafy shapes on either side. On limar sarongs or limar lepas, the motif is typically placed in an isolated pattern with a half-drop repeat. Sometimes the motifs are placed vertically and in opposition to one another, and they are embellished with tiny bunga cengkih motifs. Dada Lipan/Kaki Lipan The teluk berantai pattern contains the motifs dada lipan (a centipede’s chest) and kaki lipan (a centipede’s feet). It functions as chains connecting to other motifs. The dada lipan is a fairly long, slim shape, but the kaki lipan will also have small squares added to the long, slim line. The feet are referred to as jejari ketam (crab’s feet) if they are longer. The motif is typically used in ikat patterns, though it is occasionally woven in songket. Potong Wajik, Bunga Putu & Potong Ladu The potong wajik, potong serikaya, bunga putu, and potong ladu are the common motifs used to decorate the badan kain section. Most of these motifs have a diamond or rhombus shape. The size is different; bunga putu is small, and potong ladu is the smallest. Potong wajik and potong serikaya are typically either large or mediumsized. The bunga putu is typically a motif with another decoration inside that is shaped like a diamond. Sometimes referred to as potong serikaya, potong wajik has a larger shape and occasionally an interior decoration. It is a tiny, solid diamond shape for potong ladu. It occasionally comes in rows of diamond-shaped pieces. Bunga Bintang Beralih 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, like the motif on tampuk manggis. 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, or it may be arranged in isolated or scattered patterns.
43 Textiles : Ikat Limar MOTIFS IN PENGAPIT KEPALA/BADAN KAIN AND KAKI KAIN (Motifs in the borders of main body and the selvages of the sarong or the shawl) The bitter gourd’s seed is known as biji peria. The shape of the seed is long and narrow. Biji peria typically has a smaller size than buah tamar. The motif can be seen in the selvage or end cloth of kain limar lepas or shawls, in the fine border (kendik) area. It is also present in a sarong’s kepala kain (pengapit kepala kain) border. Biji Peria This motif that alludes to sea horses. Although the motif does not actually resemble a seahorse, the “S” shape depicts sea horses connected to one another as each motif is repeated. In ikat limar, this motif is typically used to embellish the badan kain of a limar sarong, where it is linked to create the teluk berantai pattern. It is also present along the kepala kain. Unduk-unduk Laut Bunga pucuk, which refers to the lotus flower bud, is translated as “flower bud.” This motif resembles a tiny arrow with a downward- or upward-pointing tip. It can be discovered in the kaki kain of limar sarong or the punca kain of limar lepas. It is typically placed in the punca kain limar lepas’s teluk berantai. Bunga Pucuk This motif typically adorns the kepala kain (border) of a sarong and the punca (end cloth) of limar lepas (shawl). The form resembles a bunga pucuk almost exactly, but it alternates with a three-pointed spear. It occasionally appears in the main body of the cloth’s border, where a larger pagar Istana without the spear is arranged in a row, alternately upright and upside down. Pagar Istana
Textiles : Ikat Limar 44 This motifs are typically found in the old classic ikat limar and are likely one of the oldest motifs. Pucuk paku, literally translated as “the tips of the ferns,”. Sometimes, this motif is woven in songket at a sarong’s pengapit badan and the conclusion of the limar lepas. It is positioned adjacent to the border that encloses the central motifs. Kendik Pucuk Paku The sirik ikan motif is typically positioned in the kendik or arranged in a row, mimicking the design of fish scales. It is small in size and has a pattern that repeats the form of a “V” or “C.” Typically, it can be found near borders. This motif is called “shark’s teeth.” Typically small in size, this motif has a curved hook and sharply pointed ends. Previously, it was thought that gigi yu represented the pucuk api (flame tip). It is typically positioned in the punca of Limar Lepas, at the very end of the border. Gigi Yu Sirik Ikan Literally translating to “sun-ray flower,” bunga sinar matahari features a flower-like shape with four lines emerging from the center. The border of a sarong’s head panel or the main body of kain lepas typically feature this motif. Sometimes it can also be found in the sarong and kain lepas’ main body. Bunga Sinar Matahari
45 Textiles : Ikat Limar COLOR PALETTES in kain limar The arrangement of colored and uncolored areas creates the motifs and patterns in ikat limar fabrics. Which areas are to be tied and dyed, and as a result formed into a motif, will depend on the ikat technique. When this motif is repeated either regularly or erratically, patterns are created. The method will also produce the appearance of the dyes overlapping, which results in the addition of a second or third color. The shapes of the motifs appear as the weft ikat colored thread is woven thread by thread into the warp colored plainly. As the weaving process goes on, these motifs are repeated and transformed into different patterns. The two basic structures of a sarong and kain lepas are decorated with patterns in ikat limar.
Textiles : Ikat Limar 46 The ikat limar fabric’s color mimics and blends with Malaysia’s natural surroundings, which are abundant in natural resources. Traditional weavers have been able to produce rich and lovely colors in ikat limar fabrics despite past dyeing restrictions. Dark maroon or red, as well as deep purple, are frequently used as the primary background colors when dyeing ikat limar. A natural red dye from the mengkudu root was frequently used in the majority of ikat limar fabrics. Almost all kain ikat limar lepas and limar sarong contain it. Dark red and reddish brown natural dyes, which can be made by boiling mengkudu roots or by combining stick-lac, alum, and gelugor fruit acid as the mordant, were traditionally used by weavers. PRIMARY BACKGROUND COLOR OF KAIN LIMAR Traditional colors used to dye the yarns in the past were derived from nearby plants. There was a small selection of natural dyes, some of which were imported from India. Given the restrictions, the traditional’s colors. Ikat limar has an almost identical tendency. Purple, maroon, black, yellow, and olive green made up the majority of the background colors. The reddish and maroon color of the mengkudu root (Morinda Citrifolia), which is typically used in the punca of limar lepas (shawls) and in the kepala sarong of kain limar sarongs, is the significant background color in ikat limar. Weavers learned the dyeing procedure orally and by doing it themselves or by dyeing yarns with an experienced dyer. The majority of these dyes were not documented.
47 Textiles : Ikat Limar Mengkudu root (Morinda Citrifolia) was used as a red dye, which was widely used in limar cloth. Other materials were added to different reds to make them brighter or darker. The color red was also produced by boiling the peel of the sepang tree (Caesalpinia Sappan), which was brought from India and China by traders, along with kayu malar or sticks of loc. Merah darah ikan, also known as “fish blood red”, merah jambu (pink), merah manggis (purplish red), merah samar (shocking pink), and merah hati (dark red), were the most popular shades of red used by weavers. RED DYE Mengkudu root (Morinda Citrifolia) Sepang heartwood (Caesalpinia Sappan) Other shades of red
Textiles : Ikat Limar 48 YELLOW DYE Kunyit root (Curcuma Longa) Yellow dye can be obtained from the kunyit root (turmeric), the bark of cendana kuning (santalum album) and saffron (curacao). Most of these yellow dyes give a soft and light colour, but the dye from turmeric (Curcuma longa) gives strong and bright yellow. Bright colors like orange, yellow, purple, and green were unusual and were usually only worn by royalty. Previously reserved for the king and the royal family only, the color yellow is now only prohibited when royalty is present. The vibrant, multicolored fabrics are preferred by the local Malay population because they go well with the country’s sunny climate. Examples include “kuning raja,” which describes the color of the king, “kuning kunyit,” which describes the color of turmeric, “kuning tok cha,” which describes the color of the robes worn by Buddhist monks, “kuning muda kelopak buluh,” which describes the hue of a yellow bamboo stem, and “kuning pinang masak,” which describes the hue of ripe betel nuts. Saffron (Curacao) Cendana (Santalum Album)
49 Textiles : Ikat Limar BLUE DYE Both the bark of the bakau tree (Rhizophpra) and the tarum leaves (Indigofera) were sources of blue or dark blue. Typically, boiling these materials produced the desired color. Blue color variations include biru laut (sea blue), biru langit (sky blue), biru terusi (turquoise blue), biru sening (darker than sea blue), and biru sayap kumbang (beetle’s wing blue). Tarum leaves (Indigofera) Kayu malar + Tarum leaves PURPLE DYE Red dyes from mengkudu root (Morinda Citrifolia) and tarum leaves (Indigo Fierra) were combined to create purple dye. Other shades of blue Shades of purple
Textiles : Ikat Limar 50 GREEN DYE The juice of the pandan leaves (Pandanus Odorus) the cekur manis plant (Sauropus Adrogyaus), the campuran kunyit plant, the rambutan shoot, and other plants will yield green dyes. Hijau lumut (moss green), hijau terusi (a poison with a turquoise green color), hijau pucuk pisang (banana shoot green), Pandan leaves (Pandanus Odorus) Rambutan shoot (Nephelium lappaceum) Other shades of green hijau kepala itik (duck’s head green), hijau laut (sea green), hijau muda (light green), and hijau tua (dark green) are the shades of green used in ikat.
51 Textiles : Ikat Limar BLACK DYE Kulit kayu bakau, pokok kayu arang (Diospyros Graciliflora), and young coconut husk mixed with clay can all be used to make black dyes. Zubaidah Shawal claims that in the past, black dye could be made by pulverizing a few pokok kayu arang fruits about the size of a thumb, combining the powder with water, and then adding a small amount of clay. After soaking in this dye for several days, the silk yarn was then brought to a boil. The black dye appeared darker due to the clay mixture. But some weavers made black dye by combining clay and sabut kelapa muda, the husk of young coconuts. Pokok kayu arang (Diospyros Graciliflora)
Textiles : Ikat Limar 52 These were the fundamental dyes created and utilized by weavers. All of these dyes were removed using buah belimbing manis (Averrhoa Bilimbi) juice. The weaver could produce other dyes, but they were kept a secret. Most of these fundamental dyes could be combined to create additional colors using the fundamental colors. From this point on, we can tell modern ikat limar from older ikat limar that uses dyes that are imported from other nations. Silk, which is one of the best materials for absorbing dyes, was used to create ikat limar. The delicate silk yarn was easily dyed for the intricate fine ikat. Weavers in Penambang, Kelantan, used to dye their yarn in yellow as the base color before adding any other colors, according to weaver Hajah Faridah. Weavers used to dye both ends of the warp red for the limar lepas (shawl), giving the majority of the end cloth a red color. The warp was dyed red at the kepala kain (head panel) when making sarongs, giving the majority of limar sarongs a red or maroon background that contrasts with the color of the badan kain (main body of the sarong or limar lepas), which is typically green or purple.
55 Glossary GLOSSARY Badan kain The body of the cloth or the dominant part of the sarong, situated at both sides of the kepala kain (sarong panel). Baju melayu Refer to the traditional Malay attire for men. It comprises a tunic and knelength sarong (samping) over trousers. Biji peria Seeds of the bitter gourd referring to motifs in ikat limar and songket. Biru Literally means ‘‘blue’’ in Malay language. Bunga bintang Flower motif in the shape of a star. Bunga cengkih Clove, as a motif, it is a simple four-petalled floral motif commonly used as filler in the design of ikat limar or songket. Bunga Kemboja A Cambodia flower. It has five petals with yellow inside. Bunga kesemak Motif inspired from Sharon fruit or Chinese persimmon (Diospyros kaki), locally known as pisang kaki. The fruit is large, slightly grooved and yellow to orange in colour. This motif is usually found in mainbody of ikat limar and songket. Bunga ladu Small diamond shaped motifs found in ikat limar and in songket. The motif is derived from a sweet cake made from glutinous rice mixed with spices. It is cut into small diamond or rhombic shapes. Bunga Literally means flower, however in Malay textile, it is used to refer as motifs. Bunga melur Jasmine flower referring to motifs found in ikat limar and songket. Bunga pecah empat Refers to four petalled floral motif. Floral motif commonly used in batik, ikat limar or songket. Bunga pecah lapan Refers to eight petalled floral motif. Floral motif commonly used in batik, ikat limar or songket. Bunga pucuk Motifs of flower buds and it was also known as bunga pucuk api in the past. Bunga sinar matahari La “sun-ray flower,” bunga sinar matahari features a flower-like shape with four lines emerging from the center. It can be found in the border of a sarong’s head panel or the main body of kain lepas.
Glossary 56 Bunga tampuk kecupu Motif inspired from the kecupu fruit. Its taste is sour but sweet when ripe. It is a bit smaller in shape than the mangosteen (manggis) fruit. Bunga tampuk manggis Motif inspired from the mangosteen fruit. It has dark purple skin with white sweet juicy fruit inside. Bunga tanjung A tiny sweet-scented flower referring to motifs found in ikat limar and songket. Corak Literally means pattern in Malay language. Refers to the pattern on cloth. Cucuk sanggul Traditional Malay hairstyle that is often associated with the royal court in Malaysia. It is a type of bun or twist that is formed on top of the head and is secured with hairpins. Cucuk sanggul berjurai A hair pin that often decorated with beads, flowers, or other ornaments. Daging kain The material that used to make cloth. Dokoh The Malay necklaceis an example of the distinctive jewellery of Pattani Kelantan and Terengganu as it is made of ‘suasa’. Suasa is an alloy of gold, silver and copper that has a distinctive reddish colour. Gandik Traditional Malay headpiece that is worn by women. Gigi bota Giant’s teeth, referring to the pattern of pucuk rebung motifs arranged transversely. Gigi yu Shark’s teeth referring to motifs in limar and songket cloth. Hijau Literally means ‘‘green’’ in Malay language. Ikat Means tie, in verb form, mengikat. It is the resist dyeing process in which designs are reserved in warp or weft yarns by tying off small bundles of yarns to prevent the penetration of dye. In Malay textile, it usually refers, to ikat pakan or ikat limar and kain ikat loseng. Ikat Limar A traditional weft ikat Malay fabric. Ikat pakan Weft ikat or tie-dyed weft threads or yarns. Kain Refers to cloth or fabric in Malay language.
57 Glossary Kain kelubung Traditional robe or cloak that is commonly worn by women in Malay traditional and royal courts. It is a long, flowing garment made of cotton or silk, and is often embellished with embroidery or brocade. It was made to cover their head. Kain kemban Traditional Malay robe worn by women. A piece that was wrapped around the torso. Kain lepas A rectangular cloth with free ends, it can also be called as kain punca potong and kain panjang. Kain sarong A tube-like skirt with ends sewn from a rectangular piece of cloth. Kaki/tepi kain The foot of the cloth or the border pattern at the selvedge of a sarong and kain lepas. Kelantan a state in Malaysia that is located in the northeastern part of the country. Kendik Fine border running at the side of a bigger border pattern. Kepala kain The head of the cloth or the central panel of a sarong, it has a differen pattern from the main design. Usually this pattern is worn at the back and sometimes is worn in the front by the women for certain traditional Malay dress. Keris a straight or curvy-bladed dagger which is an important component ceremonial dress in Malay culture. The wavy design of the narrow blade creates a large and severe wound from which victims seldom recover. Keris pekaka Tajong keris or pekaka keris (head that resembles the head of a kingprawn) is from Pattani. Kuning Literally means ‘‘yellow’’ in Malay language. Yellow color is reserved for royalty families. Kunyit Curcuma longa, of the ginger family, Zingiberaceae, the rhizomes of which are used in cooking. Turmeric extract is used to make a yellow dye. Lawi ayam Cock’s tail referring to motifs in the woven ikat limar and songket. Lawi itik Duck’s tail referring to motifs in the woven ikat limar and songket. Malay kek a traditional Malay loom made of wood. This kek has four (4) poles that resemble the frame of a house. The weaver’s seat is located in front of the kek and the pesa stick used to wind the woven fabric is located in front of the weaver.
Glossary 58 Malaysia a country in Southeast Asia that is made up of the Peninsular Malaysia (themain part of the peninsula) and the eastern part of the Malay archipelago (Malay Borneo). Menganing Making woven goods from yarn, silk. Mengkudu a tree grown widely in Southeast Asia. The bark and roots is used to produce a red dye of dark red or sombre rusty red color. Merah Literally means ‘‘Red’’ in Malay language. Red is a dominant colour in most kain limar. Pagar istana Literally means palace fence, motifs usually found at the “pengapit kepala kain” and at “punca kain”. Pandan a tropical plant in the Pandanus genus. It has fragrant leaves which are used widely for flavouring in the cuisines of Southeast Asia and South Asia. The laeaves of pandan is used to make a green dye. Pattani a city and region located in southern Thailand. Peleting See bobbin. Pending Decorated traditional buckle. Pengapit kepala kain Border design situated at both sides of the panel of a sarong. Potong ladu A group of small diamond-shaped motifs. Potong wajik A group of medium diamond-shaped motifs. Pucuk paku A young curling stem or shoot of a common jungle fern. Pucuk rebung “Bamboo shoot”, triangular motif usually found on kepala sarong or at the end of kain lepas. It is known as tumpal in Java, Indonesia. Punca kain An area situated at the end of both sides of kain lepas or kain punca potong. Rahat Wheel (machinery) for winding thread on a thread spinning device. Rambutan a tropical fruit native to Southeast Asia, including Malaysia. The fruit gets its name from the Malay word “rambut,” which means “hair” due to its hairy appearance. It belongs to the Sapindaceae family and is closely related to other fruits like lychee and longan. This fruit is used to make a green dyes.
59 Glossary Ruing a tool to wind the first thread on a loom. Samping A shorter version of the kain sarong used by the Malay man with a Baju Melayu. Sarong A rectangular cloth sewn at the sides into a tubular skirt; worn folded, pleated, gathered or tucked at the waist. Sarong Limar Special material woven in silk or cotton with supplementary metallic gold or silver threads. Patterns and motifs on this woven fabric usually cover the whole sarong. Selendang Scarf or shawl, which can be draped around the head or hung from the shoulder. Selvage The lengthwise edge of a woven fabric in which the point of weft yarns binding the warp that forms a finished edge. Sirik-sirik ikan Means ‘‘fish scales’’. This motif can be found near borders on kain limar Songket A widely used term in Southeast Asia for supplementary weft patterning usually denoting metallic thread as the major supplementary element. It is a Malay gold-threaded cloth used as dress material, especially for auspicious or ceremonial occasions Tanah kain Color of the limar or songket cloth’s background. This phrase typically describes the region where the dominant color is found on cloth, Tarum A type of flower. Tarum leaves is used to make blue or purple dyes. Teluk berantai Chained bays refers to pattern on ikat limar and songket fabric. Tenun Fabric made from yarn. Terengganu a state located on the east coast of Peninsular Malaysia. Unduk-unduk laut Sea-horse motif usually found at the main pattern or badan kain of a sarong and kain lepas.
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Cik Siti Wan Kembang was an Empress of the Kingdom of Kelantan, a state in Malaysia. Historically, she is said to rule Kelantan in 17th century. She is also often the main character in the story of historical stories that the locals often tell. 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. She was known for her beauty, intelligence, and style, and her attire, particularly the Kain Limar cloth, was well-known throughout the region. This book is a comprehensive guide to the Kelantan Empress Cik Siti Wan Kembang’s attire, including the Kain Limar cloth. The book offers a detailed explanation of every aspect of the attire, from its historical significance to its practical use in contemporary society. The book also provides detailed illustrations and photographs to help readers better understand the attire’s design and construction.