INTERNATIONAL ISLAMIC UNIVERSITY OF MALAYSIA

BACHELOR OF APPLIED ARTS AND DESIGN

YEAR 2, SEMESTER 2, 2019/2020

ISLAMIC CRAFT AND CRAFTSMANSHIP: CONTEMPORARY WOOD CARVINGS

Name: Muhammd Firas Bin Ahmad Fisol

Lecturer: Asst. Prof. Dr. Zumahiran Kamarudin

1.0 Introduction 3
2.0 Background Study 4
3.0 Analysis of Selected Artwork 6
4.0 Conclusion 8
5.0 References 9
 1. INTRODUCTION

The word craft has been co-opted by marketers worldwide but in our design world,

craft is a handmade object that is at that wonderful intersection between art and design pieces.

It’s one aspect craft expresses authenticity such as authenticity of the maker, authenticity of

materials and authenticity of the process that's what makes it such a valuable product. Plus,

it's something that demands creativity and problem-solving skills to be able to stand out from

one and another product. Thus, attention to detail, diligence, and determination are required

in making a craft.

Meanwhile, craftsmanship craftmanship is the high-quality assembly or creation of an

object a craftsman is a person highly skilled in a particular craft. It happens when they use

that skill to produce a high-quality object the object is said to show their craftmanship.

Furthermore, craftsmanship is learned find something you like or even love and then you

practice it a lot you'd get really into it and then use it to help other people by listening to

people and then offering up solutions that meet their needs. Personally, in my opinion

craftsmanship means love made visible by other means is doing something with heart and

really putting your all into it.

2.1 REHAL

Rehal was invented to place any reading material such as books, religious book and

Al-Quran. It had been a norm to the archipelago community on rehal usage. Normally, it will

be used to place Al Quran on high base as it resolute noble and sacred words of Allah that

needed to be conserve and pertain its nobility. Rehal can be now called as an artefact that was

usually associated with other Malay or the archipelago artefacts such as keris, songket and

tepak sirih n the Malay culture.

Despite using it for reading and studying, it had been also being used during

ceremonies, marhaban, religious classes and often as a weeding gift and teaching aid in

mosques since Islam arrived in the Archipelago community. Rehal is used by Muslims all

over the world, regardless of race, young or old, servant or king, poor or rich. The basics of

reel design are almost identical, but there are variety in terms of materials, techniques, sizes

and decorations used. This diversity indirectly reflects the artistic and cultural identity of the

people who produced it.

Fig. 2 Tajuddin Awang

Tajuddin Awang is a humble craftsman and had been living in Kampung Da’ah,

Rantau Panjang, Kelantan for 58 years. To support his family and himself, he worked as a

rubber tapper at his own rubber plantation nearby his house. His desire and skills towards

making rehal and wood carving leads him to earn extra income for his family despite

fulfilling his leisure time. During his teenage years, he had been learning and practicing wood

carving on rehal for 10 years from his late father. Thus, he tried to continue his father legacy

of having the craftmanship that he inherits from his father. His carving method is very

intricate and need high skill in making it as craftmanship needed to be valued and conserved.

His goal in the rehal and wood carving is not to earn much money by selling many of its

product but to let people appreciate the craftmanship of the rehal. Besides, he only carves it

upon order in a long term makes the rehal very exclusive and precious
 3.0 ANALYSIS OF REHAL

3.1 TYPES AND FORM OF REHAL

Traditionally, there are only two types of rehal, which is rehal bersilang and rehal

berjejari. Rehal berjejari seems to an extent design of rehal bersilang with the same function

and form. Ironically, both type of rehal seems to be in a form of cupping hands that brings a

meaning of revelation and knowledge brought from the sky such as scripts in Al-Quran. What

differs is the way of interlocking both planes of rehal. Plus, rehal berjejari seems to be more

suitable to carve on. Thus, Tajuddin always prefer to carve on rehal berjejari rather than rehal

bersilang. But it’s an exception for any customer that request for any types of rehal, since he

won’t hesitate to go for it.

Fig. 3.1 Rehal bersilang Fig. 3.2 Rehal berjejari

3.2 MATERIAL USED

In the making of the traditional rehal, the most famous material is wood. However,

wood species differ from one another in terms of density, strength and endurance. The

uniqueness of colours, veins and wood accents also gives a distinct visual effect between

them one species with another species. Therefore, cengal are the first choice for local carvers

and craftsmen because of the advantages of this wood which is naturally hard but easy to

engrave and withstand its hardness during fencing tapping and incising the wood. The

overlapping veins and smooth grain of cengal makes it very fine and exclusive.
3.3 TECHNIQUES

As the main material mostly ae wood the technique used are also in accordance with

the material. The manufacture by Tajuddin implements wood carving and incision such as

tebuk tembus and tebuk timbul. The art of wood carving and incision had been a norm in the

Malay community as many specialist and craftsmen are Malay. Hence, it’s easy for him to

get the tools and looking for any reference.

3.4 MOTIFS

In terms of decorative engraving on the walls, there are several commonly used

motifs, floral, geometric, cosmic and calligraphy motifs. The floral motifs often carved on the

wood are sunflowers, backdrops, alligator fingers; the motif of the cosmos involves the

carving of the sun, moon, stars, mountains and etc. These motifs are then transformed into a

specific pattern or design. Whilst, Tajuddin prefer exploring more on floral motifs as it gives

a beautiful sight for his customer and for their satisfaction.

He also emphasizes that rehal was designed in such a way as to reflect the aesthetic

and ventilation (ventilation) in the architecture of direct carving has meaning and

philosophical worldview of the Malays. However, in his view, calligraphic motifs of Quranic

verses are not recommended because the position of the recluse is usually placed facing the

knee during the sitting or kneeling position when the Quran reading activity is performed.

Fig. 3.3 & 3.4 Floral motifs that had been carved on the traditional rehal
 4.0 CONCLUSION

Whilst the association with Al-Quran, rehal had been widely used as a symbol or a

manifestation of high intellectual, rich in knowledge, modern civilization, good ethics and it

uphold the image of Islam by being the best way of life. This art of wood carving is one of

the special creations of Muslims. Therefore, because Islam is so closely related to Malay or

often synonymous with Malays, it’s a norm to see the people uses during ceremonies,

marhaban, religious classes, and often as a wedding gift and as a teaching aid in mosques.

Although the look and style are different, the purpose of the design remains the same, that is

in honour of Kalamullah.
 5.0 REFERENCES

1. Taufiq Tuah, June 23, 2016, Penggunaan Rehal Tradisional Dan Rehal Moden,

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rehal.html?m=1

2. Tuaran, Kota Kinabalu, February 17, 2010, REHAL – Estetika dan Falsafah,

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falsafah.html?m=1

3. Dr Inderawati Zahid, December 2009, Rehal Warisan Negara, Retrieved March 11,

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4. A.S. Anis, R. Zuliskandar, East Coast, Peninsular Malaysia Traditional Rehal:

Analysis on The Materials, Techniques and Sizes, April 2018, Vol. 31, No. 1, Hlm. 35-48

Issn 0128-0732 E-Issn 2590-4302 Retrieved March 11, 2020

5. R. Zuliskandar, S. Mohd, Arkeologi, Sejarah Dan Budaya, Institut Alam dan

Tamadun Melayu (ATMA), UKM 2014, Prosiding Seminar Antarabangsa Ke-3 Arkeologi,

Sejarah dan Budaya di Alam Melayu, ISBN 978-983-2457-77-0, Retrieved March 11, 2020