By Assoc Prof Nor Zalina Harun
THIS post is about the lives of fine art artisans in Kelantan and Terengganu and how the architectural space in which they live affect their creativity and way of working.
There is a need to examine the composition of their residence in order to foster a greater awareness and comprehension of the artistic work they produce. Ten artisans were consulted for this, including wood carvers, shadow puppeteers (wayang kulit), and kite designers.
The artisans involved were chosen based on the recommendations made by the National Heritage Department and referrals from locals.
According to our study, their fine art creations were heavily inspired by natural elements such as flowers, leaves, birds, butterflies and even astronomy. This fine art work exemplifies the artisans’ indigenous knowledge about the content, topic and quality which distinguishes one work of art from another. Each artistic work discovered was found to have its own unique characteristics.
From the cognitive mapping of the space as well as the interviews, plethora of interesting insights on the life and working style of each artisan were recorded. The exploration of the role of space and its relationship to the culture of artisan work reveals a layered or process of creative creation.
This process is a mechanism which includes how they apply their senses to the working environment, which is closely linked to the natural elements surrounding their homes. Paddy field, mountain and the sea provide significant cultural ecosystem to these artisans.
This demonstrates that the ecosystem service principle, presented by De Groot in 2002, has existed in our culture for a long period of time. It occurs as a result of an individual’s interaction with the world, as evidenced by physical, spiritual and emotional development.
Even in the context of the environment and behaviour research, continuous contact with nature has a beneficial effect on one’s intellectual growth and the proliferation of ideas in the production of high-quality fine art. Not only does it require the use of sight to appreciate the beauty of nature but the process of creating high-quality works of art certainly requires the use of other senses such as smell, hearing, and touch.
The fragrant scent of kesidang (Valaris glabra) and cempaka (Michilea champaka) flowers beside the workshop, the salty and fishy smell of sea water, the sound of rice friction, the rustling of the wind, and the crashing of the waves all contributed to ideas and where creativity becoming truly susceptible. It is the natural environment that inspires and motivates them to work round the clock.
“Elusive assassination” of artistic minds
Aside from sensory exposure to nature and the indoor spaces, the complex shape of the workspace is another significant factor that influences the achievement and satisfaction of art production. Even though there are spaces that have indirect link with nature, artisans’ attachment to a calm environment is quite obvious, and we found a special room known as the space of creativity which provides them with the privacy needed. Unlike the ordinary traditional homes, the diverse features of each space in the artisan’s house are designed to satisfy a variety of needs.
For instance, at almost all workshops, the separation of private or creativity room and public space represents the mindset of those who enjoy celebrating their visitors and art lovers. The design and placement of exhibition, art galleries and multi-purpose spaces undoubtedly represents their hopes for the long-term viability of their respective works and legacies. The space variations and roles are also a unique feature which has resulted to a number of masterpieces, created by these artisans.
In a nutshell, our study found how fine art are actually triggered and defined by the continuity of ecosystems and multifunctional architecture. The study conducted from 2017 until 2020 shows that a cultural heritage like fine art is dependent not only on ideas of the artisan’s intellect and instinct.
It was also linked to the diversity of the work space and the daily experience with the peaceful nature setting that stimulate their thoughts and feelings. Although it is undeniable that traditional settlements where these artisans congregate are frequently threatened by development and physical change, key findings from this study are expected to serve as a reference in efforts to preserve and strengthen our remaining heritage.
What is certain is that housing compensation scheme in the form of concrete longhouses or flats, as happened in certain part of the East Coast lately, are not a form of appropriate “living” compensation for artisans, but rather a form of “elusive assassination” of their creativity. – June 28, 2021.
Assoc Prof Nor Zalina Harun is a senior research fellow at the Institute of the Malay World and Civilization, Universiti Kebangsaan Malaysia.
The views expressed are solely of the author and do not necessarily reflect those of Focus Malaysia.
