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Istana Besar Tengku Long: Wall Carving Decoration and Motifs Influences the
Spatial Social Interaction at Surung Area

Conference Paper · December 2012

DOI: 10.13140/RG.2.1.4375.7605

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 SIMPORA 9:2012
The 9th
Regional Symposium of the Malay Archipelago
Universiti Teknologi MARA (Perak), Malaysia, 11 & 12 December 2012

Istana Besar Tengku Long:

Wall Carving Decoration and Motifs Influences the
Spatial Social Interaction at Surung Area

Shamsidar Hj. Ahmada*,

Mohd. Zafrullah Hj. Mohd. Taibb, Mawar Hj. Masriab
a*
Lecturer, bSenior Lecturer,Ph.D, abLecturer.
Centre of Interior Architectural Studies, Faculty of Architecture, Planning & Surveying,Universiti Teknologi MARA,
40450 Shah Alam, Selangor, Malaysia.

Abstract

Woodcarving is considered as an integral component to the vernacular Malay house in Peninsular

Malaysia. This research aimed to promote deeper understanding of wall carving decoration and
motifs found in the Malay traditional houses influences social interaction at “surung” area. A case
study performed at “Istana Besar Tengku Long” in Kuala Terengganu, Terengganu. The research
method included literature review, measured drawing, interviewed with local well-known
woodcarvers incorporated with late Tengku Long generation. As a results, the application of
carvings at “surung” are contained a practices concerning teaching good direction and high-quality
ways of life to the Malay society.

Keywords: Decoration; Motifs; Woodcarving; Social Interaction; “Surung”.

1. Introduction

‘Surung’ area or other name is ‘anjung’ is located at the front side of the house facing the
public street. The ‘surung’ at Istana Besar Tengku Long is selected as a research area because this
space displayed various forms of carving represent fine craftsmanship compared to other space in
this palace. Moreover, Malay palace recognized as a first architecture for the Malay based-on
psychological and greatest spiritual humanistic thinking that related to their everyday way of life
Nasir A.H.,1985, 1987, 1989, 1990; Daud, N. A.,1987; A.Noor.,F & Khoo, E., 2003). This place is
mainly for reception room for receiving and entertaining guests.
2 Shamsidar Hj. Ahmad

Figure 1: The diagram shown spatial organization in accordance to the zoning categories in the
Terengganu traditional Malay house – Istana Besar Tengku Long.

‘Surung’ area is decorated with excellent carvings with distinctive features such as on
external walls, the fenestration especially over doors and windows to provide beauty and to
penetrate natural ventilation inside the building. Apart from beauty, perforated carvings allow the
sunlight into the building as a natural lighting to the house. At night time, the interior space will
have another additional of beauty as a result of getting silhouettes from indoor light.

‘Surung’ area carved with a number type of components in the company of flora carving,
calligraphy, geometry, fauna and cosmic features are depicted according to the specified shape, size
and dimension of wooden panel or board fitted to the house.
3 Shamsidar Hj. Ahmad

Many research done by previous researchers have agreed that the art of wood carving is
applied in an attempt reflects the phenomenal aspect of reality in a way that might be able to grasp
the inner meaning behind the piece of art itself. Each art as applied in an artistic wood carvings
have symbolic significance and the symbols in art play an important role in the creation of art. They
believed by having a proper understanding of the significance of these symbols we can have an
insight into reality underlying them.

Nasir (1985) and Noor & Khoo (2003) respectively agreed that the configurations and
composition found in the most works of Malay arts particularly in woodcarving tend to revolve
around the dominant theme of creation and of men and animals also environment .

This research is reported what previous researcher opinion about Malay wood carvings
that related to their everyday way of life by understanding the motifs inside the wood carvings
composition and organization that created by the craftsmen. Although much work has been done
but more studies need to be conducted to ascertain the selection of the wood carving decoration
theme influences by the social activity in a particular spaces.

Consequent of this study there was evidences that the wood carvings decoration and
motifs influences the spatial social interaction by the finding s of studies examining at ‘surung’ area
at Istana Tengku Long. This topic was identified as being importance to architects and designers in
designing various internal space elements and architectural of future building.

2.0 Wood Carving Decoration And Motifs As A Decoration To Space

With refer to the research, it is defined that woodcarvings in the palace of Istana Besar
Tengku Long are made out as integral components to the timber Malay houses with a defined
composition. In this sense composition means an organization of part agreement with principles of
organization that leads into the order of a unified whole. As an individual piece, the woodcarving is
the type of carved component that depicts several carving elements in harmonious composition in
accordance with the regulated principles and meanings appeared in the perforated wall ventilation
and perforated wall lighting panel found at Istana Besar Tengku Long.

The lover of this palace woodcarving come to expect certain arrangements and
configurations of motifs and patterns in works of quality. The recurrent motif of seed, bursting forth
with life and energy (often depicted in the form of flowering tendrils and/or roots); the ambiguous
image of the flowers which reveals its beauty and grace before us while concealing its true hidden
nature; the reversed image of flowing vines (sometimes called ‘awan larat’ , meandering clouds),
which is often reflected upon itself, forming a twin couplet that symbolizes both the beauty (Jamal)
and the majesty (Jalal) of the divine – these are popular and recurrent theme in Malay art.

2.1 Understands Physical Form, Basic Features And Technique Of Woodcarving

Norhaiza (2005), the well-known woodcarver described that traditional Malay

woodcarving is an art component, which is strong definition of the character and visual form. It is
an art formed according to a specific pattern with specific composition of motif coordinated by
specified principles and usually produced for a beauty. It is considered as an outstanding piece of
artwork that is shaped and identified by a specific pattern and motifs that serve as defining feature.
Hence, Noor & Khoo (2003) agreed that the physical form of Malay woodcarving are basically
characterized by the shape and pattern, composition of motif, pattern of ordering principles and
4 Shamsidar Hj. Ahmad

type of perforation and incision within a specified shape, size and dimension of a wooden board or
panel.

According to Nasir (1987), Malay woodcarving is comprises various techniques such as

direct piercing (“tebuk terus”), semi piercing (“tebuk separuh”) and emboss piercing (“tebuk
timbul”). Meanwhile, there are three main patterns are always practiced in Malay art of carving i.e.,
single pattern (“pola bujang” or “pola putu”), frame or screen pattern (“pola bingkai” or “pola
pemidang”) and complete pattern (“pola lengkap” or “pola induk”).

2.2 Patterns Of Traditional Woodcarving

The patterns or decorations in traditional Malay woodcarving involved two main features
such as decorative motif arrangement and composition. Many researcher claimed that the patterns
of wood-carving are incorporate with other factors related to customs, religion, beliefs, norms and
values, beauty, harmony, and other relevant elements.

Most researcher agreed that Malay woodcarving has three basic patterns namely, the
‘single pattern’, the ‘frame pattern’ and the ‘complete pattern’. The visual organization principles
are used to construct the relationship among the visual elements of form, the compositional
elements, and the intended meaning .

In the art of wood carving, both patterns and motifs are closely integrated which is the
motifs can be identified as any decoration that has been carved in two or three dimensions and later
composed to form certain patterns and decorative motifs. This kind of decoration usually contains
its own meaning and philosophy (Nasir A.H, 1987) as discussed below:-

i. Single Pattern

a. Motif - its motif is execute in a free style, stands on its own and flows
discontinuously.

b. Element - takes the elements of a flower, young fruits, moon, star, sunor
the elements of living creatures. The choices of flowers or
fruits are the type of plants and herbs that have medicinal value
normally found in their neighbourhood as well as jungle.

c. Examples - mangosteen calyx (“tampuk manggis”), clove (“bunga

cengkeh”), star, Anise (“bunga lawang”), lotus (“bunga
teratai”), aristokolia (“bunga petola”), leucas zeylanica
(“bunga ketumbit”), adinantira (“buah saga”), gardenia
(“bunga cina”) sunflowers (“bunga matahari”) and etc.

The cosmic and living things elements often found in single pattern are the moon, stars,
hens, ducks, rhinoceros and birds.

ii. Screen Pattern Or Frame Pattern

a. Motif - the motifs used in this kind of pattern are more aesthetic in
nature and carry certain meanings.
3 Shamsidar Hj. Ahmad

b. Element - it uses simple elements and its movement is less intertwine

or interlaced and usually enclosed in a screen or frame.

c. Examples - “ itik pulang petang ”, “ badai mudik ” , “ setampuk

manggis’”and etc.

In the house structure, this kind of pattern usually applied on threshold cap, part of a
staircase, roof eaves and other parts of the house where this concept of carving is suitable.

iii. Complete Pattern Or Main Pattern

a. Motif - it combines all elements to form complete carving. nature

b. Element - more emphasis on plant elements because of its soft nature

and ease arrangement. It incorporates all parts of a
plantsranging from the roots, stumps, branches, leaves, fruitss,
flower buds to flower. It is arranged in a series of curves,
winding, knotting, coiling, interlacing, interwining or
arabesque.

c. Examples - ‘pokok kerak nasi’, ‘bunga simpoh’, ‘keladi biak’ and etc.

2.3 The Elements In Traditional Malay Woodcarving

According to Nasir (1987) and Yatim (1989), there are five types of woodcarving
elements found elements, calligraphic elements and flora elements in a Malay vernacular
architecture namely; elements of living things, cosmic elements and geometric such as below:-

i. Elements Of Living Things - e.g “ayam berlaga”, “badak mudik”, “itik pulang petang”,
and others.

ii. Cosmic Elements - the cosmic or air space elements are depicted through the motifs of
the sun, the moon, the stars, moving clouds normally combined with floral elements and
calligraphy.

iii. Geometric Elements - woodcarving in patterns such as angles or “pola tumpal”. The
base and its triangle are arranged in rows while sometimes the triangle is combined with
runners of plants. Another geometric elements that is believed to be the heritage of
prehistoric tomes is “piling berganda”, that is the series of shape similar to the letter ‘s’.

iv. Calligraphic Elements - calligraphic elements in Malay carving appeared after the
Malays has Islamized. These elements took the form of Arabic character, verses from the
Quran and local Arabic writing called “Tulisan Jawi”. There are also combinations of
calligraphic, cosmic and other elements.

v. Floral Elements - This form of Malay carving concentrates on the use of floral elements.
Normally, creeping plants or flower-producing plants are preferred. The plants have
6 Shamsidar Hj. Ahmad

always been a sources of inspiration for Malay carvers are the types of “kacang” (nut),
“labu” (pumkin), “daun salad” (lettuce), “bunga lawang” (star anise), “bunga raya”
(hibiscus), ‘bunga cina” (gardenic), ‘bunga cengkih” (clove), “rebung’ (bamboo shoot),
“bunga mangga’ (mango flowers) and many others.

2.4 Symbolism And Motifs In Islamic Malay Woodcarving

Previous research identified that the Malay understanding of the decorative art in
woodcarving, they used a certain symbol or symbolism to interpret their culture and the way of life.
The use of symbol was carried out with consciousness, make one able to comprehend and fully
understand also were obedience as a tradition from generation to another generation.

a) Application of “Awan Larat” Style In Malay Carving

The uniqueness of traditional Malay carving can be identified throughout the style,
patterns and motifs that composed a variety of type and variation. The style with regard to
traditional Malay carving can be divided into variety category for instance “awan larat” or
“meandering clouds”, geometrical, calligraphy and mixed/combination. Style of “awan larat” were
believed origin from the craftsmen’s deeper observation to the universe.

Many woodcarvers understood that the central point of the spiral is represented the unity
of God itself. The middle manifested the unitary aspect of the Creator, who stood at the axis of a
moveable and multifarious universe. The centre of the spiral on both the origin point of all things as
well as reminder of the essentially unitary nature of all existence.

Through the interviewed with experience woodcarver Wan Mustapha Wan Su (1999), he
strongly claimed that “awan larat” is design motifs contain their own specific courteous to be
drawn in various form. He established a few guidelines using “awan larat” as following:

i) Form of elements – leaves, stem, fruits, shoot, tendril, twigs, seeds, the roots, stumps,
branches, flower buds to flower and others. These elements must compose in aesthetic
meaning as well as soft and highly beauty defeating all elements in real world.

ii) Composition of element – design related with beauty, gently and softness.

iii) Philosophy – follows the value of beliefs and understanding.

The “awan larat” motif is a composition of greater or bloom flower with isolated
arrangement with the motif started from one point and persist in meandering to occupy the unfilled
space. The starting point recognized as a basis foundation and slowly growing by controlling
softness twisted curves, winding, knotting, coiling, interlacing, intertwining form in balance
composition without remainder elements. The form of plant stem and the tenderness of creeping
plant will be the inspiration to the woodcarver. For example “sulur kacang”(bean tendril), “daun
petola” (gourd leaves), “daun kiambang” (water lily leaves) and “daun ketumbit” chosen has an
inspiration element to the Malay carvers.

Meanwhile, Perbadanan Kemajuan Kraftangan Malaysia (2009) describes relating in

“awan larat” in their book, “Seni Ukiran” understand that “awan larat” divided into two forms as
follows:
3 Shamsidar Hj. Ahmad

i) Authentic Malay of “Awan Larat”

The authentic Malay “Awan Larat” also acknowledged as “Awan Larat Jawi” normally
format to facilitate of having large flower motif with speckled position. The pattern started from
one point and begins meandering to occupy the space it selves. It stems resolved softness
encyclying and intertwinding follow next to many gently of folding leaves form.

ii) Javanese “Awan Larat”

The leaves and flowers shape is very small and arranged closely to each others. Also
creating an overlapping flower and leaves between them until allowed a small amount of stem
become visible as well as the leaves form exhibit straight and unfolding look.

iii) “Punca” Or “Source” Philosophy Of “Awan Larat” In Malay Carving

The design and the motifs of Malay carving is in many respects a highly formal art as well
as enclosed a physical function in addition to many symbolic meanings as follows:

i) Philosophy symbolism of Malay’s way of life or codes.

ii) The admonishment and learning.
iii) Portrays a sensation of emotion, beliefs and thoughts.
iv) The manifestation of God.

Based on analysis, overall the woodcarvers were agreed that the following characteristic
have been found in Malay carving such as:

1. “Benih” (Seed) - “Punca” or “Source”

2. “Batang” (Stem)
3. “Ranting” (Twig or branch)
4. “Sulur” (Tendril)
5. “Pucuk” (Shoot)
6. “Daun” (Leaf)
7. “Bunga” (Flower)
8. “Buah” (Fruit)

Wood carvers like Che Hamzah Che Hawi (interviewed, 2008) provide a guidance to the
public towards understand the principles in the composition carved motif as in "poem" or
"quatrains" as follows: -

Tindih menindih tidak menghalang Overlapping without barrier

Dahan melentur tidak patah The bough bending without broken down
Batang bersilang tidak melintang The stem intersect without obstacle
Hujung daun tidak menujah Leaves ending without thrust

Ranting tumbuh tidak mendadak The branch growing without in at once

Lingkar melingkar penuh mesra Intertwining with grace and friendliness
Daun-daun berlipat lunak The leaves growing and folding gently
Akhir sulur penuh rahsia Ending of tendril is full of secret

Hidup bermula dari yang Satu Life begins from the One
Melingkar berkeluk penuh imbang Intertwining curving with full of balances
8 Shamsidar Hj. Ahmad

Berakhir juga pada yang Satu Also ending to the One

Hujung tumbuh tidak bercabang Ending growing without branch

Taken from the book of Siti Zainon Ismail, 2001 by interviewed with Che Hawi Che Hamzah,
Desa Ukiran KayuIstana Tengku Long, BesutTerengganu, 2008.

iv. The Significances Type Of Motif Selection

The motif plays an important role to the carving composition panel comprising a strong
attitude of the hermeneutic code of Malay civilization such as following:

a. Motif Derive From Flower Bud

● This flower bud is significance to immature stage, inexperience and virginity of the young
woman.
● Pumpkin or cucumber bud and other creeping plants’ bud – significance to immature
livelihood that needed to obtain carefulness and assistance from mature, experience and
established individual.
● The young “bunga tanjung” – symbolize of cleanliness and purity.
● The “tampuk manggis” (mangoesteen stud) - signed as “pelita hati” (mind spirit) and
medicinal of haemamorrhoids (buasir) sickness.

b. Motif Derive From Blooming Flower

● This blooming flower is significance to the maturity and experienced of woman.

● The bamboo flower is a symbolism of strong and endurable.
● The “ceperdik” flower signed for: a) the hiding of young woman possessing a protection
from her parent. b) to react as a medicinal mixture after boiled of the plant roots for
medication to nerve and privy part of human body.
● The “bunga melor” (jasmine flower) – is signify of cleanliness and purify.

d. Motif Derive From The Leaf

● The “daun bodi ” (bodi leaf) – is signify of protection.

● The “daun dukung anak” – is significance for spiritual healing which this kind of
medicinal plant is useful for “jaundis” (yellow fever) for the early born child and high
blood sickness.

e. Motif Derive From The Fruit

● The fruit motif is significance to mature humankind that is able to independent and
capable to develop more and more generation.

f. Motif Derive From The Tendril Or Sprout

● The tendril or the sprout motif is a symbol of the humility of the universe to the God by
exhibit a softness downward curving and intertwining of tendril as well as a marked for
immature stage of young one.
3 Shamsidar Hj. Ahmad

g. Motif Derive From The Plant/Tree

● The “ubi” (corm) is symbolized of “source” representing the God is the mysterious entity.
● The water lily – significance for prosperity and fertility.

h. Motif Derive From Source Of Universe

● The motif depicts from universe deliberate to the cosmology source of sun, moon and star
are significance on believing of God, the creator of the universe.

i. Motif Derive From Human Creation

● The motif of “kendik”(kind of Malay pot) – is a status symbol

● Urn/vase – is a symbolized of “source” or “seed” and create the attitude of “Jamal”
(Beauty) and “Jalal” (Majesty).
● The “andam” (triangular form) motifs – is significance of faith and beliefs (Nakula) as
well as related with fertility of female (symbol of downward triangle). The symbol
(symbol of upward triangle) of masculine male as exhibit to the roof of the house (see
“tebar layar” of house) is a sign for a protection from the evil spirit (“langsuyir”) which
landing on the roof of the house.

j. “Kala Makara” Motif

According to Noor & Khoo (2003), the name and the form of “Kala Makara” or
“andaman” or “gunungan” motif is identified in the “surau” inside the mosque spatial which the
earliest built in Tanah Malayu (Bougas: 1992: 93) and situated at Kampung Aur, Menatjung, Patani
in Thailand. The “Kala Makara” means is “time”.

This carving structure recognized as “Kala Makara” motif is located on the top of door
which were separated the “anjung” (verandah) and “rumah ibu” (core) space in the building as
well as the “rumah ibu” is a praying space for the prayer. Furthermore, this carving motif located
on the part in between of two space which symbolized as a universe space and eternity world.

3.0 Data Collection and Findings

With refer to early analysis, it is elaborated that woodcarvings in Istana Tengku Long are
made out as integral components to the timber Malay houses with a defined composition. In this
sense composition means an organization of part agreement with principles of organization that
leads into the order of a unified whole. As an individual piece, the woodcarving is the type of
carved component that depicts several carving elements in harmonious composition in accordance
with the regulated principles and meanings appeared in the perforated wall ventilation and
perforated wall lighting panel found at this palace.

This study was conducted as ethnology and qualitative research, where a significant
number of requirement information was gathered from the sources: as follow (1) understanding
space planning and social interaction of Istana Besar Tengku Long : - normally, this area will
deliberate a formal activity, administration work; entertain the visitor and rest room for the royal as
well as purposeful for custom and ceremony for the royal activity such as wedding, birthday,
anniversary, circumstances, ear piercing, installation of the King, award ceremony, “khatam
10 Shamsidar Hj. Ahmad

Quran” (finished reading of Quran), Royal and democracy conference and others. (2) an
understanding carving (philosophy, meaning and motif), carvings objective (aesthetic values and
natural lighting) and implicated with involved preparatory work to collect a data for the study. (3)
personal measured drawing and reports of Istana Besar Tengku Long at Lembaga Muzium Negeri
Terengganu. (4)This research also engage of literature review consists theoretical from other
researcher and writers related on wood carving issues through books, journals, news paper and
internet articles and conduct the interviews with local woodcarvers carrying out main surveys.

Several factors are determined the selection of the traditional Malay palace of Istana Besar
Tengku Long (focus on “surung” area) which includes:

1. related to spatial organization social interaction meaning that it linked to the function and
interaction between the space. For example; the motif, pattern and the composition of
carving relate to “surung” area function that meaning of the motif reflected to the mature
of the society in appearance, thinking, pleasant, happiness, independent, good in religious
and the most important all is related to the Creator of the universe.

2. the carving connected to activity of space; For example: The space behind “surung”
represent a “bilik santapan” (dining hall). There is non-direct piercing carving motifs at
eye-level of wall panel which separated between “surung” and “bilik santapan” except
on top of the door on the same wall to avoid the outsider looking direct to the inhabitants
as well to protect themselves from the evil spirit by using combination “Al Kahfi” verses
and “daun ketola”.

3. through the intelligence of the woodcarvers, the ruler will present the symbolic meaning of
carving to establish a social interaction between the society of the internal and external of
space to understand the meaning of the envelope of the palace.
3 Shamsidar Hj. Ahmad

4.0 Motifs Application At “Surung”

Figure 2 :The diagram above shown the plan of Surung Area with placement of carving .

The motifs application at “surung” area is widely used a motif of “bunga dala”, “sulur
kacang” and “daun ketola” with a composition as following:

1. “awan larat” or “meandering clouds”, geometrical, calligraphy and mixed/combination.

2. Form of elements – leaves, stem, shoot, tendril, twigs, stumps, branches, fruits, flower
buds to flower and others. These elements must compose in aesthetic meaning as well as
soft and highly beauty defeating all elements in real world.

3. Composition of element – design related with beauty, gently and softness such as:

i) “Rangka ukiran” (Carving frame) – defined as a boundary in the direction of

describes the law and an assistance to man way of life.

ii) “Batang utama” (Main stem) motif – portrays the principle of freedom on
moving except forbidden progress outside from the boundary which specified in
12 Shamsidar Hj. Ahmad

the religion and culture.

iii) Motif – the arrangement of flower symbolized the characteristic of the needs of
perfect ability and knowledge or composed orderly characteristic such mixed
with the society, self discipline, soft spoken, attractive appearance and others.

iv) “Sifat” (Style) – The embellishment of ideal motif style depicts the aesthetic or
beauty as well as portrays the experiences profound to the carver.

4. As a previous analysis, the carving at “surung” area represented with the “source” which
can interpreting a hidden meaning behind the composition such as:

i) “Punca Yang Kelihatan” (Identifying Source)

ii) “Punca Yang Tersorok” (Unidentified Source)
iii) “Punca Rahsia” (Secret or The Hidden Source)

5. On the top of the main door on the same wall placed a direct piercing wood carving using
a combination of plant motif (daun katola) and “Al Kahfi” verses (from Al Quran-Juz 15).
According to Al Kahfi” verses, Allah remind the Muslim or His followers as following:

i) Faith to Allah;
ii) The important to pursue knowledge;
iii) The important the character of politeness and respectful between apprentice or
the learner to the governess;
iv) Allah reminds every ruler to govern towards achieve the happiness and
prosperously of life, rules the humanity and country.

5.0 Results

Refer to the elaboration of findings above and understanding of carving symbolism,

meaning, philosophy and understanding motif practices in Malay’s woodcarving at ‘surung’
determined that wall panel’s carving decoration and motifs influences the social interaction to
spatial planning has identified through:

Referring to the findings of this research, it explains that understanding of symbolism , meaning,
philosophy and understanding motifs practices in Malay’s wood carving, is given a spatial social
interaction in-term of selecting carving decoration in 'surung'. It can be seen through:

i. the use of a combination of natural plants and Al-Quran verses such as “Al Kahfi” and
“Nashr” verses in wood carvings portrayed a social interaction between a man faith to
Allah and needed a assistance from Allah even as posses a difficulty of life;

ii. the exploit of natural motif of plant character having a symbolism of a social interaction to
the society about teaching of way of life in human being according to their beliefs,
knowledge and culture. It can be seen through the motifs of bowed end leaf that significant
of Malay people is has started everyday life with aim, planning, assiduous of faith and
finally designated obedient to Allah S.W.T.

iii. the composition and the arrangement wood carving decoration contain a social interaction
of teaching a good direction on life of doing things which demonstrated by plant motif of
composition with overlapping arrangements is always patterned the motif without any
3 Shamsidar Hj. Ahmad

barrier (“Tindih menindih tidak menghalang”). This arrangement of motifs in Malay

wood carving always composed with the entity or motif of overlapping, growth
continuously with no obstacle and obstruction by the overlapping entity. This is
significance that in the civilization survival whenever someone has given the power, he
must use the power without suppression and obstruction to other people.

iv. the selection of motif in traditional Malay wood carving have elements into social
interaction is refer to area and activity of the space. Most activities at “surung” area is
more related to the ceremonial activities which involved many of people. The Malay
carver or the sultans select the motifs with a composition of describing about that space is
use for the activity in relation to community or society. Therefore, the selection of carving
motifs is more relating to communication on meeting people. The carvers select the
mature situation such a blooming, healthiness, well growth plants include symbolized with
describing of the attitude of the Malay is humiliate, pleasant and compromise identity. The
life journey in the civilization required the harmonize, assisting to each other, helping and
full of support between them as it describes the members of civilization always need
between each other without assess the status. Besides that, in the way of doing everyday
activities, every human must always to remember that they have created by God (Allah)
and have a responsible to Him.

6.0 Conclusion

The findings have supported to previous analysis by previous researchers observation

which refer that the choice of carving motifs employed in its decoration and adornment, were never
accidental.

The woodcarvers were also play their appointed roles in the complex network of social
relations and the value system of the Malays. Within the constructions built by the Malay
woodcarvers had to fulfil a host of socio-cultural needs and requirements. On the exoteric level,
they were merely devices used to create enclosed and private spaces within the Malay home,
reflecting, reproducing and compartmentalized social universe and social interaction of traditional
Malay society.

This research can benefit as a best-practices for architects and designers to choose an
accurate motifs and decoration to apply to the appropriate space.

7.0 References

1. A.Noor.,F & Khoo, E. (2003) Spirit of Wood : The Art of Malay Woodcarving, Periplus
Edition (HK) Ltd.

2. A.Rashid, M.Sabrizaa. (2008), Penafsiran Falsafah “Ibu” Dalam Awan Larat : Warisan
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