14. ANR warisan Academy, Wood Carving Academy (Tok Bali, Bachok, Kelantan, Malaysia)

 

ANR Warisan Academy, Wood Carving Academy (Tok Bali, Bachok, Kelantan, Malaysia)



Nik Rashiddin Academy (ANR) established in 2010 grew out of the Kandis Resource Center (KRC) carrying out activities to preserve the national sculpture heritage since year 2000. Founded by the late Nik Rashiddin Hj. Nik Hussein. He was born in Kota Bharu and raised with soul and spirit East Coast traditional Malay carpentry. Keris Hulu Tajong originating from Patani is a symbol and emblem of greatness Malay society which is synonymous with his work. 




Master Woodcarver Keeps Art Alive

Here, we are bound to be amazed at the intricacy of the woodcarvings on show.

 

Wood carving is among the many delicate arts derived from the work of wood carvers. It can be seen as an object decorating buildings such as mosques, houses and more. There are various types of carvings that find their way to the architecture in Terengganu. Places in Malaysia have various kinds of carving, mostly originate from the culture or outside influence. Terengganu is a state within the Malaysian Peninsular that possesses various kinds of carving that are both unique and beautiful to its architecture. 






Woodcarving is a form of art that has been an inherited tradition of the Malay population. Woodcarving not only satisfy the woodcarvers, it also brings joy to woodcarving enthusiasts. Carvings on woods and stones in Malaysia and neighboring South East Asian countries may have started since the pre-historic time. In West Malaysia, researchers note that carving activities started since the Neolithic Age. The low life expectancy of wood and timber (approximately 200 years)hinders the growth or the advancement of woodcarving and made it especially hard to obtain wood carved artifacts from 200 years ago.



This presents the characteristics of the design motifs employed as an integral part of wood carvings, which in doing so manifest the cultural values that exist between the religious and cultural heritage of the Malays. Malay woodcarving is perceived and modeled upon a Malay-centric world view. Cultural identity is a treasure that vitalizes mankind to seek nurture in its past, by assimilating the contributions from other cultures that are compatible with its own norms in continuing the process of its own artistic creation.


It then triggers me to study the structure of Terengganu Malay traditional woodcarving motifs based on interpretations of Malay aesthetic principles and elements which is being applied to the new design motifs in contemporary artwork of painting and installation art. The artist’s statement is related to a master carver to create the new motif design interpreting Malay aesthetic principles and elements in their work.

 

It can be said that the structure of Terengganu Malay traditional woodcarving motifs is determined by three steps of structural motif. The findings of these three steps are vital in understanding the intricate artworks of woodcarving motifs. They should be used as guidelines by those who are related in the artwork fields such as the artist creating a new design, thus giving meaning and depth to overall work, without sacrificing the unique Malay aesthetics and identity. 




















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