UNIVERSITI TEKNOLOGI MARA

SARAWAK BRANCH

FACULTY OF ART AND DESIGN

‘The Concept of Aesthetics Values by

Zakaria Ali in The Traditional Malay Houses’

VCS155
ISLAMIC ART IN THE MALAY WORLD

Group Members:
Muhammad Shawal Bin Abdul Rahman (2020616132)
Haziq Ashraf Bin Mahmun (2020820298)
Afifah Izzati Binti Hajizan (2020835754)
Dayang Nur Khaireena Binti Kusairi (2020848636)

LECTURER’S NAME:
Ms. Wan Juliana Emeih Wahed

July 2021
 Acknowledgement

Bismillahirrahmanirrahim,

Praise to Allah, the Lord of the Universe, for giving us the blessing and strength to finish
this group assignment before the final deadline.

My members and I would like to take this opportunity to thank one of our precious
lecturers, Miss Wan Juliana Emeih Binti Wahed, for her advice and guidance to help us as
students in completing this group assignment. Honestly, we are very grateful for having her
as our lecturer for this course. Besides, she has done so many things to assist her students
such as briefing clearly regarding this project assignment.

Other than that, we are also would like to express our deepest appreciation to our own
families, especially our parents who have supported us from the beginning until now.
Alhamdullillah, we have finally finished this group assignment within the time given by our
lecturer. As the leader and representative for Group 3, I also would like to extend my
warmest gratitude to my friends or group members who have helped me in finishing this
group assignment together through thick and thin.

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 Abstract

The study of beauty concept by Zakaria Ali has now been a lack of education to the people in
modern days. Due to the fact that they have not been taught to understand the education of
Islamic arts that are based on ‘Tawhid’ concept. Therefore, our goal for this group
assignment is to make everyone can truly understand and acknowledge the importance of
aesthetic values, especially in the Malay traditional houses. They have lacked this kind of
knowledge because they do not know what to learn and what to study. In this project
assignment, we have prepared a study of the beauty concept that includes several principles
and the significance of it that are introduced by one of the famous Malaysian artists that have
a deep meaning in it. By doing this project, we hope it would help a lot to the art and design
students including us to fully understand the meaning of aesthetics in terms of formalistic and
the content in it.

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 List of Figures

Figure Page

Figure 1.1 Ornate Wood Carving 7

Figure 1.2 ‘Awan Larat’ with Floral Theme 7

Figure 1.3 Mimbar with Awan Larat Design 8

Figure 1.4 Siku Keluang 9
Figure 1.5 Ulu Tajong Kingfisher Deer Horn 10
Figure 1.6 Tetupai Design on a Pillar 11
Figure 1.7 The Use of Motif with Flora & Fauna Design on a Traditional 11
House Veranda Panel
Figure 1.8 Motifs on Veranda & Windows Panel 12
Figure 1.9 The Unity of Motifs Design 12
Figure 2.0 Coconut Grater (Kukuran) 13
Figure 2.1 Tudung Saji Mengkuang (Food Cover) 14
Figure 2.2 Kerawang Design in Traditional House 14
Figure 2.3 Wood Relief Panel, ‘Temple of the Flower’ 15
Figure 2.4 Dome Shape Design on the Roof of a Traditional House 16

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 Table of Content Page

Acknowledgement 2
Abstract 3
List of Figure 4
Table of Content 5
1.0 Introduction 6
2.0 Beauty Concept by Zakaria Ali 7 - 16
        2.1   The Principle of Refinement 9 - 10
        2.2   The Principle of Opposite 11
2.3 The Principle of Unity 12
2.4 The Principle of Usefulness 13 - 14
2.5 The Principle of Symbolism 15 - 16
3.0 Conclusion 17
4.0 References         18

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1.0 Introduction

The Islamic arts have viewed the aesthetic forms in the perception of nature in which they
have implemented the concept of implying the ‘Oneness of God’, known as the ‘Tawhid’
concept. In Islam, the assumption has been stated that the “nature or the surrounding is the
creation and gift from the Almighty God, Allah SWT”, that we as Muslim artists must
appreciate it in our daily life. Basically, the aesthetic word shares the same meaning with
beauty. The word ‘aesthetic’ itself is derived from the Greek word, ‘aesthesis’ which include
any elements that are related to beauty.

However, beauty in Islam consisted of a depiction that expressed something other than
nature, where it also meant to generate an intuition of the real essence of the Transcendent.
Islamic aesthetics are not only for decoration alone, but also emphasize the message of
‘Tawhid’ that is permeated to both ‘content’ and ‘form’ in Islamic art. Based on the Hadith
by Sahih al-Bukhari, stated that “The Prophet (‫ )ﷺ‬entered upon me while there
was a curtain having pictures (of animals) in the house. His face got red with anger, and then
he got hold of the curtain and tore it into pieces. The Prophet (‫ )ﷺ‬said, "Such
people as paint these pictures will receive the severest punishment on the Day of
Resurrection.” (Sahih al-Bukhari: 6109) Thus, it is illegal for Muslim artists to create their
artwork exactly the same as the original shape, figure, nor form of a natural thing.

Other than that, the beauty in terms of the Malay arts, have the principles and elements of
aesthetic values that contributed to the understanding of the ‘content or meaning’ into
woodcarving, metalwork, textiles, and many more. Therefore, it promotes the aesthetic
pleasure which is based on the creativity, logic, and intuition of Malay craftsmen.

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2.0 Beauty Concepts by Zakaria Ali

Figure 1.1: Ornate Wood Carving

Art forms of the Islamic Malays in Malaysia encapsulate the principles of beauty,
function, materials in line with Islamic values. Craftsmen and artisans endured different
techniques in fabricating the products. Materials are selected based on the nature of
appropriateness enhancing the purpose of beautification with skillful and artistic
sensitivity of the individuals. Stylization may be varied, foliage, geometric shapes, and
fauna in which they are the choices for motifs and patterns.

Figure 1.2: ‘Awan Larat’ with

Floral Theme

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 The Islamic calligraphy and the Islamic values are embedded into the design of ‘Awan
Larat’ in the wood carving of Malay architecture. These decorative wood carvings can be
seen through the mimbar, palace, and mosque. These carvings are also practiced or done
on most Malay crafts such as perahu, rihal, kukur, gasing and hulu senjata. The jewelry
and costume of the Malay royalty such as pending subang and dokoh also carry the same
decorative concept. The Malay concept of aesthetic principles underpins five basic
formulations. These are the principles of Refinement, Opposite, Unity, Usefulness and
Symbolism.

Figure 1.3: Mimbar with Awan Larat Design

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2.1 The Principle of Refinement

Figure 1.4: Siku Keluang

Refinement is a form of the spiritual process taken or adopted from nature. Creativity
and stylization of design among the Malays refer only to it. This is because it is seen as an
Islamic process of stylization and it inspires to characterize the formation of the artwork.
In general, names given to the designs created are much related to nature itself such as the
motifs of siku keluang. Siku keluang can be found from the upper pillar of the traditional
house in Malay world. They are often in the form of triangle shape to support the weight
of the pillar so that the traditional house is in stable condition. It takes creativity to create
the structure of it, plus its motif can be either added with floral or calligraphic elements.
Other than that, this principle construe delicacy of art object nor subject matter and the
chosen media. For instance, the design of keris hilts, ‘Tajong’ and ‘Coteng’. It refers to
the sense of refined sensitivity with artistic sensibility and skillfulness.

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 Figure 1.5: Ulu Tajong Kingfisher Deer Horn

The image as shown above is ‘Ulu Tajong Kingfisher Deer Horn’, one of the keris hilts
designed with refinement principle. It is created by most people in Kelantan and Patani,
Thailand. This keris also can be known as ‘Pekaka’ and it was originally made from
white deer horn or ‘kijang putih’.

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2.2 The Principle of Opposite

Figure 1.6: Tetupai Design on a Pillar

Secondly, the principle of opposite refers to two or more different and various qualities
of opposite elements, in which it creates a sense of harmony that produce in a dynamic
composition. Combination of various design help to soften the tension derives from initial
design. The objective of having additional three-dimensional design of ‘tetupai’ in the
structure of the Malay house is to reduce the sharpness and tension from the meeting of
the vertical and horizontal frame (alang).

Figure 1.7: The Use of Motif with Flora and Fauna Design
on Traditional House Veranda Panel

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2.3 The Principle of Unity

Figure 1.8: Motifs on Veranda & Windows Panel

Moreover, the unity principle consists of all of the beautification processes. It is

conferring to the integration and unification between form and content in the visual arts.
The application of this principle enables the composition to be communicated and
narrated clearly. In this concept, it seeks to combine the various elements that provide the
framework of an orderly compositional structure. For instance, the motifs design with
shape, geometrical, and calligraphy elements are orderly formed in their perspective
framework. As we can observe from the picture above, the windows of the traditional
house are designed with floral theme, meanwhile the porch or veranda in between the
windows panel is designed with some geometrical shape elements. However, it is also
important that this principle must be demonstrated from the beginning process to the end.
A fine example that can be seen is from the picture below.

Figure 1.9: The Unity of Motifs Design

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2.4 The Principle of Usefulness

‘Prinsip Berguna’ or also can be called as the principle of usefulness is a principle

which served the intended function. It refers to the functions or usability of certain art
objects. The usefulness is usually tangible or intangible. For example, a painting as part
of interior decoration or expression of feelings and Anyaman Tikar (mat weaving) that
can be used for homeware also, aesthetic attraction.

In Malay arts and crafts, an art object is usually made to function for benefit rather than
purely for decoration. The art that comes with the object is only a part of the whole
object, such as ceramic pots, coconut grater (kukuran), food cover and weapon. The
carvings on the handle of a weapon such as kris or ‘keris’ (a Malay or Indonesian dagger
with a wavy-edged blade) must be able to suit the holder’s grasp. If the carving does not
suit the holder’s hand grip, then the kris would not serve the user properly when used in
fights. The same principle applies to the tudung saji (food cover). The screw pine
weaving for the tudung saji must be closely done so that it is able to obstruct flies or other
insects from reaching the food covered underneath. If the weaving allowed insects
through it, then the tudung saji is considered as useless.

Figure 2.0: Coconut Grater (Kukuran)

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 Figure 2.1: Tudung Saji Mengkuang (Food Cover)

Besides, this principle also can be seen from the traditional house structure. One of the
finest examples that can be found is the kerawang design. Kerawang which also can be
known as tracery is defined as an architectural part by which windows are divided into
sections of various proportions by stone bars or ribs of molding. It is the most common
part where it refers to the stonework elements that support the glass in window. This
concept of beauty is applied into kerawang design in order to force the cool air from the
outside to enter the house through it. Hence, the house will not be feeling warm or hot as
the cool air has flowed through the kerawang. Scientifically, it also refers to ventilation
term where it consists of pressuring the air.

Figure 2.2: Kerawang Design in Traditional House

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2.5 The Principle of Symbolism

‘Prinsip Berlambang’ is a symbolic principle which is used to integrate and unify

between form and contents. The principles of symbolism reveal the symbolic meaning of
certain objects. For instance, Zakaria Ali said that “the Keris brings all the symbolic
elements that are needed to strengthen Malay society.”

Figure 2.3: Wood Relief Panel, ‘Temple of the Flower’

Symbolism is divided into three phases. The phases are primary or natural, secondary
or conventional and intrinsic. According from Zakaria Ali, he stated that “apart from
being decorative, wood carving also often carries perlambangan or symbolic.” Symbol is
a factor that determines the relationship of form and content. Content interprets form.
This interpretation may differ from one person to another. However, artisans create an art
object with or without his knowledge of certain meaning behind the represented form.
Logically, it was more satisfying and happier to see a blooming flower on wood panel
than to see a drooping flower or leaf. According to Zakaria Ali, “it depends on the
philosopher to interpret the meaning of blooming flowers on the wood panel.”

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 Other than that, this concept also can be applied to symbolize the Islamic characteristic
such as designing the motifs with mosque’s dome shape. This is due to show our
appreciation towards the Islamic religion and to distinguish the features of Islamic art. By
doing so, the creative work symbolized the beauty of nature and appreciation to God’s
creation. Zakaria Ali also noted that today, we inherited many Malay crafts without
knowing the actual symbol represented by the composition of the motifs. It is a pity to
inherit beautiful forms without content. He suggested that it would be better for
researchers and thinkers to make new interpretation for the object.

Figure 2.4: Dome Shape Design on the Roof

of a Traditional House

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3.0 Conclusion

In conclusion, the principles of beauty concepts are important to be learned by a new

generation of Muslim artists. Besides, it is vital to know that the art motif has its own
values and identity that reflect the content and form in Islamic art. The concept of the
Malay aesthetic remains a strong element to be applied as to matching the Islamic and
Malay identity in an artwork. In particular, we should learn the nature of the Malay nor
Islamic culture, traditional Malay houses, and the identity of the Malay peninsular itself.
This includes the art, architecture, and carvings of the artwork to emphasize the meaning
of creations where every creation should carry certain functions and not merely
decoration. Therefore, the philosophical embodiment of aesthetic intention dictates the
manifestation level of the artist's creativity and mastery. “To the Muslim artist, the visual
imageries are expression to the act of devotion for Allah, the Creator of the universe.”
(Syed Ahmad Jamal, 1992)

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4.0 References

Reading Material
Mumtaz Mokhtar, (2018). ART AND CRAFT IN THE ERA OF CREATIVE INDUSTRY
IN MALAYSIA. Shah Alam, Selangor: Jurnal Seni Rupa dan Desain.
https://pdfs.semanticscholar.org/f82b/8186996dcd9efbfc1b1078ca42676ee9077d.pdf

Asliza Binti Aris, (2014). The Evolution and Transformation of Baju Kurung in the
Peninsular of Malaysia. Kuala Lumpur: ResearchGate.
https://www.researchgate.net/profile/Asliza-
Aris/publication/301510626_The_Evolution_and_Transformation_of_Baju_Kurung_in_the_
Peninsular_of_Malaysia/links/5716e30f08aeefeb022c3eb8/The-Evolution-and-
Transformation-of-Baju-Kurung-in-the-Peninsular-of-Malaysia.pdf

Websites
WIT Transactions on The Built Environment, (2016, May). Allegorical Narratives:
Redefining the Evolution of Ornamented Aesthetic Principles of Langkasukan Art of The
Malay Peninsula, Malaysia.
https://www.witpress.com/Secure/elibrary/papers/IHA16/IHA16001FU1.pdf

Juaini Jamaludin, (2018, May 8). VCS155 – KAD 111 2B: Task & Exercise About Topic
Textile in Malay World & Metalwork and Jewelries.
https://padlet.com/june_jdin/vcs155KAD1112b

Anonymous, (2021, May 29). Islamic Art – Wikipedia.

https://en.wikipedia.org/wiki/Islamic_art

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