RESULTS, DISSCUSSION AND RECOMMENDATIONS ON MOTIFS DESIGN OF HAND DRAWN BATIK IN MALAYSIA

Transcription

1 CHAPTER 4 *********** RESULTS, DISSCUSSION AND RECOMMENDATIONS ON MOTIFS DESIGN OF HAND DRAWN BATIK IN MALAYSIA Maryam Mirzajani Sabzali Musa Kahn Mina Hedayat Jaffri Hanafi Nik Nairan Abudllah Introduction Motif always takes form by the artist and with attention to the intrinsic and extrinsic characteristics of it; it sometimes can be spoken of as the signature of that artist or that country; and sometimes it finds such meaning and identity that can be used as a symbol as well. From what we have seen through Batik motifs of Malaysia up until now, each has their own meaning and concepts, as if they have a story hidden behind them. In this book, the authors tries to investigate and analyzed various current motifs and patterns in Malaysian batik art and the influential factors in these motifs and in each section, it is tried a motif and design within the same framework but with different features to be presented. In this work, the structure of the motif in batik, in terms of design elements and principles, and the modern designs where the motifs are stylized were analyzed.

2 The conclusion of this analysis comes as following paragraph. In addition, new suggestive motifs for Hand-Drawn Batik of Malaysia were designed based on the analysis of current motifs and taste of batik producers and customers in order to improve trademark of Batik in Malaysia. a) To study the structure of motif in batik in terms of design elements and principles. The motifs in Malaysian hand-drawn batik have a powerful organization in terms of skeleton and configuration. In the lines used in the motif, thickness is observed, and often the lines are as curves, use of angled and broken lines has been less seen. Since the nature has been the original and main source of inspiration for the artists of this land, and due to the tranquility and the grace, which exist, in Malaysian nature, it seems to have very strongly influenced the use of curved, smooth, and fluent lines. The forms all, like the lines, are primarily curved with a calm fluid rhythm and mild twists and pleasing tonality. The shapes are mostly with a limited and closed space which has had less connection to surrounding environment and the context. In the shapes, less exaggeration is seen, and most of the time these shapes are very close to the original state. In lots of the motifs, it has been seen that all the textures are smooth and fine and most of them have low congestion and free from excitement. In some of the forms, distance is very close, and in some others, is very remote where less balance is observed. In some of these motifs, owing to not observing the distance, forms are highly concentrated in the center and on a certain point, the forms are quite separated from each other and the heaviness and lightness are not properly observed. Proportion in size is seen in most of the motifs. In larger spaces, the motifs which are single have been designed smaller. Color is seen without contrast in single motifs, and these motifs can be used as single-color. However, the set motifs can be seen for the purpose of depth preservation with high tonality and various shadings which add the motifs aesthetics and attraction.

3 b) To analysis modern designs where the motifs are stylized, the images become symbolical. The contemporary and modern illustrations in today's societies are quite visible and appeal to all social classes; we can name the geometrical illustrations in this respect. Pace has had great influence on the modern patterns and so these illustrations have favored summation, meaning expressing the most possible denotations and concepts through the least number of lines and within the shortest time limit. By removing the details and simplification of the images, we witness the appearance of symbolism in the images. The artists of the symbolism and abstraction schools believe that the more detailed the visual information are delivered, the more apparent and limited the interpretations will be; and the more abstract they are, the more general and inclusive these interpretations will be. Many of the artists, in creation of the images have tried to mix the abstraction with the original form of the design and to use both forms in the arrangement to demonstrate the reality of the illustration to the viewer. However, through the general analysis of the images in this country, we are observing that the arrival of contemporary and modern images and changes in the traditional imagery has been very limited; and still these images with their meaning and concepts are have been used throughout time in their original form and seldom artists have had the intention to change these images. The artists have had great persistency and pride in the illustrations; have rarely diverted their attention to discordance from the conventions, trying to keep the essence of these images as they are. c) To develop new motifs and pattern design of hand-drawn Batik. In this research, 20 recognized motifs in Batik painting in Malaysia were chosen and analyzed in terms of the elements and principals of design. For each motif the elements such as

4 line, shape, form, color, texture, shape, space, size, composes, and pattern were discussed and the suggestive motif by the researcher was introduced for each motif. More complex shapes which are created from joining of two or more identical or non-identical shapes were developed. Symmetry, quality of joining, assembly, and sometimes replacement or repetition of the connection between the main shape and other shapes, the general form created from assembly of shapes were investigated. In addition, the influence of the culture, nature and religious in Malaysia on the batik design were discussed in this work. In the end for each image, based on the studies and analyses, one or several motifs have been offered, which are meant to include all the mentioned criteria and be beneficial to all the audience. d) To make some recommendations for new motifs design of hand-drawn Batik appropriate for Malaysia trademark batik. In this study, the researcher by going among people and consumers at different ages and from different social strata as well as designers, producers and sellers of this valuable art work has profited from their tastes and ideas and has selected a number of the prominent and well-known motifs. By focusing on these motifs, the researcher has tried to present a number of motifs based on their visual and structural aspects as the suggested motifs which are closer to the tastes and ideas of the present day people and at the same time to properly preserve their authenticity and original structure as well as their original meaning in the motif. In design of the new motifs, it is tried to design them so that when they appear in larger spaces and scales, their aesthetic and the attraction are enhanced and more customers are attracted to them. Writers answer these questions:

5 How the nature influences the motifs in designs of hand-drawn Batik in Malaysia? Nature is what has had great influence on the Batik motifs of Malaysia up until today. Nature has always been close to humans and a source of inspiration in creating artistic works. Humans through the influence of nature have portrayed their feelings in poetry, music, painting, drawing, and so on. As we know, many of the masterpieces are beautiful scenes of nature. The untouched and beautiful nature of Malaysia which is full of various flowers, plants, leaves, fruits, vegetables, as well as climate varieties, seas and forests, has always been a point of interest to the tourists and is an important and influential element in attracting the tourists to this country. The people of this country have a special point of view about the nature of this country and always include it in all aspects of their lives; they are among the special customers of such motifs for their textiles and as a result the artists have paid great attention to nature in their work to respond to those needs. Nature has special importance in linking the inner and outer worlds, so that many of the Batik designers of Malaysia recognize the nature as an educational source for change and transformation of materialistic presentations to the spiritual and the physical to mental; and with the creation of the beautiful works of the natural elements, has reached an expression beyond it. Why the motifs of flora are the most favorite in the hand-drawn Batik products in Malaysia? The images inspired by nature in Batik of Malaysia are mostly limited to the greenery and the expressive role of the plants which are the most prominent element of nature. Variety in the greenery in this region has increased the variety in

6 the illustrations; in this respect the motifs are divided in two groups of Flora and Fauna which we observe most among the Muslims for the reason of they don't use animal imagery. Flowers are of particular attraction and interest among the people of Malaysia: They are messengers of happiness and celebration in this country in the national and religious festivals. Each of these flowers have their own legends and iconic representations among the different tribes which all these characteristics themselves are effective elements in using these illustrations and is an important and abundant source of inspiration for the artists. How the culture affects the motifs in hand-drawn Batik in Malaysia? Another important factor which has substantial influence on the Batik motifs of this country is the culture and religion. Malaysia is a multi-cultural society; Islam, Buddhism, Christianity and Hinduism are the four religions which exist in this country. Also Malaysia is a multi-ethnic, multi-cultural and multi-lingual society including Malay, Chinese, and Indians. The most dominant ethnicity is the Malay and the major religion is Islam. The Muslims according to the Islamic regulations in this country are discouraged from the use images of animals and human figures and as a result this is another influential element on the usage of the illustrations derived from the greenery. In fact 70% of the illustrations used in the Batik art in this country are plant patterns. Why the traditional motifs are used to a larger extent compared to modern motifs in hand-drawn Batik of Malaysia? The illustrations used in the Batik of this country are categorized from the denotations, timing (chronologically) and their visual structures and all three

7 categories are interdependent. Many of these illustrations change throughout time and the social changes and some have remained intact. There are also some illustrations which have come about recently which are also moving in the direction of modernity and are under the global influence and the modern instruments. With the emergence of modernity, the pace and contractions in the lives of people we witness that the artists respecting people's point of views and their pride in preserving and prolonging these illustrations, still use the same traditional and historical illustrations in the Batik in this country. Some of the artists also have tactfully tried to modify the illustrations towards modernity or use both styles together; which we witness on the border of book pages. But the reality is that these artists and producers of the Batik products predominantly live in small towns and away from technology and any facilities and the modern taste; they are also deprived of any training in the prevalent modern trends and since this work is heavily loaded and cumbersome, it hardly attracts the younger workforce. The artists are still adamant in using the traditional patterns. In fact both the producers and the consumers have an Important and fundamental role in the process of application and usage of these patterns Why the motifs of nature are often used in the real form rather than geometrical and symmetrical form? Writers were mentioned before that people have had a particular apparition of nature throughout time, and it often has been tried that this vision is applied directly and without any modifications. In fact they have tried not to tamper with the lines and patterns and preserve each with their visual characteristics and iconic meanings. It is true to say that the calm weather conditions and the stable social circumstances which rule out anarchy and frenzy in this country, giving the people

8 sensitive souls and deep smiles, are also key reasons for using these flowing and smooth lines with no angles and broken lines or corners. It is always tried to use the illustrations in their real and original form. In fact they have hardly used contractions in the illustrations and have continuously tried the direct and non-mediatory use of the natural elements. Limitations The limitations of this research are confined to the collection of information because academic research and educational articles are few. In deed the majorities of the sources are about the production procedures and style, and seldom elaborate on the design and analysis of the patterns. The books and articles are hardly written on this and the majority of the available books on this art are written in Malay. For the reason that Indonesia is a neighboring to Malaysia and the significance of the Batik art in that country, the majority of the sources refer to the Batik art in Indonesia. Also when enter the local territories and villages one faces a variety of dialects which puts a burden on the process of investigation and reduces the direct contact between the individuals. Many of the individuals in the villages do not permit entrance to their workshops and any communication and many of the stores and the factories also for the reason of preservation of their products and their employment and trade security prohibit the researcher from filming the illustrations. Each of the above mentioned factors, alone, constraints the research to an extent, which affects the pace of the research and its quality.

9 Suggestions: Due to the locality of this art in Malaysia and its emergence in the modern world, it seems that further research and training is required. The suggestion of the researcher is that the researchers take serious steps in the modification of the prototypes and designs in this valuable art and for facilitating the communication with the masters of this art, use direct verbal communication. More books and academic articles are in need and magazines should contribute primarily to the design and analysis of the patterns and then to the advertisement and the trade aspects of this field. Another suggestion is that the universities should regard this valuable art with more emphasis and in an academic manner and consider it as an important higher education course of study with high levels of conduct. It is suggested to the students who try to take on any research in this area to categorize the illustrations in the order of their chronological, spatial and iconic/symbolic denotations; and be conscious of the social classes and age groups and utilizing the statistical methods and obtaining results for each age and profession design particular illustrations for them with regard to the values of the motifs. In fact statistical method for this research gives us more evident results about the tastes of individuals and for a more efficient design, and the designer, will have the resources. By analyzing the patterns in this country we have witnessed that the emergence of the modern and contemporary illustrations, the changes in the traditional illustrations are very limited and still these patterns with their meanings and concepts are used in their original form and hardly any artists have had the intention to change them. The artists, having great pride in the illustrations, have seldom diverted their attention to discordance from the tradition, and have tried to maintain the essence of these illustrations as they are. Therefore it is suggested that

10 students and scholars with respect to the structural and conceptual values of the motifs, bring them closer to the contraction and abstraction of today's world; so that we witness the raise in the consumer numbers and the advocates of this valuable art. Summary In this study, the researcher by going among people and consumers at different ages and from different social strata as well as designers, producers and sellers of this valuable art work has profited from their tastes and ideas and has selected a number of the prominent and well-known motifs. By focusing on these motifs, the researcher has tried to present a number of motifs based on their visual and structural aspects as the suggested motifs which are closer to the tastes and ideas of the present day people and at the same time to properly preserve their authenticity and original structure as well as their original meaning in the motif. In design of the new motifs, it is tried to design them so that when they appear in larger spaces and scales, their aesthetic and the attraction are enhanced and more customers are attracted to them. In this regard, few academic efforts have been made and this art has been so far viewed as a rather local art, and there is an ample space for activities to be done in this respect in order this valuable art to find its deserved position and place among other arts and to further motivate the producers and customers to move toward production and consumption of it.

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