Continuities of Surface Decoration and Motifs in the Malay ...

FOTOSTAT TIOAK
Continuities of Surface Decoration and Motifs in the Malay Traditional
Pottery of Semenanjung Malaysia.
BY:
WAHIZA BINTI ABDUL WAHID
This dissertation is to be submitted to the :
DEPARTMENT OF ART AND ARCHAEOLOGY
SCHOOL OF ORIENTAL AND AFRICAN STUDIES
UNIVERSITY OF LONDON
BRUNEI BUILDING, THORNHAUGH STREET
LONDON WC1H OXG. UK.
SUPERVISED BY:
DR. ELIZABETH MOORE
Bahagian Ruju! an & Perkhi'matan Pcmb«g»
JPerFusra!:a3r. Tun Abdu! FUzak
Insti ut 'Ukfologi MARA
40450 i'bah Alam
Sclangor Darul Ehaao.

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Bahagmn * , •.',; ;':;r^li : . .Man Pembaca,
Pr; . . i • ' = ('-, Abdu! i'azafc
,,, -. jt :.,\: -.c.losi MARA.
40450 Shah Alam
Darul

ABSTRACT 1
ACKNOWLEDGEMENTS 3
CHAPTER 1
• A Brief History of Semenanjung Malaysia 5
• The Definition of Motif and Decoration 9
• History of the Early Malay Traditional Decoration 11
CHAPTER 2
• The Concept and Aesthetic value of Traditional Malay Craft 14
• The Concept of Traditional Art (Creation) 19
• History and Discoveries of Pottery in Semenanjung Malaysia 20
CHAPTER 3
• Forms and Utilitarian Functions of Pottery in Semenanjung 30
• Utilitarian Function 37
• Classification of Form 39
• Surface Decorations and Motifs 40
• Principle of Decoration on Pottery in Semenanjung 48
• Geometrical motifs 50
• Organic form 50
• Combination of geometrical and organic forms 51
• Islamic Cosmology and motifs in the Traditional Malay art 51
• Process of Production - Traditional Malay Pottery 59
CHAPTER 4
• The Future Ceramics in Malaysia and their potential 60
• Towards the Challenge and Development of Pottery in Semenanjung Malaysia 65
• Conclusion 69
GLOSSARY 72
BIBLIOGRAPHY 76
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Abstract
The purpose of this dissertation is to observe the surface decoration and motifs found on
the pottery of Semenanjung Malaysia. By observing the history of motifs and surface decoration, we
may indirectly discover when they began to be used, especially on pottery in Semenanjung. We
should also consider the possibilities of outside influences on this pottery in order to understand
where the motifs derive from.
Malay Traditional pottery can be categorised as 'earthenware'. The creation of this pottery
has its own identity and value that reflect the form and soul of Malay culture. Especially motifs
based on nature that are used widely in Semenanjung may be related to appreciation of nature.
There are also possibilities that the designs and motifs found are influenced by Islamic
countries, such as Persia. This probably occurred through religious and cultural exchanges brought
by Muslim traders. This is demonstrated by the fact that these motifs are in use extensively not only
on pottery, but also in other traditional crafts, such as weaving and carving.
The aesthetic value of the Malay community comes from inner feelings. Nevertheless,
physical sensation and ideas are also important for the assessment of aesthetics in the community.
There are three different characteristics that influence Malay community in assessing the aesthetic
value of an art object. They are; gentieness, unity and originality. The coming of Islam enhanced
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Abstract 2
pre-existing other Malay values such as ethics, functionality and simplicity. Islam encourages
everyone to value the aesthetic of an object in relation to aft these aspects. Nevertheless, (slam
forbids representation of human figures in art To this factor, the Matey artists and craftsmen in
Semenanjung are continuously creating and using geometrical and organic motifs in their work of
art
In this dissertation, I shall study and bring forward the motifs commonly applied on the
pottery works especially in Semenanjung. I shaft also try to look at the possibilities of outside
influences. Most of the terms to be used in this dissertation would be in Bahasa Melayu (Bahasa
Malaysia) and will be clarified in the glossaries.
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Acknowledgements
FLCbQCTOTJ
The substance for this paper is originally to be submitted to the Department of Art and
Archaeology, School of Oriental and African Studies, University of London, as a dissertation for the
M.A. Programme.
Rrst and foremost, I wish to express my sincere appreciation and gratitude to my academic
supervisor, Professor Dr. Elizabeth Moore. Without her guidance, opinion and criticism, I could not
have completed my dissertation. My special thanks are also due to Professor Dr. Othman Mohd.
Yatim, the Director of Museum of Asian Art, University of Malays, Malaysia for his strong
encouragement and advice and who assisted me with information in various ways. Professor Dr.
Othman Mohd. Yatim too had permitted and recommended me to gather information and to do
researches at the Museum of Taiping, Perak, during my one month Easter vacation in Malaysia.
(March-April 1997).
A number of lecturers in the Mara Institute of Technology, Shah Alam, Selangor Darul
Ehsan, Malaysia too need my appreciation. Among them are Puan Jahani Ali, Professor Madya Ham
Rabeah Kamarun, and Puan Faridah Mohd. Yusoff, who were kind enough to give me support and
opinion all along completing my M.A. in SOAS. Also, to Professor Madya Ungku Maimunah Mohd.
Tahir, from University Kebangsaan Malaysia, who had been in SOAS on sabaticaland
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Acknowledgements
Mr. Dinar Boontharm, my classmate who had kindly helped me building up my spirit and enthusiasm
on completing my dissertation.
Formally, I wish to acknowledge the scholarship granted to me by Mara Institute of
Technology, under the Young Lecturer Scheme (1996 -1997), without which, I would probably not
have been able to attempt this study.
Last, but not least, not forgetting to acknowledge the very loving support of my mom,
Madam Hajah Maznah Abdul Manaf, sister, Wahida, Zonariah and Kartini, brothers Mazlan, Mohd.
Taha and Ruslan, who helped me keeping up my enthusiasm and showed their concern and
understanding, my niece, Nur Nadia Idlani and nephews, Nadzrin Azrai, Muhd. Zhafirin and
Muhammad Amir, who are a continual source of inspiration.
48, KENSINGTON AVENUE,
MANOR PARK,
LONDON El 2 6NP
6 SEPTEMBER 97
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m. n c

Chapter 1
A Brief History of Semenanjung Malaysia
INTRODUCTION
It remains a question as to how the Proto Malay race became the civilised people who now
populate the Malay Peninsula, Sumatra and other islands. Generally, historians presume that
intermarriage with other tribes in the islands of the Archipelago, and later with Indians and Arabs
could have occurred among the immigrants from the mainland of Asia. Another question is the
origin of the name 'Malaysia' first known as 'Malaya*. This is an English hybrid dating only to British
ownership and protectorates, particularly to the Peninsula (Semenanjung) , thus the term British
Malaya is redundant. 1 The Malay name for the 'Malay Peninsula' is Semenanjung and the people is
known as 'Melayu'.
It is uncertain of where the word 'Malay* comes from. The implication of the term Malay, is
more particularly to the 'civilised* Malays of Sumatra and the Malay Peninsula in a broader sense, it
refers to almost all the residents of the Malay Archipelago, Formosa and the Philippines ;and some
of the tribes of Indo China. The word 'Malay* as a noun in applied to indicate persons or
1 Its Area, Boundaries and Divisions, Physical Features and Scenery in Malaya - In the Straits Settlements
and the Federated and Unfederated Malay States. R.O. Winstedt. 1923. Pg. 1
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Chapter 1
language. The European invented the word 'Malaya* for the Peninsula. The term Malayan, therefore
may refer to any inhabitant of that Peninsula (Semenanjung), be they Asian or European. 2
Under the British rule, the Malay Peninsula was divided into : the Straits Settlements, which
consist of the Singapore island , Pulau Pinang with Province Wdiesley and the Dindings and the
Settlement of Malacca; the Federated Malay States - Perak, Selangor, Negeri Sembilan and Pahang
and ; the Unfederated Malay States - lohore, Kedah, Perlis, Kelantan and Terengganu. The Malay
Peninsula, or Semenanjung Malaysia, ( FIG. 1.0) may be described as an area of low lying land,
stretching north west and south west, with ranges of mountain, lying approximately to the axis. Of
the many rivers that drain the Peninsula, the chief ones are the Perak, Pahang and Kelantan.
Pahang has the largest river, followed by Kelantan and Perak.
Semenanjung Malaysia is situated on the equator line, along the Straits of Malacca and has
been a natural rendezvous for merchants from India, West Asia and China for thousands of years.
Its warm and moist dimate with the temperature of 27 C makes it suitable for agriculture purposes.
In the past, a large proportion of old Malays had made farming as their source of living. Against
these backgrounds, the Malay community's appreciation towards agriculture and sensitivity to the
environment becomes apparent.
The Malays - A Cultural History. RichardO Windstedt. 1947. Pg, 1 - 4.
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Chapter 1
FIG-1-0 SEMENANJUNG MALAYSIA
States
Selangor
lohor
Negeri Sembilan
Melaka
Pahang
Perak
Kelantan
Terengganu
Kedah
Pulau Pinang
Perils
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Town
Kuala Lumpur
Johor Baru
Seremban
Melaka
Kuantan
tpoh
Kota Bharu
Kuala Terengganu
Alor Setar
George Town
Kangar

Chapter 1 8
As ancient Malay kingdoms such as Langkasuka, Kataha and, much later, Malacca flourished, all
kinds of cultural influences began to colour local culture. The artistry of India, China Persia, Arabia,
Indonesia and Europe blended with and was absorbed into existing traditional Malay motifs. This
cross-cultural fertilisation enriched the local craft tradition and gave birth to crafts with a uniquely
Malaysian identity.
Another factor which makes the Malay community aware of flora and fauna as subject
matter in their art, religion. With the coming of Islam to the Malay Archipelago in the 12 th century,
there was a huge transition in Malay civilisation. For more than five hundred years, therefore Islam
has been integrated into Malay culture. In theory, the Malay person has no ideals of truth, beauty
or goodness outside the tenets of his faith, in fact, those ideals are imbued with many earlier
beliefs and additionally have been altered by the secular humanism of the West 3
Before the 13 th century, the Malays practised animism. After the coming of Islam, they
began a new life with many changes in their beliefs too, changed. According to a theory of historian,
S.Q Fatini:
The early relationship between this settlement or inlet and Persian Arab occurred since the
8 th century but the islamicisation started during the 13 th century, after the coming of the experts or
mystics. Therefore, Islam influenced the art form of Malay society at that period. Islam
3 The Malays - A Cultural History. Richard O. Windstedt. 1947, Pg 2.
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Chapter 1 9
forbids the use of presentation or realism. What is allowed is only stylisation of objects, the main
motifs in Islamic art, that is geometrical in shapes and motifs of flora and fauna. Traditional Malay
society started using these motifs for their decorations principally, but not exclusively for religious
reasons. Nonetheless, over time, the use of geometrical and floral motifs were seen as an intrical
part of the philosophy and beliefs practised by the traditional Malay society in Semenanjung
Malaysia.
The Definition of Motif and Decoration
A ' motif', as it is used in the dissertation is an image use to form a decoration and to
complete the surface decoration of craft work. A motif is derived from the aesthetic values which
define the creation of a' beautiful' form: Motifs make up a composition which will create a pattern
and act as a tool to arrange the forms that come from the feelings, thoughts and ideas of an artist
or creator.
Dr. Siti Zainon Ismail refers to Ruskin in this regard (1860):
' Gubahan yang balk biasanya didahulukan oleh maksud perasaan yang secara teknik disebut motif
di mana semu garis dan bentuk-bentuk lain (unsurtampak) sating berhubung, wujud seiring dengan
proses rekabentuk. * 4
4 Dr. Siti Zainon Ismail in Rekabentuk Kraftangan Melayu Tradisi. 1986. Dewan Bahasa dan Pustaka.
Kuala Lumpur. Pg. 9 - "A good composition is normally preceded by feelings and is composed of motifs
where all lines, and forms exist within the design process."
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Chapter 1 10
From the above statement, it is dear that the arrangement of motifs produces patterns. A
motif is created in the design process of an object. Pattern may be seen as a whole, within which
motif is a central theme. Therefor, both motif and pattern function as ornamentation.
In addition to defining motif, ft is necessary to explain, what is meant by decoration.
Decoration is used to ornament craft work. Decoration adds to the beauty of the external form of
an object. Decoration is determined by the arrangement of motifs and patterns. The blending of
motifs and patterns is vital in creating decorations. The act of creating decoration comes from
one's desire to ornament, following his or her visual preferences. The form of decoration ,
particularly in craft, derives from certain values. This include both cultural and beliefs of the creator.
It is not easy to describe the meaning of a certain decoration for the same form may have
dissimilar meanings. For example, a form of decoration used by Arabs and one used by Indians
may have similar forms but different concept. Decoration often has similar forms found among
many different races but significance varies in terms of time and space.
This is further explained by Adolf Bastian (1826 - 1905) in his theory, known as
Elementatgedan, as referred by Dr. Sfti Zainon Ismail:
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Chapter 1 11
' Perkara ini tidak dapat dianggap sebagai pengarah resapan kebudayaan tetapi, pada dasamya
jiwa manusia di mana-mana adalah sama dan oleh sebab ftu selalu menimbulkan lagi fikiran-fikiran
yang sama. Perkembangan daya fikir boleh beriaku serentak oleh keadaan kdiling dan unsur alam.
'5
There are three basic aspects in creating a motif. Through the arrangement of visual
dements, motifs produce composition which, in traditional Malay craft are known as patterns. The
development of motif starts from the elements, such as dots, lines and colours. Motif has long
been a part of Semenanjung culture with clear motifs found on works of the pre historic period.
One of these are dots, a very basic visual element, which was further develop as horizontal or
vertical lines, curve, knots and alternating designs which combine these components.
History of the early Malay Traditional Decoration
To understand the meaning of decoration, one should also be aware of the meaning, in
terms of function and cultural history. Through the aesthetic observation, decoration often involve
not only in beautifying the forms, but is also related to individual role, communities and nature. The
beliefs practised by certain communities also play important role.
5 Dr. Siti Zainon Ismail in Rekabentuk Krafiangan Melayu Tradiss . 1986. Dewan Bahasa dan Pustaka.
Kuala Lumpur. Pg 10. " This matter could not be considered as cultural influence but basically human's
soul is similar and due to this, the same thoughts and ideas existed The capability of developing ideas
and creativity happen at the same time with the influence of environment and elements."
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Chapter 1 12
According to Professor Dr. Sfti Zainon Ismail,' The early history proved that the concept
and understanding of art is not just to fulfil the desire or simply creating anything. It is a kind of
spirit which develops confidence. 6
The early history of Malay decoration is first traced, based on the civilisation and the skill of
preparing foods. This is accepted to be the basic source of Malay civilisation, known as the Early
Stone Age (2000 - 1500 B.C.) which brought meaning in the aspect of knowledge and human's
experience. Somewhere between 8000 - 2000 B.C, there were excavations of artefacts or cultural
equipment. This is believed to have come from the first wave. As an example, in Semenanjung
Malaysia, the characteristic of culture in Neolithic period could be seen with the excavation of
bangles, rings, ceramic wares and others.
The existing decorations and patterns showed variations of motifs which relate to the
culture of certain communities that pertains to beliefs and spirit. They used materials and
harmonised between form and function.
Subject matters attained from nature or flora and fauna are not only formed as plates, but
they were also made as ingredients, colours with the accuracy of symbol in customs and traditions.
Some basic motifs, particularly in geometrical forms still develop up till now. The main symbol that
6 Dr. Siti Zainon Ismail, in Percikan Sent, 1986. Dewan Bahasa dan Pustaka. Kuala Lumpur. Pg. 201.
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Chapter 1 13
developed since the 10 th century and traditionally belonged to the Malays were the surface
decoration on pottery, weaving and carving.
The creation of decorating techniques appeared during the Funan Empire (Cambodian / Old
Khmer) which induded three main regions. They are : Mekong Valley, Annam area (Vietnam) and
Kelang Valley. It is believed that the Malays were originated from the Funan and conquered most of
the area in Mekong Valley and Menam in Thailand. The flowing of culture has been proved with the
development of decoration in the province of Malay Archipelago. Here, the external motifs became
motifs with local characteristics, unique and genuine.
Laurens Langeiwis had rejected the idea made by Heine Gddem in his research on
Indonesian Textile. According to Heine Gddem, the effect of Don Son in the craft of Malay
Archipelago is an imported art. Laurens Langewis stressed that Indonesian craftsmen have been
using a systematic Neolithic motifs in their works. 7
In studying the development of the Malay society and civilisation, pottery could be regarded
as a beautiful creation of art, unique and symbolic The traditional Malay ceramic could be regarded
as functional and decorative items. This traditional ceramic or pottery is produced from clay, that is,
a source found in large quantities, in Sayong, Perak.
7 Dr. Siti Zainon Ismail in Percikan Sent, 1986. Dewan Bahasa dan Pustaka. Kuala Lumpur. Pg. 206.
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Chapter 2
The Concept and Aesthetic value of the Traditional Malay Craft.
In defining "aesthetic value", the dictionary 'Dewan'interprets it as beauty or a matter
which describes something which is beautiful. 'Beautiful* itself means charming, lovely, pretty, or
attractive. The beauty of an object depends on its perfection which is seen from its appearance
from the view point of the observer. External beauty which is seen at a glance can normally be
experienced by children and but internal beauty can only be observed and examined by adults
through their mature inner feelings.
Syed Ahmad Jamal cites Kant in defining:
" Keindahan kesenian itu bukan pada sesuatu benda secara hakiki indah, tetapi pada apa yang
terjelma daripada pentafsiran terhadap benda itu. Ini bermakna bahawa konsep estetika dan karya
sen/ itu suatu keadaan yang tidak semestinya mewakili keindahan sepenuhnya, sungguhpun hal int
ada hubungan dengannya."
The above statement means:
"Art is not something which is beautiful in reality but it appears from the interpretation of an object.
This means, the aesthetic concept and an art creation is a condition which is not necessarily
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Chapter 2
representing beauty as a whole, even though it relates to the whole." 1
In terms of psychology, beauty is seen as something which is experienced by the five
senses, especially the sense of feeling. As an example, the desire for food or morality is to fulfil
certain needs. However, the beauty which comes from the sense of feeling provides a satisfaction
which is not necessary for physical survival. In a cultural context, however, it fulfils the aesthetic
needs of the individuals in a society.
Art has a dose relation with culture. One of the cultural elements which prompts the
production of art is religion. Traditional customs and also language too influence the art of a
society. The art forms which result stimulate humans to react, and in this way, help to develop new
and different feelings.
Every culture has its own way in expressing the subject matters and elements of art.
Besides holding on to its traditional value, it also has to accept some factors, such as transition,
following the period revolution. Other needs run parallel and increase according to the inventor's
capability and user's demand.
In the art of pottery, the characteristics that withstand the aesthetic value are well-
1 Syed Ahmad Jamal, Rupa Dan Jiwa, Dewan Bahasa dan Pustaka, 1992, Pg 5
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Chapter 2
equipped by aspects such as proportion, relationship with the complexity of contour and others.
Each characteristic plays its own role in the fulfilment of form, parallel to the cultural taste of the
creator. For example, the emphasis towards proportion will reflect the style that represents a
certain culture. Therefore, a total and precise research is important to understand or obtain the
style which could offer some steps or methods for further researches.
In the Malay community, the assessment of beauty normally includes the sense of feeling.
This is divided into four parts: feelings in the sense of physical; thoughts, feelings from the heart;
and inner feelings. Aesthetic value in a Malay context concentrates most on inner feelings.
Gentleness is especially valued. Parallelism, that is repetition of design side by side, and originality
two other main elements that influence the Malay's assessment of the beauty of an art form.
The coming of Islam enhanced pre existing Malay values, ranging from philosophy to art
forms: Ethics, functionality, parallelism and simplicity are some examples. Islam encourages us to
value the aesthetic of an object in relation to all these aspects. Beauty is placed at the highest
level. Here is the tradition about the Prophet, known as 'hadith' which says:
1 God is beautiful. God loves beauty.' Therefore, in evaluating the beauty of an object, we often
relate it to gentleness, as God is gentle.
Every art creation has its own beauty. The creation of a work of art has different level of
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Chapter Z
beauty which may be grouped into aspects relating to outer form and inner factors.
a) Aspects of the outer or Manifest form indude:
i) shape
IS,
iv) lines
v) texture
vi) the space occupied by the object,
b) Indefinite form: the inner factors that influence the creation of art such as the use of symbol. It
is also affected by the sensitivity, creativity, morality and beliefs of the artist.
Beauty which derives from "gentleness" of form is fleshed out through the aspect of
perfection in form, the tidiness of the form and its balance. The perfection in form comes from the
composition of pattern, motif, colours, and also how the creator conveys his or her ideas through
these elements.
Malay art forms and decorations are the composed of visual features, such as line,
space, texture and others. Two which are typically Malay are geometrical and organic forms. This
can be seen in wood carving which uses both elements.
The characteristics of these patterns can be assessed in relation to aspects of attractiveness and
perfection:
i) Abstract patterns are thought to look more attractive than natural ones. Abstraction carries its
own perfection and is in this sense, suitable to the Islamic value towards art as a whole. Islam
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Chapter 2
encourages the creation of art that produces any simple and pleasing forms. Although art is
encouraged, there are certain laws which control its creation.
In one of the hadith in Quran by Al Bukhari, it is stated:
' During the day of judgement, they (the artist) would be commanded to bring back to life , all
things, or painting they have created or painted.'
Due to this formulation, it is dear that Islam forbids images and realism. Therefore,
abstract and symbolism have become common in the Malay art and craft such as weaving.
The perfection in pattern is also produced when the lines drawn are clear, definite and fit
the forms created. For example, the motif of a blooming flower should display the stalk, sepal,
petals and others. Only when it is complete, then , a certain composition is considered perfect and
beautiful.
Important elements such as colours, textures and other indefinite elements such as
experiences, capability, sensitivity and emotions do not ensure beauty in a composition. The order
of a certain composition really depends on three important elements : the idea, the creator's
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Chapter 2
emotion and a neat form or arrangement. This factor is closely related to the balance or stability of
the work.
The Concept of Traditional Art ( Creation)
Research on traditional art began approximately in the middle of the 19 th century, when
folklore' started to develop. The term 'folklore* or in Bahasa Melayu, 'cerita rakyat' originated
from the German 'Volkskunder' which was introduced by Von Amim. William John Thomas later
changed the term to 'Popular Antiquities' and 'Popular Literature'. Research on traditional art
also involved 'folk arts' and 'folk craft'. Finally, there is knowledge which is limited to material
culture, known as ethnography. All these types of research have contributed to our understanding
of "traditional" Malay art.
In the traditional art context, 'folk' and 'court craft* (Kraftangan Tradisi), operated side
by side in daily life. Traditional values, characteristic of the culture stemmed from the
experiences and history of the communities. The beliefs and spirit of each community also
encouraged the development of the traditional art. At the beginning stage, the beauty of art is
streamed towards beliefs and religion. According to Professor Dr. Siti Zainon Ismail,
'This condition is determined based on the analysis of style on certain composition. The subject
matter and technique is adjusted by the surrounding societies and environment. 12
2 ibid Pg. 2
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Chapter 2
The formation and the awareness necessary in creating traditional objects of art is
estimated to have begun in the Neolithic period. According to Soelarko,
' The first signs of aesthetic feelings are also formalised, and used as decorative motifs on shield
and household utensils.' 3
From the early centuries A.D, the foreign traders, particularly Indian who came to the
Malay world, interacted with both the noble class and the ordinary public. These Indian traders,
and a middle class group, led a new way of life from their homeland but also brought with them
their own craft work forms. Thus, there have long been Indian influences in Malay traditional art
work.
History and Discoveries of Pottery in Semenanjung Malaysia
Pottery of the Neolithic inhabitants of Malaya has been found in large quantities in
caves. 'It is hardly too much to say that no two vessels are alike. Their chief interest lies in their
diversity of form.........ornamentation was relatively unambitious; cordmarking is the most usual
form of ornament Simple incised patterns are found. The ware is generally dark in colour with
3 RM Soelarko, "An Introduction to Indonesian Art." Asihl, Thailand, Chulalongkorn University. 1963.
Pg. 25.
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Chapter 2
sand and charcoal tempering and often a polished surface produced by burnishing with the
application of soot.' 4
In Perak, water vessels which are modelled in the shape of a gourd are nearer in form to
the bronze age flasks from a Sumatran urn grave than to any Javanese forms. 5 From Panang,
especially from Kuala Tembeling, there were pieces bearing stamps of superior decorative quality.
These pieces sometimes were spouted and often have designs of short arcs rather than the
rounded, and almost circular curve.
Today, the local traditional ceramic industry is still new in the process of being accepted
by the communities. This has brought recognition to an industry which reflects the high quality of
"traditional" local art. Thus, although from an historical point of view, the origin of this traditional
pottery is stilt a question mark, this is no longer of great importance. In the context of current
development, what matters is the acceptance that past traditions of the Malay people have a place
in the country's culture. The most well known of the contemporary pottery works have been
designed with sensitivity to the beauty of nature. Subject matters related to nature have used as
motifs for decoration. Forms also appeared and influenced the environment and surrounding
elements. One example is the water vessel from Kepala Bendang, Sayong, in Perak.
4 Richard O Winstedt. Arsts and Crafts of the Malays - a Cultural History. 1947. Pg. 174.
5 This is illustrated in the Pictorial History by Dr. Stutierheim.
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