Iconography Meanings and Significance of the Placement of Woodcarvings in Malay Houses

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    Research Proposal Zumahiran Binti KamarudinPhD Candidate (PB073023), Faculty of Built Enironment!nier iti #e$nolo%i &alay ia zumahiran@iiu.edu.my '007*u+eri or - mail *aidDe+artment of .and ca+e /rchitecturei mailin aid1%mailcom Research Topic  -cono%ra+hy, &eanin% and *i%nificance of the Placement of oodcarin% in &alay 4ou e Research Aims  #he aim of thi tudy i to ine ti%ate the icono%ra+hy of 5oodcarin% motif and +lacement of cared com+onent in ernacular hou e 5hich denote it i%nificant u e Research Objectives #he re earch attem+t to achiee the follo5in% o6ectie #o identify i ual attriute of &alay 5oodcarin% +laced in timer hou e in Kelantan and #eren%%anu ernacular architecture2#o analy8e the u e , tyle and +attern of re%ularity of &alay motif in 5oodcarin%  +laced in timer hou e 3#o find the intrin ic meanin% or content that can e ymolically a hain% reli%iou ,cultural or other connotation  Assumptions #here i an e9i tence of +attern of re%ularity in the com+o ition of 5oodcarin% and  +lacement of cared com+onent in &alay hou e  Research Questions  #he :ue tion of thi re earch are diided a follo5 Woodcarving    hat i the i ual attriute of &alay 5oodcarin% +laced in timer hou e in Kelantan and #eren%%anu ernacular architecture2hy do craft men a++ly nature a +rinci+al motif in 5oodcarin%;3hy and ho5 do the craft men tran form the +lant motif that arely re emle their real<life ima%e;'Do all motif de+icted in decoratie 5ood carin% contain ymolic meanin%; =hat are the u e , tyle and +attern of re%ularity of carin% motif deelo+ed in&alay 5oodcarin%;>Do the +lacement of the ornamental cared com+onent a uildin% decoration reflect the craft man? adherence to the +ecific tyle of &alay architecture; 7Do &alay craft men u e the com+o itional +rinci+le , 5hich +roide them 5ith tructural %uideline for the orderin% and treatment of i ual element (motif ) o thata +redefined audience reco%ni8e and under tand the me a%e idea or intent of the 5oodcarin%; Craftsman hat are the content of motif de+iction that are a++lied in 5oodcarin%; 2Do the craft men under tandin% of the &alay ae thetic +hilo o+hy determine thedi tinct characteri tic and feature of 5oodcarin%;3Do craft men +roduce the 5oodcarin% in relation to it i%nificant function ;'Do &alay craft men u e the com+o itional +rinci+le , 5hich +roide them 5ith tructural %uideline for the orderin% and treatment of i ual element (motif ) o thata +redefined audience reco%ni8e and under tand the me a%e idea or intent of the 5oodcarin%;=Do the leel of arti try and technical $ill of the craft men determine the di tinct characteri tic and feature of 5oodcarin%;>Do the craft men +roduce the cared com+onent for the +articular rea on;7Do the difference in the form of cared com+onent and the de+loyment and de+iction of motif reflect the craft men@ indiidual inter+retation and tran lation;A/re the icono%ra+hical re+re entation in harmony 5ith the &alay@ +hilo o+hy of  eauty and ae thetic ;2  Problem Statement  #he art of 5oodcarin% i in e+arale from the art of ernacular architecture ince oth elon% to the ame field and hae een +racticed y the &alay throu%hout the a%e ernacular architecture re+re ent the architecture of the common +eo+le that i anemodiment of common character , material and ae thetic alue of a +articular re%ion(o$han, 2002) oodcarin% i an item 5hich i tron% in definition of the character of theernacular ty+e 5hich hould e $e+t a it i  Furthermore, the art of 5oodcarin% i a formof handicraft that ha lon% e9i ted in +arallel 5ith the &alay de i%n (&uhammad, =) -t i o ered that each cared com+onent relate 5ell 5ith the hou e form and element 5hichindicate that there i an inherent order and +rinci+le of de i%n that i e9+re ed in a +articular fa hion #hu a detailed tudy could e conducted to find out the com+o itional +rinci+le u ed in the 5oodcarin% #he i ual or%ani8ational +rinci+le are u ed tocon truct the relation hi+ amon% the i ual element of form, the com+o itional element ,and the intended meanin% (all chlae%er and Bu ic<*nyder, 2) #he art of 5oodcarin% ere a an eident of human e9+re ion and 5ay of communicatin% their thou%ht  Bear (A) ha offered the :ue tion of 5hether ornamentdoe communicate either e9+licitly or im+licitly -n her cha+ter on the meanin% of ornament, he ha u%%e ted that the +ro+er under tandin% of their meanin% can only e reached ydetailed tudie not only of the formal and technical a +ect of the e decoration , ut al o ycon iderin% the re%ional, ocial and reli%iou ariation of the +eo+le 5ho created and eheld them3   #he 5oodcarin% i a traditional art that reflect the local tradition and cu tom 5hich hould e $e+t and tren%thened e +ecially in the current e9+o ure to the threat of ra+idchan%e and deelo+ment of the modern architecture #he remain are con idered to e +artof our inaluale herita%e and they are of la tin% hi torical and cultural im+ortance ecenttrend ha indicated that modern &alay hou e are chan%in% to the u e of non<traditionalelement and uildin% com+onent  #he e chan%e in the &alay hou e lead to thedi a++earance of it %enuine :ualitie and traditional alue  #he chan%e , carcity andelimination of traditional art and craft from the +re ent ettin% 5ould lead to a ma ie lo for the &alay ociety Con e:uently, thi cenario 5ould create an enironment de+ried of it %enuine &alay identity 4ence thi re earch intend to ine ti%ate the i ual attriute of 5oodcarin% in ernacular hou e in order to reitali8e and uild u+ an a++reciation of thetraditional herita%e -ndeed, the e traditional art and craft do not acce+t interru+tion utre:uire con tant +rotection .ately, thi tradition ha een thou%ht to e on the ed%e of eradication (Fari h and Khoo, 2003) / uch, it i ital to conduct a tudy on the de i%nform and characteri tic of &alay 5oodcarin% in ernacular architecture a 5ell a it i%nificance and meanin%  -n recent year , the craft man hi+ of 5oodcarin% ha lo t much of it +re<eminenceBecau e the +re ent %eneration lie in the era of fa t technolo%ical deelo+ment, re%ionalidentity 5ill oon di a++ear 4ence there i a need to re tore the richne of the ernacular herita%e #he traditional creation and $no5led%e could e eentually mar%inali8ed andfor%otten y the modern %eneration includin% craft men if the modern trend of creation came into ein% #oday, the e creation and $no5led%e are all ut lo t e9ce+t to the handfulof e9+ert and ma ter of the traditional craft man hi+ Cultural element hae influencedthe de i%n +hilo o+hy of 5oodcarin% (/dul 4alim, A7), 5hich ha i%nificant'
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