Introduction.
Art form, developed and deployed in, or through social traditions or society. Art belongs to the people, seen as a way of life concerned with the beauty of community experts. Art is a cultural tunjang the Malay community since generations again. With this kind of art identiti Malay community more recognizable terserlah and crowded.
Traditional arts heritage among the Malays delivered orally from one generation to generation, but as an individual artist who produces kreativiti has room to promote and maintain the aesthetic values of works of art. Art of the Malay race has been recognized worldwide as unique and interesting. Art in the Malay community is a creation that contains the elements of art produced by the Malays through carving, weaving, weaving, art building and so on.
Handicrafts is a work of art designed to be used, but created by inserting the elements of art to form a beautiful and interesting. Handicraft creation requires expertise and efficiency in the use of basic materials from the place since the beginning to a craft that is created. The handicraft creation process requires its aesthetics in order to provide a beautiful and attractive design.
The art of weaving is a craft form that can not be separated from the traditional Malay way of life and family archipelago. From mats to the wall protecting homes, work environment to weave form that can be seen everywhere. This is not surprising because the tropical vegetation is suitable to be made of woven material.
Weaving is the process of establishing fairway leaves, sticks, rattan, roots, reeds and several other plant species. They form some kind of kraftangan generated via convenient in order to create something daily requisites example produces hats, hoods food, weaving baskets and mats to lay a base for a seat.
Beyond Crafts and Creative Aesthetics Statement Malay.
Associated with the term aesthetic values of beauty, including in it the meaning, among others, well, pretty, beautiful, graceful, good, gentle, strong, balanced, strong, clear, quiet, empty, dark, dynamic, strong, living, moving, bland, sentimental and tragic. An aesthetic expression of the human needs that fall within the cultural needs, this need arises because of the personal motivation of human rights have always wanted to reflect keradaannya as moral beings, understanding and feeling.
Aesthetic requirements, either directly or indirectly, absorbed in activities to meet the needs of others, whether the needs of primary, secondary, or other cultural requirements, associated with feelings of good and true, fair and not fair and reasonable or otherwise.
When he explained the meaning of aesthetic discussion were related to sensory observation of the subject or environment that emphasize the art or beauty, not the emphasis on functional and sophistication of the object. While when explaining the meaning of creativity in a Malay art, often pemaknaan production yield only bounded observation and clever craft creative manifestation of the Malay world.
It is not creative art of a nation that forms the expressive culture of the group through which the state needs and desires in their lives?. In the context of craft creative work is often associated with inadvertence, duress live and spontaneous. What is the creative work pemaknaan Malay craft separated from the thought process was rigorous, comprehensive and unique?
This clearly proves that, sophistication to produce art objects are rarely associated with scientific thinking and mathematical thinking. Documentation of the Malay weaving art is not associated with scientific and mathematical sophistication of thought such as the Greek mathematician Pythagoras or Archimedes. Why is rarely woven sculpture and is equated with science and mathematics? Carving is often associated only as expressions of creativity and aesthetics alone as stated by Siti Zainon (1986), namely:
" Siti Zainon The Malay artists produce works of applied art, but full of creativity and aesthetic that's been tested throughout the ages. Carve not only use the material but also give their thoughts and feelings ".
Mempamerkan woven art culture and way of life of people melayu yore. He is sometimes referred to as "poor art" because done by the village people simply to satisfy their daily needs. Wicker products like baskets and furniture that is mostly for their own use or sold on a small scale in the open market. Income something rattan products is not an easy matter for men of old.
Raw materials, the cane, are found only in forests. It has to be cut, cleaned, treated and dried carefully to suit the equipment can be used. Communities also need to think of old the most effective way to produce products that are not only beautiful but can last.
Rattan, it is the result of the most important non-timber forest in Peninsular Malaysia. This plant usually grows wild in many areas of forest deepening semulajadi in Pahang, Perak and Kedah. Rattan company in the country is more concentrated to-aktiviti aktiviti spending Tempatan furniture for the market.
The most popular cane and become the preferred choice for the manufacture of furniture frames and rattan cane is the scientific name of manau Calamus Manan. Other types of rattan, including rattan type dock (Calamus ornatus) and Semambu (Calamus scipionum). Sega rattan (Calamus caesius) is a small rod that has a high commercial value. This cane does not exceed the size of the little finger and is usually used for the bond and connection of furniture components.
In rural areas, small size rattan species are used as weaving material for making rope, baskets and trays. Produced from forest rattan cleaned, treated and dried before sent for processing. Diameter of the rod is taken into account to determine the blade to be used for each stage of cane cut.
Ranked second is the process of cleaning the surface of the cane. Will be discarded outer skin of rattan and wicker surfaces cleaned twice. Rattan terhasil through this process is more white and clean. Any dirt that remains will be removed manually.
The next process is to produce blades of cane known as penjalin. Rod diameter will be measured again as the size of the smaller rod outer skin removed. Blades according to the new size of the cane is used to obtain the maximum amount penjalin cane.
During this process, called the center of the heart rattan cane is processed again to get a few more blades penjalin cane. For example, 9mm diameter rod can produce eight penjalin rattan blades during the first stage of the process of cutting and four more during the second. The deepest part of the cane rod will be processed for use as structural columns on rattan products to be produced.
On the whole, only a small part of the cane can not be used. Malay community would not be disclosed to any modern technology in their products. Their knowledge is based on what has been revealed by their ancestors other than exploration through trial and error 'and the concrete experience of the way. This informal training has enabled them to design and develop products that are not only suitable for daily use but is the creation of the full force of creative and aesthetic.Despite the creativity and aesthetic that shines on a woven product, do not doubt that it arises from penggubahnya thinking and specific processes that must be taken to achieve the best results. Weaving the resulting product is enough to prove that the Malays have the brain power that is not only able to identify materials and processes but also carry out calculations mentally (mental arithmetic) in a timely and detailed and scientific reasoning in the production of rattan-based products.
If examined in detail the scientific and mathematical minds of the Malay community is implicit in the arrangement and pattern of very fine and artistic production. According to Lawson (1995) individual scientific thinking developed from low level to a higher level of cognitive development as an individual.
Development of scientific thinking occurs when individuals are able to control the knowledge and the scientific process through logic and reasoning. This aspect of the individual can operate at the level of descriptive where they operate, such as observations, lists of facts, classification and make generalisai. High-level scientific thinking involves the exercise of individual processes such as combinatorial thinking, control variables and generate hypotheses, carry out thoughts of proportionality, probability and correlation.
The question now is whether the Malay weaving art shows the pattern of scientific thought on the composer and arrangement? If examined from the processing of raw materials until the resulting product is clear and obvious artistry that scientific thinking plays a big role in the art of weaving. Raw material processing stage involves the scientific thinking of some aspects such as:
i. careful observation of nature rattan obtained;
ii. identify the characteristics of rattan as maturity, size and type;
iii. classify the features of the cane;
iv. and make generalizations such as determining the most suitable cane on the facts collected.
Thinking pattern, which is more descriptive and more using concrete experience and their existing knowledge. Because exposure to formal scientific information is not available, use a lot of Malay thinking and logical reasoning. This knowledge is used and tested by 'trial and error' to get the best material for the production of products. Malay weaving art can tell a high-level scientific thinking processes implicit in each of their compositions. Antarannya including:
i. combinatorial thinking ability to determine even and odd combinations of metal in the composite;
ii. ability to control variables and generate hypotheses when determining the amount penjalin to obtain the desired size and shape;
iii. Undertake a proportional thinking, probability and correlation of areas such as making a correlation between the size of the cane and the resulting product size, proportionally think apbila determine the coloring on raw materials and thought processes in the probability of the pattern is produced. Clearly, woven art, the patterns and geometry calculations and scientific processes related how the Malay community of old thinking and scientific reasoning.
Conclusion.
Is the art of a woven material, have the same meaning and expression of its existence is a melting pot of ideas involving the senses of sight, hearing, thinking and awareness are balanced as a symbol that gives the meaning of its own in the community in relation to customs, religion, beliefs, manners, feelings, thinking and philosophy of Malay life.
Peter Dolmer (1997) interpret the meaning of skilled craft as a creative activity and research processes that must be taken to produce this weaving art shows that it is scientific and mathematical thinking require a complex and complicated, often only considered as a symbol or sign of the sensitivity of the original work arts.
Sumber: Jurnal Peradaban Melayu, Jilid 5, Tahun 2007 – Pemikiran Saintifik dan Matematik dalam Kraf Anyaman Buluh Melayu Tradisional: Satu Kajian Kes. UPSI.
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