The Star Online: Lifestyle: Arts & Fashion
The Star Online: Lifestyle: Arts & Fashion |
| Posted: 09 Mar 2013 11:58 PM PST Here is a visual guide to the different textile arts on display at the Islamic Arts Museum Malaysia: LIMAR is a single weft-ikat textile once woven principally in Terengganu and Kelantan, Palembang in South Sumatra, and southern Thailand. Woven only of silk in plain or twill weave, limar is the preserve of nobility as it employs costly materials and its manufacture is especially tedious. It can be enhanced with supplementary gold threads, creating limar bersongket, or gold leaf weaving, producing limar bertelepuk. Limar has become virtually obsolete in Malaysia as many limar practitioners have died and no written historical documentation exists on its traditional manufacture. TENUN, woven of silk or cotton, features mainly striped or checkered patterns. Traditionally, the weave was used to produce cloth worn as sarongs, but today, tenun is also woven as yard fabric that can be fashioned into clothes and decorative items. Tenun weaving began as a cottage industry, mainly in Terengganu, Kelantan and Pahang. Now known as the royal weave of Pahang, Tenun is thought to have been introduced to the Malay peninsula in the 16th century by Tok Tuan Keraing Aji, a master weaver from Sulawesi who immigrated to Pahang. KELINGKAN is an embroidery technique that uses metallic ribbon. (In Sarawak, it is known as keringkam.) Before the embroidery work begins, the base fabric undergoes a starching process to stiffen it. Motifs may then be traced onto the fabric with a pencil. A wooden frame is used to stretch the fabric tightly before metallic ribbon is sewn through the textile repeatedly, in a stitch known as tikam tembus. Kelingkan embroidery can be done directly onto a piece of fabric, or in a patchwork style, whereby the embroidery is prepared on a different cloth, such as gauze before being transferred onto another fabric, such as satin or silk. Lastly, the embroidery is flattened with a smooth object, such as stone or cowry shell. SONGKET, woven of silk or cotton, with supplementary metallic yarns, is the ceremonial fabric of choice during royal installations, formal and state functions, as well as Malay weddings. In the past, only royalty and nobility were allowed to wear songket, but by the mid 20th century, these rules had slowly diminished. In Malaysia, songket is produced mainly in Terengganu and Kelantan. TEKAT TIMBUL is a form of raised couched embroidery also known as tekat suji. It is one of the most well-known forms of traditional embroidery in Malaysia. It is used to decorate items associated with palaces and special events such as coronations, weddings and the reception of royal guests. In most cases, it is embroidered on velvet to compensate for the weight of the embroidery and to elevate the lavishness of the item. TELEPUK is another method of decorating Malay textiles with gold, in particular gold leaf. The textile first undergoes a process called gerus, or calendering, whereby it is rubbed with beeswax and a cowry shell to produce a flat and shiny surface, before the gold leaf can be applied. Glue is then applied on a carved wood or metal block and pressed onto the textile. A piece of thin, gold leaf is then pasted onto the glued areas and left to dry. Once the glue has dried, the gold leaf is brushed off to reveal the motif. |
| Posted: 09 Mar 2013 11:45 PM PST There might be fewer practitioners around now, but the allure of handwoven and decorated textiles lives on. A WEDDING? A coronation? A coming-of-age ceremony? None of this would be complete without a special selection of textiles on display for all to see. Such was the importance bestowed upon handwoven and decorated textiles in traditional Malay culture that has, to a large extent, been carried into the present day. These textiles were considered status symbols; an indication of how wealthy a family you come from; or in some cases, how superior your embroidery skills are (ladies of the palace were taught how to embroider, and many a woman with superior embroidery skills were said to have caught the eye of a future mother-in-law this way!). Adline Abdul Ghani of the Islamic Arts Museum Malaysia curatorial affairs department refers to these handwoven and decorated textiles as "the cornerstones of our cultural identity". "They were meant for special occasions, they were expensive and they took a long time to make. A piece could take up to several months of hard work," she says. Even after months of slaving over the loom, sometimes the work would still not be done. Do you want to add sheen to the fabric? Not so long ago, they had to do it by hand. Some techniques even called for spreading beeswax all over the cloth and then rubbing it down with a cowry shell. "Something with delicate finishing and dainty details would hardly be suitable to wear for rough work in the fields; you need to be sitting around doing nothing, or be sauntering around very lady-like. So these textiles were also a symbol of refinement," Adline adds. Showcased at the ongoing exhibition at the museum entitled Tradition And Continuity: Woven And Decorated Textiles Of The Malay Peninsula are six different textiles arts. Songket, tenun and tekat (see Textile techniques, below, for details) remain popular to this day and are still widely produced and used in the country. However, there are few surviving practitioners of limar, kelingkan and telepuk and these traditional techniques are under threat of becoming obsolete. The exhibition is dedicated to the memory of the late Malaysian cultural icon Sharifah Azah Syed Mohammad Alsagoff, fondly known as Azah Aziz. Adline recalls, "She once said that kain limar, particularly limar bersongket, is among the finest product of the Malay loom. On average, it would take about three months to finish a very exquisite, intricate piece. There are many efforts to revive these traditional arts, but it remains a challenge." The exhibition, comprising over 50 artefacts from the museum's permanent collection, is divided into two main sections; the Tradition segment presents boldly coloured textiles from the days of old, while the Continuity segment offers contemporary designs that many would consider to have more of an universal appeal. Adline describes the colours in the latter segment as relatively "muted and soothing". "The most obvious differences between the textiles in the traditional and contemporary sections are the visual aesthetics like colour choices and motifs. "The textures are also different. Many of the modern pieces have more stylised interpretations of traditional motifs like the bamboo shoot, cockerel's tail or persimmon's corolla," she explains. Also on display are some of the materials and tools used in producing these textiles. Lending their expertise to the exhibition and accompanying publication (the 192-page hard cover catalogue in full colour is available at The Museum Shop for RM98) are two Malaysian textile experts: Raja Datin Paduka Fuziah Raja Tun Uda, the first director-general of the Malaysian Handicraft Association and founding member of the Asean Handicraft Promotion and Development Association; and Assoc Prof Dr Norwani Md Nawawi of Universiti Teknologi Mara, who is a textile designer and educator. There is a special section of the exhibition that shows how the aesthetics of Malay textiles inspired three designers from the Prince's School of Traditional Arts in London to come up with their own artistic interpretations of traditional Malay designs. Samantha Buckley, Ayesha Gamiet, and Amber Khokhar were commissioned by the IAMM to examine and analyse the motif on a silk songket shawl featuring pucuk rebung lawi ayam (bamboo shoot with cockerel's tail) and bunga tampuk kesemak (persimmon's corolla). "From the land to the sea, from the earth to the sky, everything around you can be represented in a piece of cloth. Guided by the aesthetics and names of each motif, these designers each offered their interpretation of what could have been the initial inspiration of the weaver," explains Adline, adding that, traditionally, many of the motifs on such textiles are inspired by nature. She hopes that the exhibition will encourage a re-examination of the beauty of these textiles, the culture that it came from, and how the industry developed and evolved. "What we have at this exhibition is a legacy of the resplendent past, that golden era from some time ago. "And now that we are here in the 21st century, we have to think about where our traditional textile industry is heading," she concludes. Tradition And Continuity: Woven And Decorated Textiles Of The Malay Peninsula is on at the Islamic Arts Museum Malaysia (Jalan Lembah Perdana, KL) until June 30. The museum is conducting educational programmes throughout the duration of the exhibition. Call 03-2274 2020 or visit iamm.org.my for more information. |
| Posted: 09 Mar 2013 04:43 PM PST There is no shortage of newcomers to provide a new focus and perspective on culture and the arts. But are they original enough? YOUNG artists have never had it so good. Nowadays, many newly graduated artists feel confident enough to go full-time into art, if not selling works, then at least seeking experience and exposure in the numerous artist's residencies, art fairs and specific programmes all over the world. Even before they are matang (graduate) and leave their art colleges/universities, they are grabbed by the commercial galleries to feed a market hungry for the next Ib (Datuk Ibrahim Hussein) or Latiff Mohidin. While in the past, dealers such as the late Rahime Harun had done that, it was not on this scale or in such a frenzy. Rahime saw the potential of Juhari Said, for instance, and followed and nurtured Juhari's career. In the past, young artists went through the demoralising ritual of knocking on doors, and found that they needed to develop themselves fully before they could get a foothold in a gallery space. Now, though, there are several galleries consistently offering new artists opportunities undreamt of. Just look at Klang Valley-based galleries such as Galeri Chandan, Wei-Ling Contemporary, House of Matahati (HOM), Segaris, Pelita Hati Gallery of Art, Pace Gallery, Core Design Gallery, Annexe Gallery, Taksu KL, RA Fine Arts, NN Gallery, G13 Gallery, and, in Penang, The Warehouse, ChinaHouse, Galeri Seni Mutiara and a2 Gallery. The industry standard, Valentine Willie Fine Art, was known for its annual 3 Young Contemporaries show that did much to launch the careers of young artists, until it shockingly exited the scene at the end of last year. Galeri Chandan and HOM have collaborated in organising the biennial Malaysian Emerging Artists Awards since 2009 – an award that has come to rival even the Young Contemporary Artists (YCA/BMS) award organised by the august National Visual Arts Gallery. It is good to catch-em-young but all this "cradle-snatching" does have a downside. Some young artists peter away like comets, streaking hot one time but then are heard or seen no more. And the brasher ones might mistake an initially good reception as a sign of their arrival instead of using such recognition/validation as a stepping stone. Galeri Chandan recently cast its net again, pulling in a new batch of 23 young artists in an exhibition aptly called Platform. The artists, aged between 21 (Adli Nazrin) and 29 (Raja Azeem Idzham), work in paintings, prints, ceramics, installation, and wood and metal sculptures. At around the same time, HOM unveiled a new harvest in its fifth edition (since 2008) of its signature Young & New in an exhibition being held until March 23 (subsequently to be shown at ChinaHouse in Penang from April 17-May 12). Elsewhere, RA Fine Arts has Akhmal Asyraf's Chapter 1: Rebirth (until March 19), Pace Gallery has Plane Face (Hirzaq Harris and Azaikmal Rashid, March 13-24), while the Pelita Hati Gallery of Art plans a photography-based Subject Of Dreams II (April 20-May 18). It says much about the "supply" chain that you don't get the usual suspects in all these exhibitions. For these new artists, it may sound unfair that just one or two of their works at such exhibitions could make or break them, but then, like an American Idol contest, they may only get this one shot. In an "Idol Envy" homage of sorts, some of the works of these young artists betray traces in forms, styles or pet themes of their well-known predecessors – whether intentional or not. For instance, Nor Hidayaah Shahrun's ceramic wrappings remind me of Din Omar's nasi bungkus concoctions in the 1980s; Mohd Azami Ismail seems like a sequel-parody of Ahmad Zakii Anuar's Smoking Man with his "sofa" thrown in; Alif Che Berahim's Perahu Boggo-Boggo is reminiscent of Mohd Azhar Abdul Manan's warrior assemblages turned into boat-shaped frames; Arikwibowo Amril's work reminds me of the Pop Art of Ahmad "Jeri" Azhari and Amir Zainorin; Adli Nazrin's the prismatic Gunungan vistas, of Anuar Rashid and Datuk Syed Ahmad Jamal; Mohd Aliff Ahmad's Beware work on wildlife has a zebra-environmental theme similar to that of Ahmad Shukri Mohamed's Golden Gate series; and Nor Amirah Kamuddin's work reminds me of H.H. Lim's toy planes installation at the Rome Railway Terminal in 2001. In a parallel to a work by 2009 MEA (Malaysia Emerging Artist) winner Samsudin Wahab, newly-graduated Mohd Rusdi pits the face of his father against that of Hitler, with a gun from a turret on his forehead aiming at Hitler in The Philosophers (After Samsudin Wahab), but Rusdi's cartoonish Imagination Of Happiness looks more promising. Azami puts a sinister twist to Ahmad Zakii's inner drama by putting a dagger in the conspirator's hand with back turned, hoping to occupy the prized "throne" while the incumbent in the coat looks smugly prepared with folded arms. Arikwibowo, who is also musically inclined (he plays the guitar), spins from the Sex Pistols' single, God Save The Queen, for his title piece to comment disparagingly on a "queen" who is notorious in the local political landscape. Arikwibowo, from the class of 2012 at Universiti Teknologi Mara, had a stint as resident artist at KL's Morne Art Gallery and featured in the Locals Only exhibition at Taksu KL in February. In Paradigm Rebellion, Adli, only in his fourth semester at UiTM, reprises the "Gunungan" symbol as a jumble of glass shards at the bottom. When it comes to symbolising the moon, he prefers to write it out in cursive calligraphy. How interesting it might have been if the word were to be rendered in neon a la Tracey Emin, of the Young British Artists group! Some of the works are also "framed" differently in terms of concept and as objects, like Norhaizan Bais's 3 Bingkai Berangkai which has one frame that is empty with a black backdrop, another whitewashed with a rose relief, and the other broken with stains and a big gash in the centre. Muhamad Nizar Sulaiman plays on the shadow metaphor of the elusive and mysterious Indo-Pacific humpback and bottlenose dolphins, sometimes seen off the shores of Pulau Langkawi. He uses tangled wire metal rods to denote a hindrance or obstacle. The works called Consequential Atonement I and III come from his involvement in dolphin research under the NGO, MareCet. New graduate Nizar has also taken part in exhibitions like the Rice Plate Project (KLCC, 2010) and Precious Little Pieces (Wei-Ling Gallery, 2012). On painterly concepts, two artists deserve to be looked into: Ainurfatin Majid's traipse on the dark side is well represented by the mixed media on canvas, Alone, comprising the glow of an antique street lamp against a small dark closed window, while Mohamad Nor Hakim's Hue In Integration presents seasons of youthful revelry and energy in four different panels. Multimedia artist Raja Azeem Idzham's Siri Raksasa – Pegun Si Rasuk, Serpih Cahaya, is caught in stasis by a labyrinth of choking tangled forms, the yellow openings providing little respite. Raja Azeem is also skilled in animation and music and has a recording studio with his similarly inclined siblings; they call themselves JuxtaposeD – like a Jackson 5 outfit. Some works are also print-based like those by Mohamad Ridzwan Mohd Fuzi (screen and linoprint), Muhammad Faiz Ghazali (screenprint on mengkuang-woven paper), and Fateen Ilahi Kamarudin (etching). Platform is on until March 21 at Galeri Chandan at Lot 24 & 25, Level G4@U1, Block C5, Publika Shopping Gallery, KL. For more information, call Hasni at 03-6201 5360, e-mail info@galerichandan.com or go to galerichandan.com. |
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