UNIVERSITI PUTRA MALAYSIA

GRAPHIC ADAPTIVE TRANSFORMATION OF ISLAMIC MOTIFS A CASE STUDY OF KEDAH TRADITIONAL HOUSE

ABDELAZIZ EISA A BAKAR

FRSB 2000 3

G RA P H I C A DAPTIVE T RANSFO RMATI O N O F I SLAM I C MOTI FS A CASE STU DY OF K E DA H T RA D I T IONAL H O U S E

By

A B D E LAZIZ E I SA A DAKAR

Thesis Submitted i n Fulfi lment of the Requirements for the Degree of l\1aster of Science in the Faculty of Design and Architecture

U n iversiti Putra M alaysia

December 2000

2

D E D ICATION

To the soul of my mother, who taught me the meaning of life.

Abstract of this thesis presented to the Senate of Universiti Putra Malaysia in fulfi lment of the requirement of the degree of Master of Science

G RAI)lliC A DAPTI V E T RANSFORMATION O F ISLAMIC MOTIFS, A CASE STUD Y O F KEDAH TRADITIONAL HOU SE

By

ABDE LAZ IZ E I SA A BAKAR

December 2 000

Chairman : M r. Zul kifli Muslim

Faculty: Design and A rchitectu re

3

This study attempts to identify , analyse and transform selected motifs found in several

tradit ional houses i n Kedah. The aim of this study is to explore the potential of

transforming local I slamic motifs into a digital format, enabling them to be used

widely in other fields of design.

This study i s qual i tat ive in nature. It began with the identification of architectural

Is lamic mot i fs, which fo l lowed by drawing and computing processes. In addition,

certain procedures were carried to modi fy the motifs' designs. Thc study revealed the

un i ty concept and understand ing of Is lamic art and its diversity that related to local

factors. I t found that the geometrical shapes and calligraphic fonns were not widely

used in Malaysia . Furthermore the cal l igraphic motifs needed certain ways of

mod ificat i on and changes .

I t is hoped that th is study would encourage more Muslim artists and designers in

Malaysia to use Malaysian-based I slamic motif i n their work.

Abst rak t esis yang dikcll1ukakan kcpada Senat Un iversit i P ut ra Malaysia sebagai I11c l11cnuhi kepcrluan untuk ijazah M aster Sains

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T RAN SFORMASI P E NYESUAIAN G RA F I K M OT I F-MOTIF I SLA M : SATU KA.J l AN KES RUMAI I T RA D I S I O N AL K E DA H

Oleh

ABD E LAZIZ E I SA A BA KAR

December 2000

Pengerusi : E n. Zul kifli M usl im

Fakult i : Rekabe n t u k dan Sc nibina

Mot i f I s lam di dalam t ransfomasi pcnerapan Grafik. Sat u pengkaj ian t crhadap rumah

t radisi Kcdah adalah bert ujuan untuk mengkaj i , menganal isa dan mcnghayat i seni

mot i f I s lam rumah t radisi di Malaysia khususnya d i Kedah, ke arah mot i f I slam yang

seimbang serta mcngambi l kira bcntuk n i lai -ni la i este ika. P engkaj ian ini bcrtujuan

untuk mewujud salah sat u kacdah dalam menghadapi pengaruh d i scgi penggunaan

imej dan t cks yang ncgat i f daripada l uar ncgara barat didalam masyarakat I s lam.

Sorotan wardah pengkaj ian ini adalah mclalui mcngk lasifikasikan imcj dan bahan

didalam kritcria seni Is lam, lI kiran t angan dan i lll strasi , proses mc la lu i komputer yang

bcrt ujuan kc arah l110d ifikasi rckabcntuk mot i f. Hasi l daripada pengkaj ian ini ianya

mcwlljudkan konscp kcsatuan dan kcfahaman seni I s lam dan a l irannya yang di

hubungkait dcngan faktor-faktor tcmpatan, bentuk gcomet ri ka l dan kal igrafi t idak

digunakan dengan begitu mcl uas di Malaysia. Mot i f kal igrafi pcrlu di ubahsuai

dengan bcberapa pcndckatan atau kaedah yang l cbih berkesan

Adalah diharapkan kaj ian ini akan dapat menggalakan lebih ramai pelukis dan pereka

I slam di Mal aysia di dalall l pcnghas i lan mcrcka bcrdasarkan mot i f I s lam.

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ACKNOWLEDGEM E N TS

I woul d l ike to acknowledge my indebt of grati tude to Mr . Z ulk ifl i Mus l im the

chairman of the supervisory committee, who helped me to present the graphic works

in an academic way . To Assoc . Prof Dr . M ustafa Kamal Shar i f, the dean of Facul ty of

Design and Arch itecture and the cOlllm ittee member who generously supported with

val uabl e academic commcnts and fac i l i tated the missions to conduct this study. To

M r. Moh'd Mustaf�l Salc l l l a l-Sl l ladi , member of the commi ttee, who kindly helped

and introduccd me to the computcr graph ic and the fie ld survey. To Pn Rah inah

Ibrah im , in her l i teracy grace in an academic guiding and support. To D r. Norizan

Mohamed for the great admini strative enthusiasm she ever showed. To the

technic ians: Abd. Kader Mohd A l ias, Abdul Wahid Mohd. S id ik and Mohd Azhar

Abdul Kader, in FRSB computer's lab. who kindly helped and supported me to

accompl ish this study.

My thanks to M r. Hashim Mahgoub, for his ever-support ive understanding and

commi tment in helping edit and arrange the study. To M r. H ussien H assan H aroun on

his highly financial support and stand. To the architect Abu Bakr S idahmed in h is

in te l l ec tual discussions. To M r. Mohd Hamad Awad and Mr . Kabash i Khati r on thei r

great endeavours o ffered in edit ing and formatting the thesis . To brothers Mr . Bakri

a l -Bushari, M r. Ahmed ai -Hafiz, Mr. Yousuf Ba l lah and M r Mohammed Khandagawi

\V llO he lped me to co l lect refe rences from di fferent inst i tutions.

I extend my thanks to the people of Kedah who generously permi t ted the

photographing of the ir homes and their possessions.

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I cert i fy that an Examination Commi ttee met on 5th December 2000 to conduct the final examination of Abdelaziz Eisa A Bakar on his M aster of Sc ience thesis enti t led "Graphic Adaptive Transformation of I sl amic Mot ifs , A Case S tudy of Kedah Tradi t ional House" in accordance wi th Un iversi t i Pertanian Malaysia (H igher Degree) Act 1980 and Un iversi t i Pcrtanian Malaysia (H igher Degree) Regu lat ions 1981. The Committee recommends that the candidate be awarded the relev ant degree. Members o f the Examination Commi ttee are as fol lows:

M U STAFA KAMAL BIN M O HA M M E D SHARIF, Ph. D Assoc iate Pro fessor. Facu l ty of Design and A rchitecture U niversit i Pu tra Ma laysia (Chairman)

ZUL K I FL I M USL I M, Mr. Faculty o f Design and Arch itecture, Un iversi t i Putra Malaysia (Member)

1\I01 I'D M USTAFA SALE M AL-SMA DI, Mr. Facu l ty of Des ign and Archi tecture Un ivers i t i Putra Malaysia (Member)

RA I I I NA I I I BRAI I Il\J, Mrs.

Facul ty of Design and Architecture Univers i t i Putra Malaysia ( Member)

MOHO. GlIAZALI MOllA YIDIN, Ph. D. Pro fessor/Deputy Dean of Graduate School , Universi t i Putra Malaysia Date : 1 1 JAN 2001

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This thesis submitted to the Senate of Universiti Putra Malaysia has been accepted as fulfilment of the requirement for the degree of Master of Science.

MOHD. GHAZALI MOHAYIDIN, Ph.D. Professor Deputy Dean of Graduate School Universiti Putra Malaysia

Date:

8

I hereby dec lare that the thes i s i s based on my original work except for quotations and c i tations, which have been duly acknowledged. I also declare that it has not been previously or concurrently submitted for any other degree at UPM or other institut ions.

ABDELAZ IZ E ISA A BAKAR Date : � I / I J 12(,'( )(�

TABL E OF CONTENTS

D E D IC Al' I O N .. . .... . . . ................................... ............... 2 ABSl' I�AC'r ..................................................................... 3 ABS' I' It A K ............ . ...... . . . . . ............................................. 4 ACKNO\VL E D G E M E NTS .... ............................................... 5 A P P ROVAL SII E El'S . . . . . .............................................. 6 [) ECLAR.A'r ION FORJ\l .... . ........................... ................... 7 L I S'(' O F F I GU RES .. . . .... . . ........ . .................... ..... . ............... 11 LIST OF A B B REVIATIONS ........ . ............. .................... 16

C HA PT E R

I N'rn.ODUC'I ' ION ..... . .............................................. 17 1.1 I slamic Art: The Conceptual I ssues................................ 17 1.2 I slamic Art: The Appl i cation....................................... 18 1.3 The Problem Defin i tion ...................... ..................... 19 1.4 Object ives of the Study .... ........ ........... ............ ........ 21

I I L1TRET U R E REVI EW 2.1 Art Defini tion ... . ............ . .. . ............................... 22

2.1.1 The Mean ing of Art ................................. 22 2.1.2 The Mean ing of D es ign ............. .................... 23 2.1.3 The Defi ni t ion of Art ................................. 24

2.2 The I s lamic Art ................................................... 25 2.2.1 The Meaning of I slami c Art ...................... .. 25 2.2.2 The Relation between Art and I slam ............... 26 2.2.3 The Production of I s lamic Art ... ......................... .. 2.2.4 The D i st ingui shed Art of I s lam ........................ .. 2.2.5 The Concept of Is lamic Art ............................... ..

27 28 29

2.2.6 The Motives of I s lamic Art Production ............... 29 2.2.7 The monotheism and I s lamic art ......................... .. 2.2.8 Uni ty and D iversity of Is lam ic Art ....................... . 2.2.9 Representat ion of Liv ing Creatures i n I slamic Art .... .. 2.2.10 The Prevention of Living Creature's Art i n I slam .... .. 2.2.11 The Superiority of Is lamic Art ........................... . 2.2.12 I s lamic A rt Criteria ............................... ..

2.3 The Malaysian Trad itional House ............................... .. 2.3.1 The Conception of I louse and V i l lage in Malay Society 2.3.2 The Malay Musl im Society ................................ .

2.4 The F ie ld S urvey . . . . .... ......................................... .. 2.4.1 Kedah for the Survey Field ............................... .. 2.4.2 The Entry of I s lam to Kedah ....................... . 2.4.3 Malay Wood Carv ing Art ................................. ..

2.5 The Need for Revival ......................................... . 2.6 The Threat from Western Culture on Muslim Art ............. .. 2.7 The Defin i tion of Is lamic Ornaments ....................... . 2.8 The Mod i fication of Is lam ic Mot i fs of Kedah .............. .

30 31 32 33 34 35 39 40 41 42 42 43

44 45 46 47 47

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I I I l\ I ET I I O DOLOGY 3.1 The Fie ld Works ... ......................... .. .... .............. ... 49 3.2 Class i fication of the Materials .......... .. ........... .......... 50

3.2.1 The Floral E lements ....................... .. .................. 51 3.2.2 Kinds of Plants Used in Malay Design . ... ................ 51 3.2.3 The Concept of Floral Design .............................. 52 3.3.4 The Animal Elements ................. ...................... 52 3.2.5 The Concept of Living Creature ' s Art ... .... ............. 53 3.2.6 The Nature of the Animal Design ......................... 53 3.2.7 Cal l igraphy ................................................... 53

3.3. The Graphic Works .... ....................... ....................... 34 3.3.1 The Criteria Used in the Mot i fs' Mod ification ........... 55 3.3.2 The Field Survey Criteria ................. ................... 55 3.3.3 The Graph ic Works (Mod i fication) Cri teria ............... 56

I V T H E MOD I FI CATION P ROCESSES 4.1 Modi fication Processes of the F loral Mot ifs..................... 57

4.1.1 Case Study I .. ..... ................................... 57 4.1.2 Case Study I I ............ .............................. 61 4.1.3 Case Study I I I .......................................... 66 4.1.4 Case Study IV .......................................... 72 4.1.5 Case S tudy V . ......................................... 76 4.1.6 Case Study V I .......................................... 80 4.1.7 Case Study V I I ..... ........................ . ............ 83 4.1.8 Case Study V Ir I .......................................... 87 4.1.9 Case Study IX .......... ................................ 94 4.1.10 Case Study X ..... .. ................................... 99

4.2 Modificat ion of the Animal Mot i fs ........................ 103 4.2.1 Case Study X I .................... ............... . ...... 104 4.2.2 Case Study X I I................................................ 109 4.2.3 Case Study X I I I .......................................... 114 4.2.4 Case Study X l V .......................................... 119 4.2.5 Case Study XV .......................................... 125

4.3 Mod i fication of the Cal l igraphic Mot i fs ........................ 131 4.3. 1 Case Study XVi .......................................... 131 4.3.2 Case Study X V II............................................. 136 4.3.3 Case Study X V I I I............................................ 140

V RESULTS A N D DISCUSSION

5.1 Background . ........................................................ 146 5.2 Class i fication of the Ornaments ................ .................... 147

5.2.1 Floral Ornalnents ............ ............. . .................. 147 5.2.2. Animal Ornaments ........................ .................. 147 5.2.3 Cal l igraphy ............................................. 148

5.3 The Prun ing amI Modification Processes .......................... 149 5.3.1 Pruning Processes ... . ....... ... . .......... . . .. ..... ........... 149 5.3.2 Mod i fication Processes ..... ................. ................. 149

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"·1 CONCL U SI O N ....... .................................................. 152 6. 1 The L im itation of the S tudy ....................................... 153 6.2 Recol1l1nendations ............. . ..................................... 154

BI BLl OG I�A P I l Y 155

A P P E N D I X 159

B I O DATA 1 74

I I

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LIST OF FIG U RE S

Figure Tit le Page

1 . 1 Type of Text, S ticker and Decorative i n Clothes and Cars 1 9 2 . 1 I n tegrat ion of Meaning and form i n Cal l igraphy Des ign 26 2 .2 Cal l i graphic Motif of Rel igious Poem 28 2 . 3 Geometrical and F loral Des ign 3 1 2 .4 Representation of Living Creature i n Is lamic Art 33 2 . 5 Repeti t ion of F loral Motif 36 2 .6 Geometrical Shapes i n Is lam ic Art 37 2 . 7 Malaysian Trad i t ional House i n Kedah 40 4 . 1 . 1 . 1 The Pattern Drawing of Case Study 1 58 4 . 1 . 1 . 2 Part of the SY l l l ll lctrical Pattern Drawing 5 8 4 . 1 . 1 . 3 Prun ing S tep I 59 4 . 1 . 1 .4 Prun ing S tep2 59 4 . 1 . 1 . 5 Un i t Mod i fication 60 4 . 1 . 1 .6 F ina l Modi fication of the Un i t 60 4 . 1 .2 . 1 The Pattern Drawing of Case S tudy 2 62 4 . 1 . 2 . 2 The Drawing of Selected Part 62 4. 1 . 2 .3 Redrawing Using Guide L i nes 63 4 . 1 . 2 .4 Pruning S tep 1 64 4 . 1 . 2 . 5 Un i t Balancing 64 4 . 1 . 2 . 6 Mod i fication of the Un i t 65 4 . 1 . 2 . 7 The F inal Modi fied Un i t 66 4. 1 .3 . 1 The Pattern Drawing of Case Study 3 67 4 . 1 .3 . 2 The Drawing of Selected Part 68 4 . 1 .3 .3 Redrawing Using Guide L ines 68 4. 1 . 3 .4 Escalation Process of Un i t 69 4 . 1 .3 . 5 U n i t Prun ing 70 4 . 1 .3 .6 Modif ication of the Un i t 70 4 . 1 . 3 . 7 The F inal Mod i fied Un i t 71 4. 1 .4 . I The Pattern Drawing of Case S tudy 4 73 4 . 1 .4 . 2 Tile Drawing of Se lected Part 73 4 . 1 .4 .3 Redrawi ng Using Guide L ines 74 4 . I .4 .4 Escalat ion Process of Un i t 74 4 . 1 .4 . 5 Un i t Prun ing 75 4 . 1 .4 .6 Appl icat ion of tile F ina l Modi fied Un i t 75 4 . 1 . 5 . 1 The Pattern Drawing of Case Study 5 76 4 . 1 . 5 .2 The Drawing of Selec ted Part 77 4 . 1 . 5,3 Redrawing Using Guide L i nes 77 4 . 1 . 5 .4 Balancing of the Uni t wi th Graphi c Tools 78 4 . 1 . 5 . 5 Un i t Pruning 78 4 . 1 . 5 .6 App l i cat ion of the Final Modi fied Un i t 79 4 . 1 .6 . 1 The Pattern Drawing of Case S tudy 6 8 1 4. 1 .6 . 2 The Drawing of Selected Part 8 1 4 . 1 .6 . 3 Redrawing lls ing Guide Lines 8 1

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4 . 1 . 6 .4 Prun ing and Modi fication o f the Un i t 82 4 . 1 .6 . 5 Un i t Modif ication 82 4 . 1 .6 .6 Appl ication of the F i nal Mod i fied Un i t 83 4 . 1 . 7 . 1 The Pattern Drawing of Case Study 7 84 4 . 1 .7 .2 Redrawi ng of Selected Part 85 4 . 1 . 7 .3 Prun ing and Simpl if ication of the Un i t 85 4 . 1 . 7 .4 Balancing and Adjust ing the Un i t 86 4 . 1 . 7 . 5 Escalation Process 86 4 . 1 .7 .6 Appl ication of the Final Modified Un i t 87 4 . 1 .8 . 1 The Pattern Drawing of Case Study 8 88 4 . 1 . 8 . 2 The Drawing of Selected Part 89 4 . 1 . 8 .3 Redrawing Us ing Guide Lines 89 4 . 1 . 8 .4 Pruning and Balancing of the Un i t 90 4 . 1 . 8 . 5 Un i t A rrangement 90 4 . 1 . 8 .6 Rejo in ing the Un i t Parts 9 1 4 . 1 . 8 . 7 Prun ing and Modif ication Processes 9 1 4 . 1 . 8 . 8 B reaking of the Spaces with in the Un i t 92 4 . 1 . 8 . 9 Modi fication processes 93 4 . 1 . 8 . 1 0 Appl ication of the Modified Un i t 93 4 . 1 .9 . 1 The Pattern Drawing of Case Study 9 94 4 . 1 .9 .2 The Drawing of Selected Part 95 4 . 1 . 9 .3 Redrawing ll s ing Guide L ines 95 4 . 1 .9 .4 Adaptat ion Process o r the Un i t 96 4 . 1 .9 . 5 Un i t Modi fication 96 4 . 1 .9 .6 Arrangement and Mod ification of Lower Parts 97 4 . 1 . 9 . 7 Further Modif ication Processes 97 4 . 1 . 9 . 8 New Form of the Un i t Design 98 4 . 1 .9 .9 The F inal Appl icat ion of Un i t Design 98 4 . 1 . 1 0 . 1 The Pattern Drawing of Case Study 1 0 99 4 . 1 . 1 0 . 2 The Drawing of Selected Part 1 00 4 . 1 . 1 0 .3 Redrawing us ing Guide L ines 1 00 4 . 1 . 1 0 .4 Adaptatiol l Process of the Un i t 1 0 1 4 . 1 . 1 0 . 5 Un i t Pruning 1 0 1 4 . 1 . 1 0 .6 Mod i fi cation of the Uni t Design 1 02 4 . 1 . 1 0 . 7 Appl ication of the F inal Modified Un i t 1 02 4 .2 . 1 . 1 The Pattern Drawing of Case Study 1 1 1 05 4 .2 . 1 .2 The Drawing of Selected Part 1 05 4 . 2 . 1 . 3 Redrawing Using Guide Li nes 1 06 4 . 2 . 1 .4 Modi fication Processes 1 06 4 . 2 . 1 . 5 Un i t Balancing and Arrangement 1 07 4 . 2 . 1 . 6 Appl ication of the F i nal Modif ied Un i t 1 08 4 .2 . 2 . 1 The Pattcrn Drawing of Case Study 1 2 1 1 0 4 .2 . 2 . 2 The Orawing of Selected Part 1 1 0 4 . 2 .2.3 Redrawing, P runing and Modification 111 4 .2 . 2 .4 Reshaping of the Un i t III 4 . 2 . 2 . 5 A l ignment and Balanc ing of the Un i t 1 1 2 4 . 2 . 2 . 6 Modilication Processes of Un i t 1 1 2 4 .2 .2 .7 Curvature of the Un i t Form 1 13 4 .2 . 2 . 8 Rejo in ing of Symll1etrical Parts orthe U ni t 1 13 4 . 2 . 2 .9 Appl ication of the F inal Modified Un i t 1 14

1 4

4.2 . 3.1 The Pattern Drawing of Case Study 13 11 5 4 .2 .3 .2 The Redrawing of Selected Part 11 6 4 .2.3 .3 Redrawing with Modification of U ni t Parts 1 1 6 4 .2.3 .4 Redrawing with Modification using Guide L ines 11 7 4 .2 . 3. 5 Esca la tion Process o f Uni t 11 7 4 .2 .3 .6 Modi ficat ion of the Unit into Curved Forms 11 8 4 .2 .3 .7 Prun ing and Modification 11 8 4.2 .3 .8 Appl icat ion of the Fina l Modified Un i t 11 9 4 .2.4 .1 The Pa ttern Drawing of Case Study 1 4 1 20 4.2.4.2 The Drawing of Selected Part 1 21 4 .2 .4 .3 Refincd Sclection of the Uni t Part 1 21 4.2 .4 .4 Redrawing Using Guide L ines 1 22 4 .2 .4 .5 Prun ing and Ba lancing of the Uni t Parts 1 22 4 .2 .4 .6 S imp l i fica tion of the Uni t 1 23 4 .2 .4 .7 Esca lat ion Process of Uni t 1 23 4.2 .4. 8 Uni t Pruning and Modi ficat ion 1 24 4 .2 .4.9 The F ina l Modif ied Un i t 1 24 4 .2 .4 . 1 0 Appl icat ion of the Fina l Modified Unit 1 25 4 .2 . 5 .1 The Pattern Drawing of Case Study 1 5 1 26 4.2 . 5 . 2 The Redrawing of Selected Part 1 27 4 .2 . 5 .3 Prun ing a nd Ba lancing of the Unit Parts 1 27 4.2. 5 .4 Reshaping of the Un i t Pa rts 1 28 4 .2 . 5 . 5 Transformat ion of the Uni t Parts i nto Curved Shapes 1 28 4.2 . 5 .6 Uni t Pruning and Simpl i fied 1 29 4. 2 . 5 . 7 The F ina l Mou i fieu Unit 1 29 4 .2 . 5 . 8 Appl i cat ion of the F ina l Modified Un i t 130 4.3 .1 .1 The Pa ttern Drawing of Ca se Study 1 6 132 4 .3 .1 .2 The u rawing of selected par t 133 4.3 .1 .3 Redrawing using Guide L i nes 133 4 .3 .1 .4 Modifica tion and Ba lancing of the Un i t Shape 134 4 .3 .1.5 Auaptat ion and Join ing of the Letters i nto Curves 134 4 .3 .1 .6 Ba s ic Changes in Letters Form 135 4 .3 .1 . 7 Appl icat ion of the F ina l Modified Un i t 13 5 4 .3.2 .1 The Pa ttern Drawing of Ca se Study 1 7 137 4 .3 .2 .2 The Drawing of Selected Part 137 4.3 .2 .3 Modi fication of Letters us i ng Guide L ines 138 4 .3 .2 .4 Modifica tion of Letters i nto Ba lanced Shapes 138 4 .3 .2. 5 Esca la tion Process of Letters 139 4.3 .2 .6 Ba lancing Shapes and Spaces of the Un i t 139 4 .3 .2 .7 Appl ica tion of the F ina l Modified Uni t 1 40 4 .3.3 .1 The Pattern Drawing of Case Study 1 8 1 41 4 .3 . 3 . 2 The Drawing of Selected Part of Ca l l igraphic Moti f 1 42 4 . 3 . 3 .3 Redra wing of Selected Uni t 1 42 4 .3 .3 . 4 Redrawing orthe Selected Un i t using Guide L ines 1 43 4 .3 .3 . 5 Modificat ion o f the Un it using Di fferent Graphic Tool 1 44 4 .3 .3 .6 Un i t Prun ing and Modifica t ion 1 44 4 .3 .3. 7 Appl ica tion of the F ina l Modified Un i t 1 45 S. I A Ilouse 44 , Langgar 1 62 5 . I B The Selected Unit for Case S tudy I 1 62 5 . 2A l Iouse 44, J ln Pegawa i , A lor Setar 1 63

1 5

5 . 2B Selected Pattern for Case Study I I 1 63 5 .2C The Selected Pattern fo r Case S tudy X I V 1 64 5 .3A HOllse 25A, J ln O iRaja, Langgar 1 65 5 .3 B Selected Pattern for Case Study I I I 1 65 5 .3C The Selectcd Pattern for Case Study V I I 1 66 5 .30 Selcctcd Pattern fo r Casc Study X V 1 66 5 .3 E Selec ted Pattcrn fo r Case Study X I I 167 5 .3 F Selected Pattern for Case Study X V I I I 1 67 5 .3G Selected Pattcrn [or Case S tudy XVI & X V I I 1 68 5 .3 H Selec ted pattern fo r ease study IV 169 5 .4A House No 22 , J l n Langgar. 1 70 5 .48 Selectcd Pattern fo r Case Study X l I[ 1 70 5 . 5A House No 30 , Kg. Oalam Kota, Lepai . 1 7 1 5 . 58 The Selected Pattern for Case Study V I 1 7 1 5 .6A House No 35, Jill Kg. Dalam Ko ta, Lepa i . 1 72 5 .GB Selectcd Pattern for Case Study X I 1 72 5 .7A Ho use No 1 7 , .l In Sungai Mati, Lcpai 1 73 5 . 7B Selected Pattern for Case Study V 1 73 S .RA HOllse No 52 , Padang Watt, Lepai . 1 74 5 .8B Selected Pattern for Case Study X 1 74 5 . 9 I IOllse No 7 , .Jl n K .Kedah, A lo r Setar: Case S tudy IX 1 75 5 . 1 0 HOllse No 60, .l In Langgar: Case study V I I I 1 75

2D. : Two dimensions . 3D. : Three d imensions . En . : Enc ik ( Mr. )

LIST OF A B B REVIATIONS

FRSB: FakuI t i Rekabentuk Dan Senibina. (Faculty of Design and Archi tecture) . li n . : la lan ( street) . K. : Kuala Kg. : Kampong (v i l lage). Pn. : Puan (Mrs . ) S .A .W : Peace has been upon h im. WWW: World wide web.

1 6

CHAPT E R I

INTRODUCTION

This introductory chapter was meant to serve two alms: F i rst, to give

background and context to subsequent parts o f th is study. Second, to e lucidate

the research issues as fol lowed in this study. The fi rs t part of th is chapter was

made o f two sections namely: I sl amic art as the conceptual v iewpoint and i ts

val ious app l ications. The second part composed of two parts: The research

problem definit ion and the research object ives.

1 . 1 Is l a m ic Art: The Conceptua l Issues

The conceptual i ssues arc the theorctical thoughts, which were contributed by

many scholars and writer ' s interpretations that fonned a basic understand ing

to the Is lamic art. Not enough studies have been conducted regarding the

cri t ic is l1l of I s lamic arts a l though it plays an important role in the mankind

c iv i l izations (Atasoy, 13ahsassi and Rogers, 1 990). Furthermore, those who

\Hote about the I s lam ic art (e.g . I3 rend, 1995) concluded that I slamic art was

one of the primi t ive human arts based on their perspective and the concept of

Wes tern art cri teria that are substanti a l ly di fferent from the I s l amic art concept

and i t ' s based cu l tural features.

1 8

Consequently, most o f these Western writ ings comment on the I slamic art as a

primi tive and not capablc to imitate the natural figures, and the human body ( l iv ing

creatures ) .

The Musl im scholars who wrote to expose and to defend the subl imity of I slamic

c iv i l i zation and its art, their efforts were not competitive w ith the desire for rapid

development in di ffe rent I s lamic world countries, which have been i nnuenced by the

huge import of Western technology, planning and constructional expertise. I n

archi tecture, painting, drama and cultural features, we are fac ing styles appreciated by

the Western soul and suitable to the European climate and life.

Due to the invasion o f the foreign cu l tures in Musl im countries that fomled the today

l i fe , I s lamic features seem to retract gradual ly from the M usl im societies. Fortunately,

in the rural areas in the Is lamic world, the conservative Mus l im values are sti l l

exist ing, the re l igious concepts and tradit ional values are sti l l practiced and governing

the movement of the society.

1 .2 I s l a m ic Art : The Applications

I s lamic art i s an appl ied fine art found to satisfy the needs of creation of the

ornamental patterns and texts. It is a transformation of concepts, thoughts and

principles of the re lationship between the Almighty God and the world as they are

revea led by the message o r I s lam.

1 9

The appltcat ion o f I s lamic art I S meant to find out a practical ways to use the motifs o f

I slamic Ident i ty i n the, modern l i fe .

1 .3 The Problem Defi nition

TIl lS l escal c h was cat rlcd out to study the I slamic art moti fs i n the Malaysian

trad itIOnal house in Kedah, through graphIcal processes, to provide a modified mot if,

which can be used in ornamental industries, an al ternative to the curr ent imported

fore ign mot I fs, whIch cal ry c;amples of texts, sttckers and images, considered immoral

to I s lamic principles and teachings. They are the images, which reflect the cu ltural

issues o f non-Musl ims socIeties through the un iversal media of the global ization era

(F igure 1 . 1 ) reflects the e ffect of the western culture and arts i n the dai ly l i fe style of

the M usl ims ' society.

Figllle 1 1 . TJ1:€s of tex� snekels at!d deeolative images fOl.l11d ured ill clothes atl.d Cat":>. (Aba}.a� "1999", FIeld SUlvey)

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The Is lamic moti f is potential ly capable to be ut i l ized in d i fferent decorative patterns

as a mean of sphere related to the native identity of the Musl ims. The abstraction,

repet i t ion, d ivers i ty etc . , which were appl ied in the Is lamic motifs, are means of

certain concepts and thoughts, which can be speci fied as:

- To l iberate the minds from shal low thinking of imi tation and copying of the

natural world in a way to penetrate deep through the real ity of things.

- To express the concepts and thoughts of the I slamic v iew to the world and to

reflect the ever uncounted, and unl imi ted power and efforts of the Almighty God

through the sty l iJ:ed I s l amic art.

Furthermore, these mot i fs were the production of the Mus l im artist, whose view to

l i fe and the world are through the spiritual concepts that based in rel igious teachings

and the Is lamic thoughts, which bear the ever-sol ut ion for the mankind as the sealed

message from Almighty A l lah.

The Islamic mot i f was subjected through this study to confront the invasion of the

Western and other foreign cultural features into the Islamic world . These imports of

text i les, ceramics etc . , which conta in immoral designs and texts.

2 1

1 .4 Objectives o f the Study

The object ives o f this study arc to adopt the beauty of I sl amic moti fs In today ' s

M us l im l i fe a s fol low:

• To read through I s lamic mot i f l iterature as a mean of introducing M uslims and

other designers to the beauties of the I sl amic moti f and its potent ia l merits to

be app l ied in indus tries such as tex t i l e, decoration, ceramics and carpets.

• To study, analyze and authenticate the art o f I s lamic mot i fs i n the Malaysian

tradi t ional house.

• To create s tandard Is lamic ornamental uni ts from the Malaysian local

trad i t ional moti fs .

• To contribute progress ive attempts of understanding the aesthetic values of

I s lamic motifs ' designs.

CHAPTER I I

L ITERATU RE REV I EW

2 . 1 Art Defi nit ion

T he word art has been translated and i nterpreted into d ifferent meanings and

concepts. Writers, scholars and art ists noted di fferent comments with in their

various perspectives and fie lds.

2. 1 . 1 The Meaning of Art

Art, referr ing to the so-cal led "fine art", (Art ist, 1 999), the p ic torial , plastic and

bu i ldings, bes ide the minor al t, the everyday usefu l and appl ied creative arts . I t

i s the ma� tery o f form, inventiveness and the associat ions that exist between

forms and ideas and between techniques and materials (Krause, 1 969) , (V incent,

1 995) . It i s the technical and creative record of human needs and achi evements.

AI t can be dcfincd as an expression of human creative talents in the fom1 of

paint ing, sculpture, music and poetry", (Ox ford Advanced D ictionary, 1 995) . I t

can be de fi ned as " the ability to perceive the visual spatial world accurately and

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to perform transfonnations upon the perceptions In the form of i nterior decor,

archi tecture , and s imi lar art i st ic ways of expression", (Gardner, 1 987) .

F rom h i s psychological perspective, Gardner ( 1 987) noted an imperat ive description,

as he says : "art is thc intelligcllce that inl'Olves sensitivity to color. lille. shape. form.

spacc and the relations/ill) that exist betwecn these elements. It includes the capacity

to ,·isualize. to a graphic reprcscnt for visual or spatial ideas".

Siddiqu i ( 1 999) went further to put a spec ific words from a v iew concerns in I s lamic

cul ture and c iv i l ization "Art is the mirror of culture and its worldview". "Art ill my

personal I'iew is the sole1l1n idelltity of peoples alld civilization . Art is a unique

structllrc alld the idelltity shapc alld tOile of a society".

Obst, ( 1 995) , stated that art p lays an important role i n our l i fe , considered i t as a need

to create a beauti fu l environment in which we l i ve (Art is 1I0t something to be set

apart fi)r occasiollal l ise. It is a sellse to/eel 11 10 re satL�fied o.lbeauty as well as utility

hI the "isual surrolllldillg\;".

2 . 1 .2 The !\lea n i n g of Design

Design i s a part of art, i t i s how to give un i ty and consistency, to give an attention to

perceive a l l parts of the work and i ts sign i ficance. I t is defined as any arrangcment of

l i nes, colors and texture (Tingson and Velasco, 1 993) . I t involves thc problcm of

choos i ng these forms and colors, and then arranging thcm. The concept of design in

cveryday l i fe i s actually 'arrangcment' . A pcrson 's creati vi ty, h i s v iews, h is

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imagination and h i s ski l l are considered basic requ irements i n any design (Armstrong,

1 994).

Dcsign is thc ab i l ity to idcntily and determine the 1110st practica l and appropriate

solut ion to a given problem characterized by speci fic parameters based upon a

combination o f personal experience, knowledge, ski l l and creativity. Design also, can

be defined as an organ ized effort to implement a plan wi th speci fic object ives and

given function, based upon the princ iples of appl i ed arts ut i l izing all of the factors,

which serve whol ly and completely the aims of the main brief, (Smadi, 1 994).

Design mus t perceive emotional e xperience and i t must be visual ly comprehensible. A

work o f ar t is only complete when a l l the c lements combined to c reate it. A good

design shows an orderly arrangement of the materials used, and in addition, creates

beauty in the fin ished product.

2. J .3 The Defi n i t ion of Art

A: Art i s the expressIOn of human's talent and intel l igence, (Oxford Advanced

D ict ionary, 1 995) .

B: Art i s an essential beauti fying factor of human l iving environments, (WWW.

1 999c).

c: Des ign IS the consistency and the arrangement of art materials and units,

(Armstrollg, 1994).