Concept and idea of wood carving in traditional Malay architecture of Malaysia The 3rd. China - ASEAN International Wood Culture Forum

Architectural elements of the building has been a medium for the work of traditional Malay woodcarving. Most previous Malay community did not use writing for daily communication. They are not illiterate but most of them are people who do not use a script to be written on the building. However, they use wood carvings on the interior walls and other building elements in the parable to convey a message or interpretations to the practice of community life as well as the climate and the environment in their neighborhood. Carving work together with the whole idea of building design, and became a prominent decoration and the symbolism of the building. For traditional Malay architecture, wood carving work is not only seen as a decorative and architectural achievements of the work, but should be seen as an expression of cooperation between buildings, artisans, craftsmen and suppliers of wood carving works. Without cooperation there can be no integration and coordination between knowledge of architecture and works of art and scientific knowledge of the construction work. Ornamentation and symbolism discussed in this paper relate only to the art of carving wood used in building construction. Through decoration and symbolism produced by handicraft, it can be assessed and confirmed the level of thought and sophistication of tools and technology they use to further develop the completed work. The works will also act as recorder of knowledge and facilities owned by the producing community in their time. Works of famous traditional Malay art hardwood use in building elements showed different sophistication in every element of building the skills and knowledge of the artisan who makes carving works. Usually the order of the traditional Malay structures is divided into three parts, namely Column Section, Wall Section and Roof Section. Column Section symbolized as foot of building containing building elements such as carved on pillars liner, pillars, stairs and handrails, beams and joists end, ‘bendul’ (sills) and 'tetupai' (cleat) and side board. Wall section is considered as body building containing building elements such as carved on hanging pole, lattice walls, doors, windows, 'pagar musang' (baluster) and filigree leaves between sheets of wall coverings and beams or columns. Carved patterns in different styles and motifs are subject to living standards, the role and the ability to use by building owners. Section of Roof was considered as the main role of the building head as a crown to the building should look beautiful. Section of Roof contains sculptures on roof of building elements such as face frames under cover pole, ‘tebar layar’ (gable end panel), ‘pemeles’ (beautiful fascia board’, ‘buah buton’ (suspended locking device), ‘tunjuk langit’ (sky pointer), and so on. Roof construction are often also decorated with sky pointer or board on the porch lizard heads ridge, on the summit ridge roof crown and dragon bones at ridge, board trickling carvings on the roof and eaves ducks on slanting ridge depends on the design of each building. The wood carving philosophy is actually expiratory of love for beauty. The beauty of art was born out of honesty that requires patience and perseverance. Carving has the long-established in the art of Malay heritage is one of the highest values of civilization. Wood carving is an art that has not been influenced by any other elements and blended with the Malay community especially in the Malay Peninsula. This art concept of natural balance in composition, selection of motifs and carvings. This art has directly teaching us to respect one another, respect for nature and not overbearing as composite style as the leaves that always droop to the ground. Processing and understanding is associated with divinity and philosophy blended friendly with universe in harmonious unity.