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  • Master Craftsmen

Master Craftsmen

Adiguru Kraf or a Master Craft is a title given to an accomplished craftsperson by the government of Malaysia, in recognition for high achievements in his/her respective craft-field, pertaining to the following criteria:-
  • Highly knowledgeable and skilful in his/her respective craft –field, vis-a-vis an expertise in fine-workmanship, designing, embellishing and producing splendid heritage craft of Malaysia.
  • Engaging actively and passionately in restoring and preserving craft heritage.
  • Discerning in imparting knowledge and skills to apprentices and other crafts people as the future custodian of craft heritage; and
  • Exceptionally creative and innovative in further developing and enhancing the quality of locally-inspired craft products.


    • Adiguru Kraf Tembaga  Allahyarham Encik Wan Abdullah bin Wan Muda

      Adiguru Kraf Tembaga
      Allahyarham Encik Wan Abdullah bin Wan Muda

      Nama           : Allahyarham Encik Wan Abdullah bin Wan Muda
      Bidang Kraf  : Tembaga
      Adiguru        : Adiguru Kraf Tembaga
      Negeri          : Terengganu
      Tarikh Lahir  : 1920 - 14 Mac 2004
      Lantikan Pertama  : Tahun 1987


      SEJARAH PENGLIBATAN TOKOH DALAM PERTUKANGAN TEMBAGA

      Seni kraf tembaga dipercayai warisan zaman pemerintahan Dong Son di Funan. Akibat pemberontakan menentang rejim pemerintahan menjelang tahun 800 masihi, ramai nelayan menjadi tukang ukir dan tukang logam berhijrah ke Thailand, Kepulauan Indonesia dan Tanah Melayu. Di sini mulanya perkembangan budaya kemahiran seni logam di Tanah Melayu, khasnya di negeri Terengganu. Kini negeri ini telah melahirkan ramai pengusaha yang berkemahiran tinggi dalam bidang pertukangan kraf tembaga.

      Barangan kraf tembaga secara tradisional dibuat menggunakan acuan lilin tetapi kini telah beralih kepada penggunaan acuan pasir. Kebanyakan proses pembuatannya masih menggunakan tangan dengan kaedah campuran tembaga dengan aloi tertentu. Barangan kraf tembaga yang telah siap, kemudiannya dibentuk menggunakan bantuan mesin dan dihiasi dengan motif ukiran.

      Salah seorang pelopor seni kraf tembaga yang tersohor adalah Allahyarham Encik Wan Abdullah bin Wan Muda. Dilahirkan pada tahun 1914 di Kampung Tanjung iaitu sebuah perkampungan Melayu yang terletak di Kuala Terengganu. Pada zaman awal pendidikannya, seperti kanak-kanak lain beliau dihantar ke sekolah agama. Bermulalah titik penglibatan beliau dalam pertukangan tembaga kerana secara kebetulan salah seorang guru beliau merupakan seorang tukang tembaga yang bermahiran tinggi.

      Allahyarham mula serius menceburi bidang pertukangan kraf tembaga pada usia 28 tahun di mana beliau terus mendalami ilmu pertukangan daripada pelbagai tukang-tukang tembaga tersohor termasuklah Tuan Haji Bakar Abdul Rahman dan Tuan Haji Mat Cik.



      Di kalangan adik-beradiknya, hanya beliau dan adiknya Tuan Haji Wan Yahya sahaja menceburi bidang ini. Kreativiti dan minat beliau dalam bidang seni tembaga ini telah menarik perhatian dan galakan daripada kedua-dua orang tuanya untuk terus bergiat secara serius. Pengaruh rakan-rakan sebaya, keadaan persekitaran, minat dan kedudukan ekonomi memberi sumbangan ke arah keterlibatan beliau dalam aktiviti seni pertukangan ini.

      Sebelum zaman pemerintahan Jepun, beliau telah memulakan perniagaan dengan menghasilkan barangan kraf tembaga seperti periuk berukuran 3" x 4" dengan harga satu ringgit sebuah pada ketika itu. Di antara produk lain yang turut beliau hasilkan adalah seperti Sekodi serta bekas-bekas kuih seperti Sarang Cermai, Sarang Apik-Apik, Bakor dan Kuali Kuah. Hasil-hasil kraf tembaga ini kemudiannya dijual kepada orang ramai.

      Selepas tahun 1948, Allahyarham menjual peralatan serta barang-barang tembaga di sebuah kedai kepunyaannya yang dikongsikan bersama dengan seorang rakan. Perusahaan beliau ini hanya dibuka di waktu pagi dan berhenti rehat pada pukul satu tengahari. Kira-kira sejam sebelum beliau menutup kedainya, rakannya akan pulang untuk melebur acuan. Ini membolehkan beliau terus melakukan kerja-kerja menuang sekembalinya ke rumah. Waktu perniagaan beliau akan disambung semula sehingga lima petang.

      Penglibatan Allahyarham Encik Wan Abdullah sepenuhnya dalam pertukangan tembaga secara sepenuh masa hanya bermula pada tahun 1965. Pada ketika itu, beliau bekerja dengan bantuan tiga orang pemuda yang diupah mengikut gaji harian dengan kadar bayaran sebanyak dua ringgit sehari. Wang bukan merupakan matlamat utama, sebaliknya pengalaman dan kemahiran dapat menentukan masa depan mereka. Berorentasikan kepercayaan ini, maka pembantu-pembantunya bekerja dengan penuh tanggungjawab untuk menghasilkan barang-barang tembaga yang bermutu tinggi.

      Permintaan terhadap barangan tembaga juga semakin meningkat dan beliau dengan bantuan oleh beberapa orang pekerja bagi kini mampu menyiapkan setiap tempahan yang diterima. Logam tembaga yang ditempa dan diukirnya dengan penuh kesungguhan menghasilkan barangan yang indah dan berkualiti menyebabkan namanya kian tersohor ke seluruh negeri.

      DAYA KREATIVITI DAN INOVASI

      Di antara petua-petua yang sering diamalkan sewaktu menuang leburan tembaga adalah dengan :-

      i.   Pastikan acuan dalam keadaan rata, Ianya dapat ditentukan apabila tembaga yang telah masak dituangkan ke dalam acuan.
      ii.   Mengawal suhu kepanasan dengan cara mengelakkan lebih angin ke atas acuan. Ketika ini proses melebur dilakukan dengan berhati-hati supaya api tidak meliuk-liuk ke satu bahagian sahaja.
      iii.   Memastikan dilakukan pada hari yang dianggap elok menuang adalah pada awal bulan iaitu di antara satu hingga sepuluh haribulan.
      iv.    Seseorang pengusaha tidak digalakkan menuang tembaga sewaktu berlaku sesuatu kematian. Jika tidak, beberapa masalah akan timbul seperti terjadi kerosakkan pada acuan atau kelewatan dalam proses melebur.
      v.    Pembacaan ayat-ayat Al-Quran bagi mempermudahkan urusan kerja.
      vi.    Penyediaan bengkel yang selesa dan mempunyai ruang yang mencukupi. Ini penting bagi mempermudahkan pergerakan.




      Hasil-hasil kraf tembaga oleh Allahyarham Wan Abdullah tidak sekadar yang dijual dikedainya sahaja. Barang-barang tembaga yang dijual dikedai lebih tertumpu pada hasil-hasil tembaga yang kecil. Beliau turut menerima tempahan dalam bentuk kuali, tempayan atau pasu bunga yang mana sebilangan besar dari pelanggan-pelanggan beliau terdiri dari golongan yang berpendapatan sederhana dan pihak istana.

      PENGALAMAN, PENGLIBATAN DAN PENCAPAIAN

      Warisan seni pertukangan tembaga masih berterusan melalui usaha dan kemahiran diambil alih oleh seseorang pengusaha dari pengusaha sebelumnya. Mengikut kebiasaan, ia diwarisi oleh salah seorang ahli-ahli keluarga tokoh tersebut sepertimana minat yang ditunjukkan oleh Encik Daud, anak sulung Allahyarham Wan Abdullah. Beliau kerap memerhati kerja-kerja ayahnya sebelum membuat sendiri sehinggalah beliau menjadi cekap dalam segala teknik dan proses. Ayahnya hanya bertindak memberi panduan dan mengawasi hasil kerja-kerja anak-anaknya.



      Dalam pada itu, Allahyarham Wan Abdullah tidak ketinggalan membimbing, melatih dan mengajar anak-anak muda tempatan. Setiap hasil kerja logam tembaga yang ditempa dan diukir oleh Pak Wan penuh dengan kesungguhan, indah dan berkualiti menyebabkan namanya tersohor ke seluruh negeri.

      Kraftangan Malaysia telah melantik beliau sebagai Adiguru Kraf Tembaga pada tahun 1987 di atas sumbangan dan kemahiran beliau. Pada tanggal 14 Mac 2004, Allahyarham Wan Abdullah bin Wan Muda telah dijemput Ilahi. Segala jasa, bakti dan komitmen beliau dalam memartabatkan seni kraf tembaga amat disanjungi. Semoga roh Allahyarham dicucuri rahmat dan ditempatkan di kalangan golongan orang yang beriman.
    • Adiguru Kraf TekatanAllahyarhamah Puan Ainatisah binti Bilal Din

      Adiguru Kraf Tekatan
      Allahyarhamah Puan Ainatisah binti Bilal Din

      Nama           : Allahyarhamah Puan Ainatisah binti Bilal Din
      Bidang Kraf  : Tekatan
      Adiguru        : Adiguru Kraf Tekatan
      Negeri          : Perak
      Tarikh Lahir  : 1941 - 14 September 1989
      Lantikan Pertama  : Tahun 1987


      Seni tekatan benang emas merupakan kemahiran kerja tangan warisan yang sinonim dengan masyarakat di daerah Kuala Kangsar Perak. Salah seorang tukang tekat yang terkenal dan disegani di negeri Perak adalah Allahyarhamah Puan Ainatisah binti Bilal Din.



      Beliau dilahirkan pada tahun 1941 dalam kalangan keluarga seni yang mempunyai kemahiran menekat. Telah menjadi amalan setiap keluarga tradisional ketika itu anak gadis tidak digalakkan belajar di sekolah. Namun demikian, setiap ibu bapa memastikan anak gadis mereka mempunyai asas pendidikan agama dan rumah tangga termasuk kemahiran kerja tangan sebelum melangkah ke alam rumah tangga. Oleh yang demikian setiap anak gadis yang mencapai usia remaja diajar mengurus rumah tangga di samping belajar menjahit, menganyam, menenun, menyulam atau menekat.



      Demikian jugalah pengalaman Ainatishah. Beliau belajar menekat daripada ibu dan neneknya sehingga lama kelamaan seni kemahiran ini menjadi sumber pendapatan beliau. Tempahan diterima bukan sahaja dari masyarakat setempat malah juga daripada kerabat diraja dan pembesar istana. Motif-motif flora seperti bunga kekwa, anggerik dan asam batu ditekat penuh teliti di atas kain baldu terpilih lalu menghasilkan produk yang cantik dan penuh berseni.

      Kehalusan hasil tekatan beliau menjadi sebutan. Beliau turut menurunkan ilmu kemahiran kepada generasi muda yang berminat dalam seni tekatan. Bagi menghargai sumbangan dan kesungguhan beliau mempertahankan seni kemahiran menekat, pada tahun 1987 Kraftangan Malaysia telah melantik Allahyarhamah Puan Ainatisah binti Bilal Din sebagai Adiguru Kraf Tekatan.
    • Adiguru Kraf Perak Allahyarham Tuan Haji Ibrahim Bin Haji Ismail

      Adiguru Kraf Perak
      Allahyarham Tuan Haji Ibrahim Bin Haji Ismail

      Nama           : Allahyarham Tuan Haji Ibrahim Bin Haji Ismail
      Bidang Kraf  : Logam (Pertukangan Perak)
      Adiguru        : Adiguru Kraf Perak
      Negeri          : Kelantan
      Tarikh Lahir  : 28 September 1924 - 2018
      Lantikan Pertama  : Tahun 1987


      LATAR BELAKANG PERTUKANGAN PERAK DI KELANTAN

      Seni pertukangan perak adalah satu daripada cabang kesenian orang-orang Melayu yang amat terkenal di negeri Kelantan. kemahiran pertukangan logam oleh orang-orang Melayu dipercayai telah wujud sejak zaman-berzaman, hasil pengaruh tamadun Hindu dan Islam yang memang terkenal dengan pertukangan barangan logam seperti emas dan tembaga.

      Barangan perak yang dihasilkan terbahagi kepada 3 jenis iaitu:
      a) Barang-barang kasar (serbaguna) - barang-barang dapur seperti pinggan mangkuk, teko dan sebagainya.
      b) Barang-barang filigree seperti aksesori wanita dan cenderahati
      c) Barang-barang perhiasan ikatan permata

      Bagi masyarakat yang telah mengenali seni pertukangan perak filligree mempunyai keindahannya yang tersendiri. keindahan yang dinaksudkan ini bukan sekadar kehalusan ragam hiasan pada sesuatu hasil karya itu, malahan juga pada penciptaan satu-satu motif yang terselindung di sebaliknya mengikut daya imaginasi jiwa pencipta itu sendiri.

      Kebanyakan barangan filligree memaparkan peralatan perhiasan diri yang menjadi kegemaran kaum wanita. Berbagai motif bunga-bungaan terdapat di dalam pertukangan perak filligree seperti bunga matahari, bunga cempaka, bunga orkid, bunga mawar dan lain-lain motif moden dalam rekacorak pertukangan filigree.

      Rekaan motif pada barangan perak filligree bukan sekadar hiasan sahaja tetapi juga adalah manifestasi falsafah budaya Melayu melalui hasil cipta yang penuh simbolik.

      KEPIMPINAN DAN KETOKOHAN

      Seni pertukangan perak di antara cabang kesenian warisan yang amat terkenal di Kelantan. Pertukangan perak dikatakan berkembang di Kampung Sirih yang terletak berhampiran dengan Kota Bharu. Di sini munculnya ramai tukang perak yang hebat dan di antara mereka ialah Haji Ibrahim Ismail. Dilahirkan pada tahun 1924 di Kampung Sirih, Kota Baru Kelantan, beliau mendapat pendidikan awal di sekolah Majlis Agama Islam dan kemudian melanjutkan pelajaran ke sekolah Menengah Kota Bharu dan pada tahun 1939 beliau memulakan tugas sebagai guru.



      Minat terhadap seni pertukangan perak dipupuk sejak di alam persekolahan lagi. Bapa saudaranya, Haji Abdul Rahman banyak membimbing dan memberi galakan kepada beliau mengenai selok belok pertukangan perak. Penglibatan beliau dalam bidang kemahiran perak bermula usia seawal 12 tahun lagi. Ketika itu hanya ingin mencuba sahaja, tetapi lama kelamaan minat terhadap kemahiran barangan perak mula timbul. Sewaktu berusia 19 tahun beliau bekerja sebagai seorang guru dan pada masa yang sama juga beliau membuat barangan perak secara sambilan.



      Selepas menjadi guru beliau masih lagi mencari waktu untuk meneruskan kegiatan bertukang. Tahun 1948 beliau mengambil keputusan berhenti daripada menjadi guru dan menceburi bidang pertukangan perak sepenuh masa. Beliau juga merupakan antara tukang perak yang menggerakkan semula Kelantan Malay Arts and Crafts (KMAAC).

      PENGALAMAN, PENGLIBATAN DAN PENCAPAIAN

      Pada peringkat awal penglibatannya, Haji Ismail gemar membuat barang-barang mudah dan kecil seperti kerongsang, subang, gelang, sudu, garpu, pisau dan senduk. Ini merupakan titik permulaan penglibatan beliau dalam seni pertukangan perak. Beliau kemudian diberi kepercayaan menyediakan cokmar untuk Dewan Negara, Dewan Rakyat, Universiti Kebangsaan Malaysia, Universiti Malaya dan Universiti Sains Malaysia. Di samping itu beliau menerima tempahan dari kerajaan negeri seperti Terengganu, Kelantan, Kedah, Negeri Sembilan, Selangor, Perak dan Pulau Pinang bagi menyediakan pingat kebesaran.



      Untuk membuat satu cokmar ia mengambil masa selama 6 bulan. Hanya orang yang memiliki kepandaian yang tinggi terhadap kemahiran perak sahaja yang mampu membuatnya. Setiap cokmar berukuran sepanjang 5 kaki lebih. Cokmar yang asalnya merupakan alat senjata diubah bentuknya menjadi sebuah alat lambang kebesaran dan kuasa. Selain itu, Tuan Haji Ibrahim juga membuat produk perak yang lain. Setiap hasil kerjatangan beliau yang dihiasi dengan motif-motif tradisional seperti Awan Larat, Bunga Tanjung, Sulur Kacang dan bermacam-macam lagi mengandungi pelbagai maksud yang tersirat.



      Ramai tukang-tukang perak yang turut menempa nama dalam bidang pertukangan perak pernah mendapat bimbingan dan tunjuk ajar daripada beliau. Beliau juga bergiat cergas dalam bidang politik dan pernah dilantik menjadi wakil rakyat bagi Dewan Undangan Negeri Kelantan kawasan Hulu Kelantan pada tahun 1964 hingga 1968. Beliau juga menerima Anugerah Pingat Seri Mahkota Kelantan (1968) dan Anugerah Pingat Ahli Mangku Negara (1967). Bagi menghargai sumbangan Haji Ibrahim Ismail terhadap perusahaan pertukangan perak negara, Kraftangan Malaysia telah melantik beliau sebagai Adiguru Kraf Perak pada tahun 1987.

    • Adiguru Kraf Tenunan DastarAllahyarhamah Hajah Ramiah binti Abdullah

      Adiguru Kraf Tenunan Dastar
      Allahyarhamah Hajah Ramiah binti Abdullah

      Nama           : Allahyarhamah Hajah Ramiah binti Abdullah
      Bidang Kraf  : Tenunan Dastar
      Adiguru        : Adiguru Kraf Tenunan Dastar
      Negeri          : Sabah
      Tarikh Lahir  : 11 Mei 1933 - 18 Ogos 2010
      Lantikan Pertama  : Tahun 1987
      Lantikan Semula : 2006

      PENGLIBATAN AWAL

      Allahyarhamah Hajah Ramiah binti Abdullah merupakan anak jati berketurunan Irranun yang menetap di Kampung Merabau bersama keluarga. Memiliki kemahiran menenun yang diwarisi daripada ibu dan kakaknya yang memang merupakan penenun terkenal pada waktu itu.



      Antara kain tenunan tradisional Sabah yang dihasilkan oleh Allahyarhamah Hajah Ramiah binti Abdullah adalah kain Dastar. Kain Tenun Dastar merupakan pakaian kebesaran suku kaum Bajau yang dijadikan sebagai tengkolok atau perhiasan pada pakaian tradisional mereka yang dipakai dalam upacara adat, keagamaan, majlis rasmi, perayaan dan perkahwinan.

      Beliau mengusahakan tenunan di bengkel yang terletak berhampiran dengan tempat kediamannya. Selain daripada benang kapas, beliau turut menggunakan benang nenas yang diproses sendiri dan kemudian diwarna menggunakan warna yang juga dari bahan semula jadi. Beliau mengajar tenunan kepada generasi muda dari masyarakat setempat. Ini adalah di antara usaha murni beliau dalam mengembangkan seni Tenunan Dastar.



      DAYA KREATIVITI DAN INOVASI

      Pada peringkat awal penglibatan Allahyarhamah Hajah Ramiah binti Abdullah dalam bidang tenunan, beliau banyak menggunakan bahan semulajadi yang diproses sendiri iaitu penggunaan benang daripada serat nenas. Beliau turut menyediakan bahan pewarna dari sumber alam untuk mewarna benang yang akan ditenun.

      Beliau juga menghasilkan reka corak dari motif binatang (ayam dan kuda) yang biasanya menjadi kebanggaan suku kaum Bajau. Selain itu, beliau turut memasukkan motif geometri di dalam tenunannya.



      Oleh kerana permintaan terhadap kain dastar semakin meluas, Puan Ramiah telah mempelbagaikan reka corak agar ianya boleh dijadikan produk lain seperti alas meja, kusyen dan hiasan dinding. Kreativiti beliau mendapat perhatian daripada jabatan kerajaan, swasta dan orang perseorangan.



      Beliau juga berkemahiran menenun kain Mugah, Baraguru, Ampik, Tapak Sila dan kain Sambitan. Selain daripada menenun beliau juga mempunyai kemahiran membuat tudung saji dari daun serdang dan menganyam tikar pandan.

      PENGALAMAN, PENGLIBATAN DAN PENCAPAIAN

      Allahyarhamah Hajah Ramiah binti Abdullah telah banyak mencurahkan ilmu tenunan asli Sabah kepada generasi muda di sekitar Kota Belud dan melatih anggota kerja Kraftangan Malaysia. Beliau menjadi jurutunjuk kepada kumpulan pelatih di bawah Skim Perantisan Kraf Warisan anjuran Kraftangan Malaysia. Di samping itu, beliau turut menyertai promosi, pameran dan demonstrasi tenunan yang diadakan di sekitar Kota Belud dan Kota Kinabalu.



      Pada tahun 1986, Kraftangan Malaysia melantik beliau sebagai Adiguru Kraf Tenunan Dastar bagi menghargai kemahiran seni yang beliau miliki. Namun pada tanggal 18 Ogos 2010, beliau yang telah kembali ke Rahmatullah. Segala jasa dan bakti beliau dalam memartabatkan tenunan asli Sabah amat disanjungi. Semoga roh Allahyarhamah dicucuri rahmat dan ditempatkan di kalangan golongan orang yang beriman.
    • Adiguru Kraf Tenunan Pahang  Allahyarhamah Puan Azizah binti Ismail

      Adiguru Kraf Tenunan Pahang
      Allahyarhamah Puan Azizah binti Ismail

      Nama           : Allahyarhamah Puan Azizah binti Ismail
      Bidang Kraf  : Tekstil (Tenunan Pahang)
      Adiguru        :Adiguru Kraf Tenunan Pahang
      Negeri          : Pahang
      Tarikh Lahir  : 1935 - 17 April 1996
      Lantikan Pertama  : Tahun 1988


      LATAR BELAKANG KRAF TENUNAN PAHANG

      Salah satu seni perusahaan tangan Melayu yang menjadi kemegahan bangsa ialah bertenun kain. Seni bertenun memerlukan mutu ciptaan serta kemahiran yang tinggi.

      Kain Tenun Pahang merupakan kain yang bermutu tinggi serta mempunyai corak yang menarik. Corak Tenun Pahang biasanya berkotak-kotak, bercorak jalur berdiri dan jalur melintang. Benang kapas dan benang sutera merupakan bahan-bahan yang digunakan untuk proses tenunan. Kuning dari kunyit merupakan contoh warna dari bahan-bahan asli yang menjadi pilihan penenun. Kain Tenun Pahang boleh dijadikan kain sarung, samping dan juga pakaian tradisional. Pada masa sekarang, penggunaan kain Tenun Pahang telah disesuaikan untuk pelbagai kegunaan khususnya seperti untuk majlis makan malam.

      Kampung Pulau Keladi yang terletak di daerah Pekan merupakan tempat berkembangnya seni Tenunan Melayu Pahang. Kemahiran ini telah diwarisi secara turun temurun oleh datuk nenek moyang mereka.

      Kain Tenunan Pahang mengandungi elemen seni halus yang diwakili oleh warna, garis, jalinan, ruang, bentuk atau keseluruhan keharmonian itu sendiri. Unsur kehalusan seni dan reka cipta ini dilahirkan dalam hasil tenunan mereka. Panduan warna dan susunan garis pada Tenunan Pahang melambangkan keunggulan budaya setempat.

      LATAR BELAKANG ADIGURU

      Allahyarhamah Puan Azizah binti Ismailmerupakan satu-satunya tokoh yang bergiat cergas dalam bidang menenun kain Pahang. Dilahirkan di Johor Bahru pada tahun 1935 tetapi dibesarkan di Pekan, Pahang. Ibunya bernama Puan Hendon Binti Ahmad, ayahnya pula Encik Ismail Bin Bakar merupakan seorang guru. Mempunyai 8 orang adik-beradik, 5 perempuan dan 3 orang lelaki. Hanya beliau saja yang menceburi bidang Tenunan Pahang .

      Puan Azizah mendapat pendidikan formal sehingga darjah 3 di Pekan. Sewaktu kecilnya, setelah pulang dari sekolah, Allahyarhamah Puan Azizah selalu membantu kerja-kerja ibunya dan juga belajar mengaji Quran dari seorang guru Quran bernama Ustaz Omar. Beliau belajar menenun daripada Hajah Maimunah. Suami beliau Encik Zakaria Omar turut memberikan sepenuh galakkan kepada Puan Azizah.

      DAYA KREATIVITI DAN INOVASI

      Dari segi keaslian menenun, beliau betul-betul mengekalkan teknik dan cara seperti mana yang dipelajarinya daripada Hajah Maimunah. Tiada pengubahsuaian dilakukannya kecuali beliau juga turut mereka-reka corak fesyen.





      Allahyarhamah Puan Azizah menjadikan perusahaan menenun sebagai profesionnya. Beliau, merupakan pengusaha kain Tenun Pahang sepenuh masa. Selain dari itu beliau memang terkenal sebagai pusat tenunan sutera. Sebelum adanya bengkel, kerja-kerja menenun dilakukannya di rumah sahaja. Kini setelah mempunyai bengkel, hampir keseluruhan kerja menenun dilakukannya di bengkel.

      Setiap hari beliau akan memulakan kerja pada jam 9 pagi. Pukul 12.30 tengahari beliau akan pulang ke rumah. Jam 3 petang hingga jam 5 petang beliau akan kembali berada di bengkel . Waktu malam digunakannya untuk kerja-kerja menerau.

      Tujuan utama Allahyarhamah Puan Azizah menghasilkan tenunan ialah untuk menambah pendapatan. Dalam masa sebulan beliau mampu menyiapkan 10 hingga 15 helai termasuk samping. Kain tenunan beliau bisanya dijual di bengkel. Pertubuhan atau agensi sering membuat tempahan dari beliau ialah Perbadanan Kemajuan Kraftagan Malaysia, Syarikat Pemasaran Karyaneka, KEMAS dan LKNP.

      PENCAPAIAN DAN SUMBANGAN KEPADA MASYARAKAT

      Salah satu daripada seni kemahiran tangan tradisional yang menjadi kemegahan bangsa ialah bertenun kain. Pulau Keladi yang terletak di dalam Daerah Pekan, Pahang amat sinonim dengan kerja-kerja menenun kain. Di sini muncul penenun-penenun kain sutera yang mengukir nama dalam lipatan sejarah tenunan. Salah seorang daripada mereka ialah Allahyarhamah Puan Azizah binti Ismail.



      Pada masa kanak-kanaknya, beliau sering memerhatikan neneknya menenun kain. Namun demikian beliau tidak mempunyai kesempatan mewarisi kemahiran daripada neneknya. Kegiatan menenun ini diusahakan setelah beliau berumah tangga. Beliau ketika itu tinggal berjiran dengan Hajah Maimunah yang merupakan salah seorang tukang tenun yang terkenal di Pulau Keladi. Allahyarhamah Puan Azizah mengambil masa selama enam bulan belajar bertenun iaitu dari proses mencelup benang hinggalah kepada proses menenun. Berkat ketekunan dan kesabaran beliau, akhirnya kemahiran menenun dapat dikuasi oleh Allahyarhamah Puan Azizah. Di antara reka corak kain tenun beliau yang mendapat permintaan ramai ialah Corak Jaluran Tujuh, Sembilan, Sepuluh, Sebelas dan Tiga Belas.

      Beliau telah mengusahakan kegiatan menenun secara sepenuh masa dan beliau juga turut mengendalikan sebuah bengkel tenun di Kampung Pulau Keladi yang memberi peluang kepada masyarakat setempat khususnya golongan remaja mempelajari cara-cara menenun. Kemahiran menenun ini turut diwarisi oleh anak perempuan beliau. Bagi menghargai jasa dan sumbangan beliau semasa hayatnya dalam mengembang dan membangunkan seni warisan bangsa ini, pada tahun 1988 Kraftangan Malaysia telah melantik Allahyarhamah Puan Azizah binti Ismail sebagai Adiguru Kraf Tenun Pahang . Beliau telah meninggal dunia pada 17 April 1996. Semoga roh beliau dicucuri rahmatNya dan ditempatkan di kalangan golongan yang beriman.
    • Adiguru Kraf Anyaman RombongAllahyarhamah Puan Hajah Aminah binti Haji Amat

      Adiguru Kraf Anyaman Rombong
      Allahyarhamah Puan Hajah Aminah binti Haji Amat

      Nama           : Allahyarhamah Puan Hajah Aminah binti Haji Amat
      Bidang Kraf  : Hasil Rimba (Anyaman Rombong)
      Adiguru        : Adiguru Kraf Anyaman
      Negeri          : Melaka
      Tarikh Lahir  : 1928 - Februari 2003
      Lantikan Pertama  : Tahun 1988


      PENGLIBATAN AWAL

      Sebelum penggunaan beg diperkenalkan, masyarakat menggunakan Rombong sebagai bekas bagi penyimpanan pakaian dan barangan. Terdapat dua jenis rombong iaitu bersaiz besar yang diperbuat daripada daun pandan mengkuang dan bersaiz kecil daripada daun pandan yang lebih berseni anyamannya.

      Menurut riwayat sejarah seni kraf anyaman rombong ini bermula dari kisah seorang Orang Asli yang merajuk dengan keluarganya telah membawa diri ke atas sebuah pokok kelapa. Sambil melayan hati yang rajuk, beliau telah menganyam anyaman yang dikenali sebagai rombong menggunakan daun-daun kelapa tersebut. Teknik anyamannya yang sukar itu kemudiannya dikenali sebagai teknik “Anyaman Gila”. Seni kraf anyaman rombong menggunakan teknik berkenaan kini giat diusahakan oleh kaum wanita di daerah Tanjung Keling, Melaka.



      Salah seorang pakar dalam membuat anyaman rombong adalah Allahyarhamah Puan Hajah Aminah binti Haji Amat. Beliau dilahirkan pada tahun 1928 di Kampung Tanjung Keling, Melaka dan dibesarkan dalam keluarga yang mempunyai kemahiran menganyam. Beliau melibatkan diri dalam bidang pembuatan kraf rombong seawal usia 12 tahun. Ilmu seni pembuatan produk kraf rombong ini diwarisi daripada ibunya.

      Allahyarhamah Puan Hajah Aminah pernah mengikuti sesi pembelajaran sekolah kebangsaan sehingga darjah dua. Kemudian beliau dihantar keluarganya untuk belajar di sekolah agama. Kehidupan ketika itu amat menitikberatkan adat resam dalam kehidupan mendorong anak-anak perempuan dilatih dan diasuh dalam urusan rumah tangga termasuk kemahiran kerja tangan seperti menenun dan menganyam.

      Tradisi ini turut diamalkan di dalam keluarga Allahyarhamah Puan Hajah Aminah. Sejak sewal usia remaja beliau diberi tanggungjawab membantu ibu dan neneknya menyiapkan tempahan pelanggan. Peringkat awalnya beliau diberi tugas menyisip atau menyusun bilah-bilah mengkuang yang akan dianyam. Kemudian beliau diajar bagaimana menganyam, membentuk dan menghias rombong oleh ibu dan neneknya.



      DAYA KREATIVITI DAN INOVASI

      Galakan dan tunjuk ajar daripada keluarga menyebabkan Allahyarhamah Puan Hajah Aminah berjaya menguasai kemahiran menganyam rombong. Motif-motif Bunga Tanjung, Bunga Cengkih, Pucuk Rebung dan Potong Wajik antara reka corak yang menjadi identiti anyaman rombong Allahyarhamah Puan Hajah Aminah. Kerja-kerja mengambil daun mengkuang, melayur, menjangka, melurut sehinggalah proses menganyam rombong dilakukan beliau sendiri dengan dibantu oleh anak perempuan beliau.



      Pada mulanya beliau hanya memasarkan barangan rombong melalui orang tengah tetapi lama-kelamaan beliau mula memasarkan produk secara sendiri dengan bantuan daripada Kraftangan Malaysia. hasil produk rombong beliau juga telah mula dipelbagaikan seperti bekas bagi penyimpanan pakaian, bunga telur, bekas simpanan barangan kemas dan sebagainya. Berkat kesungguhan dan usaha beliau yang tidak mengenal putus asa, beliau telah mampu menghasilkan 10 biji sehari melalui inovasi pemprosesan bahan mentah dan teknik anyaman yang lebih mudah.

      PENCAPAIAN DAN SUMBANGAN KEPADA MASYARAKAT

      Beliau turut mengajar penduduk-penduduk setempat membuat anyaman rombong tanpa mengambil sebarang yuran demi memastikan kesinambungan seni warisan kraf anyaman rombong ini. Hasilnya, beliau telah berjaya melahirkan beberapa orang yang berkemahiran membuat barangan anyaman rombong.

      Selain daripada mengajar orang perseorangan, Puan Hajah Aminah juga mengajar pelajar-pelajar sekolah sekitar negeri Melaka. Berkat ketekunan dan kesungguhan beliau semasa hayatnya dalam menghidupkan semula kraf warisan telah mendapat perhatian.



      Pada tahun 1988, Kraftangan Malaysia telah melantik beliau sebagai Adiguru Kraf Anyaman Rombong bagi menghargai sumbangannya dalam memulihara dan memelihara seni kemahiran ini. Beliau telah meninggal dunia pada Februari 2003. Semoga roh Allahyarhamah Puan Hajah Aminah binti Haji Amat dicucuri rahmatNya dan ditempatkan di kalangan golongan yang beriman.
    • Adiguru Kraf Jebak PuyuhEncik Che Mud Bin Che Awang

      Adiguru Kraf Jebak Puyuh
      Encik Che Mud Bin Che Awang

      Nama           : Encik Che Mud Bin Che Awang
      Bidang Kraf  : Hasil Rimba (Jebak Puyuh)
      Adiguru        : Adiguru Kraf Jebak Puyuh
      Negeri          : Kelantan
      Tarikh Lahir  : 8 Oktober 1944
      Lantikan Pertama  : Tahun 1989
      Lantikan Semula   : Tahun 2006

      KETOKOHAN DAN KEPIMPINAN

      Encik Che Mud bin Che Awang berasal dari Negeri Kelantan Darul Naim dan kini menetap di Kampung Bunuhan, Tumpat, Kelantan. Walaupun tidak pernah menerima pendidikan formal beliau memiliki kemahiran dalam pelbagai bidang kraf. Beliau pakar membuat jebak puyuh, wau dan wayang kulit. Selain daripada itu, beliau juga mempunyai Ilmu Main Puteri, salah satu cara perubatan tradisional di Kelantan.



      Penglibatan beliau dalam bidang kemahiran membuat jebak puyuh ini bermula semenjak beliau masih kanak – kanak lagi. Sewaktu beliau kecil, beliau sering mendampingi datuk saudaranya yang sangat gemar menangkap puyuh dan mahir membuat jebak puyuh. Oleh kerana minat yang mendalam, beliau tidak pernah melepaskan peluang memerhatikan cara – cara datuknya membuat jebak puyuh.

      Suatu hari apabila datuknya meninggalkan kerja – kerja membuat jebak puyuh seketika, tanpa membuang masa beliau mengambil kesempatan itu telah menyiapkan jebak puyuh tersebut. Semenjak dari itu datuk saudaranya telah mula mengajar beliau cara – cara membuat jebak puyuh secara serius.



      DAYA KREATIVITI DAN INOVASI

      Beliau menggunakan teknik tradisional yang rumit tetapi tidak memerlukan kos yang tinggi. Kebanyakkan bahan – bahan yang perlu digunakan diperolehi dari hutan di sekitar tempat tinggal beliau. Jebak puyuh yang dihasilkan oleh Che Mud ini sebenarnya telah diperbaharui reka bentuknya berdasarkan bakat dan ilham beliau sendiri.



      Reka bentuk jebak ini diilhamkan dari badan burung puyuh itu sendiri. Beliau memperindah jebak puyuh dengan ukiran dan ikatan . Hasilnya, sungguh menarik sekali dan tiada siapa yang menyangka barangan kraf secantik itu hanyalah sebuah jebak memikat puyuh. Hasil kreativiti beliau kini dipelbagaikan kegunaannya. Jebak puyuh kini dijadikan sebagai alat hiasan rumah yang indah dan unik.



      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Kini kemahiran membuat jebak puyuh yang dahulunya hanyalah merupakan hobi, kini ia turut mendatangkan hasil pendapatan sampingan kepada beliau. Beliau sering menerima tempahan membuat jebak puyuh daripada mereka yang berminat memilikinya.

      Kemahiran yang dimiliki oleh Che Mud ini telah membawa beliau ke Amerika Syarikat bagi mempromosikan seni warisan bangsa. Beliau juga telah dilantik sebagai Adiguru Kraf Jebak Puyuh pada tahun 1989 oleh Kraftangan Malaysia.
    • Adiguru Kraf Tenunan RungusPuan Rubangki binti Mabok

      Adiguru Kraf Tenunan Rungus
      Puan Rubangki binti Mabok

      Nama           : Puan Rubangki binti Mabok
      Bidang Kraf  : Tekstil
      Adiguru        : Adiguru Kraf Tenunan Rungus
      Negeri          : Sabah
      Tarikh Lahir  : 30 Disember 1942
      Lantikan Pertama  : Tahun 1990
      Lantikan Semula   : Tahun 2006

      KETOKOHAN DAN KEPIMPINAN

      Puan Rubangki dilahirkan dalam keluarga yang mahir menghasilkan Tenunan Rungus. Ibunya merupakan seorang penenun kain tradisi masyarakat Rungus yang terkenal dan telah mendidik beliau sejak kecil lagi dalam bidang kemahiran ini.

      Walaupun tidak pernah mendapat pendidikan formal, kreativiti dan kesungguhan beliau dalam mengusahakan Tenunan Rungus telah meletakkan beliau di antara penenun kain tradisi Sabah yang disegani.



      Beliau berkemahiran membuat rekaan motif sendiri untuk kain-kain yang ditenun. Setiap motif dan reka corak Puan Rubangki berdasarkan alam semulajadi terutamanya tumbuh-tumbuhan dan binatang.

      Proses menghasilkan rekaan bermula apabila beliau duduk menenun. Beliau melakar reka corak dan motif melalui imaginasi yang kemudian digambarkan terus melalui benang-benang yang ditenun.



      Keistimewaan tenunan beliau terletak pada aspek kehalusan dan kepelbagaian reka corak. Reka corak ini diwarisi daripada ibunya secara turun temurun dan ia tersimpan dalam pemikiran beliau (tidak dicatat atau dilakar di dalam buku).

      Antara motif-motif yang memperlihatkan identiti kain tenunan Puan Rubangki seperti motif kinodut-kodut (motif kena cubit), binugang (burung), inugarang (biawak kecil), kinulit (kulit kayu) linapung (ular sawa) dan mansimong (hantu).



      Secara tradisi, untuk menghasilkan sehelai kain rungus, Puan Rubangki perlu menyediakan benang untuk ditenun. Puan Rubangki mengutip kapas yang ditanam dan kemudian dipintal menjadi benang. Benang-benang ini kemudiannya diwarna menggunakan warna semulajadi yang diperolehi dari daun tarum, kulit kayu sepang dan kunyit.



      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Tenun rungus biasanya dijadikan sebagai pakaian lelaki dan wanita rungus terutama semasa ketika menyambut acara keagamaan, perayaan, dan majlis perkahwinan.



      Beliau juga mahir menghasilkan Tenunan Mugah yang terkenal dari suku kaum Irranun di Sabah. Beliau turut menyertai program promosi anjuran beberapa agensi kerajaan, swasta termasuk Kraftangan Malaysia seperti Pameran dan demonstrasi sempena Pesta Keamatan di Kota Kinabalu, Pameran dan Promosi sempena Fiesta Muzium Sabah serta Pameran di Universiti Sabah Malaysia.

      Beliau turut menyumbang jasa dalam mengekal seni tenunan ini. Beliau memberi tunjuk ajar kepada penduduk setempat dan juga individu yang berminat. Diiktiraf sebagai Adiguru Kraf Tenunan Rungus pada tahun 1990 atas sumbangan dan kecemerlangan beliau dalam bidang tenunan Rungus.

    • Adiguru Kraf Tembikar Tembeling Allahyarhamah Hajah Manja binti Ali

      Adiguru Kraf Tembikar Tembeling
      Allahyarhamah Hajah Manja binti Ali

      Nama           : Allahyarhamah Hajah Manja binti Ali
      Bidang Kraf  : Tembikar Tembeling
      Adiguru        : Adiguru Kraf Tembikar Tembeling
      Negeri          : Pahang
      Tarikh Lahir  : Tahun 1921 - 2000
      Lantikan Pertama  : Tahun 1991


      LATAR BELAKANG KRAF TEMBIKAR TEMBELING

      Kurniaan Tuhan adalah perkara di luar jangkaan manusia. Apa sahaja yang dikurniaan oleh Allah S.W.T di bumi dan di langit mempunyai hikmat tersediri. Begitu jugalah kurniaan yang diberikan-Nya kepada penduduk Kampung Pasir Durian, Ulu Tembeling, Jerantut Pahang. Hasil kraf tembikar tembeling ini telah menjadi sumber rezeki untuk penduduk-penduduk tempatan. Teluk Belanga merupakan lokasi di daerah ini yang mempunyai sumber tanah liat yang amat sesuai bagi menghasilkan pelbagai hasil seni kraf tembikar.

      Kerja-kerja menyediakan tembikar ini termasuklah penyediaan tanah yang digali dari lokasi sumber tanah liat yang sesuai dan kemudian dibawa ke bengkel untuk dijemur. Kebiasaannya tanah liat berkenaan akan dijemur di atas zink supaya cepat kering. Ini juga bertujuan agar kandungan air tanah itu diserap dan tidak berketul-ketul apabila direndam kelak.



      Sebelum direndam, tanah liat itu akan ditumbuk dalam lesung dengan menggunakan antan. Ia kemudiannya ditapis hingga halus dan seterusnya dilepa dan dituang di dalam acuan. Menerusi acuan berkenaan tanah dapat dibentuk mengikut barangan yang hendak dibuat seperti belanga, terenang, pasu bunga dan sebagainya. Bahan acuan yang telah siap kemudiannya akan diukir mengikut motif sebelum dibakar.



      Rekabentuk belanga dan terenang merupakan idea turun-temurun yang diwarisi dari generasi ke generasi. Belanga biasana akan dibuat sebesar mungkin mengikut tempahan. Belanga Tembeling juga sesuai digunakan untuk memasak lauk-pauk, sayur-sayuran, akar-akar kayu atau herba. Masakan menggunakan Belanga Tembeling dipercayai mampu menambahkan kelazatan makanan dari segi aroma dan rasa.



      Tembikar Terenang pula dipercayai berasal dari sebuah tempat yang dinamakan 'Jong Berlabuh' iaitu sebuah perkampungan di Daerah Kuala Tembeling. Saiz terbesar sesebuah terenang adalah sebesar tempayan. Rekabentuk terenang dipercayai berasal atau dipengaruhi oleh Negara Siam dan Kemboja. Kegunaan asal Tembikar Terenang adalah dalam upacara jampi serapah dan bekas air mawar asli untuk dijadikan ubat penawar. Ia turut digunakan bagi tujuan perhiasan rumah.

      Terenang merupakan ciptaan asli Kampung Pasir Durian yang mana dipengaruhi oleh kesesuaian tanah disekitar perkampungan ini yang terbaik bagi pembuatan produk Terenang. Kesuburan tanah ini turut mengandungi bahan-bahan mineral dan penapis yang amat berguna untuk manfaat tubuh badan manusia. Di antara produk yang dihasilkan termasuklah bekas cincin atau sebagai bekas perasap kemenyan (perasap). Kapasiti penghasilan produk-produk ini adalah terhad kerana penduduk masih mengekalkan teknik pembuatan secara tradisional.



      SEJARAH PENGLIBATAN ADIGURU

      Nama Allahyarhamah Hajah Manja binti Ali tidak asing lagi bagi penduduk-penduduk Kampung Pasir Durian Ulu Tembeling. Namanya terkenal kerana kepakarannya membuat pelbagai jenis tembikar tembeling, terutamanya belanga tembeling dan terenang.

      Beliau yang dilahirkan di Kampung Kerenek Kuala Tembeling telah berhijrah dan menetap di Kampung Pasir Durian sejak mendirikan rumahtangga. Allahyarhamah Hajah Manja binti Ali telah menceburi bidang seni kraf ini seawal usia 12 tahun.



      Beliau yang tidak berpeluang ke sekolah atas sebab adat dan pergaulan yang dikawal ketat oleh orang tuanya. Oleh itu, Allahyarhamah Hajah Manja binti Alidan anak-anak gadis lain sebayanya digalakkan membantu ibu bapa mereka dengan urusan harian dan kerja-kerja rumah.

      DAYA KREATIVITI DAN INOVASI

      Kemahiran membuat pelbagai jenis tembikar ini diwarisi dari ibu dan saudara mara perempuannya. Kedua ibu bapanya merupakan pendorong utama bagi beliau mempelajari dan mendalami seni kraf ini. Hasil kerja beliau diiktiraf dan mudah dikenalpasti berdasarkan pembuatannya yang halus dan kemas. Penggunaan motif-motif beliau yang kreatif dapat membezakan hasil seninya berbanding pembuat-pembuat tembikar tembeling yang lain.



      Beliau sangat mahir membuat belanga tembeling dan terenang. Konsep ukiran flora dan fauna merupakan pilihan utama bagi reka corak dan motif beliau. Di antara motif dan corak yang sering beliau gunakan adalah seperti "Bunga Payung", "Tepak Pelanduk", "Pucuk Rebung", "Bulan Sabit", "Bunga Pecah Empat" dan "Bunga Samba". Salah satu motif khas yang beliau paling gemari ialah "Dang Dongkek".

      PENCAPAIAN DAN SUMBANGAN KEPADA MASYARAKAT

      Sepanjang hayatnya, Allahyarhamah Hajah Manja sering menyertai pameran, pertandingan dan mengadakan sesi demonstrasi bagi memartabatkan seni pembuatan kraf Tembikar Tembeling. Di antara pernyertaan beliau termasuklah Pesta Kraftangan Pahang (tahun 1990) dan penyertaan di Universiti Malaya Kuala Lumpur. Semasa hayatnya, Allahyarhamah Hajah Manja turut berkongsi ilmu dan kemahiran pembuatan tembikar bersama jiran tetangga.



      Beliau juga bersedia mewariskan seni kraf ini kepada sesiapa sahaja yang berminat. Namun faktor jualan produk tembikar tembeling pada ketika itu kurang memberangsangkan, menyebabkan hampir tiada belia yang benar-benar berminat untuk menjadikan industri ini sebagai punca pendapatan. Allahyarhamah pernah melahirkan kebimbangan beliau sekiranya warisan ini tidak diberikan perhatian yang sewajarnya, kemungkinan seni tembikar warisan turun temurun ini akan pupus ditelan zaman.



      Kewibawaan dan kesungguhan beliau menghidupkan semula seni Tembikar Tembeling ini mendapat perhatian dari pelbagai pihak. Pada tahun 1990 beliau telah diiktiraf sebagai Tokoh Kraf Negeri Pahang oleh Kerajaan Negeri Pahang dengan kerjasama Kraftangan Malaysia Cawangan Pahang. Di atas komitmen beliau dalam memulihara dan memeliharan seni warisan ini, beliau telah dianugerahkan Adiguru Kraf Tembikar Tembeling pada tahun 1991 oleh Perbadanan Kemajuan Kraftangan Malaysia.



      Sekitar tahun 2000, Allahyarhamah Hajah Manja telah dijemput kembali ke Ramatullah. Namun segala jasa dan sumbangan beliau sepanjang hayatnya dalam memelihara kesinambungan seni warisan Tembikar Tembeling tetap disanjungi. Semoga Allah S.W.T mencucuri rahmat ke atas roh beliau dan ditempatkan di kalangan golongan yang beriman.
    • Adiguru Kraf Pandai BesiAllahyarham Encik Abdullah Bin Daud

      Adiguru Kraf Pandai Besi
      Allahyarham Encik Abdullah Bin Daud

      Nama           : Abdullah Bin Daud
      Bidang Kraf  : Logam (Pandai Besi)
      Adiguru        : Adiguru Kraf Pandai Besi
      Negeri          : Kelantan
      Tarikh Lahir  : 18 Julai 1943-2015
      Lantikan Pertama  : Tahun 1993
      Lantikan Semula   : Tahun 2006

      KETOKOHAN DAN KEPIMPINAN

      Encik Abdullah bin Daud antara tukang besi yang segani di seluruh negara. Belajar bertukang besi daripada ayahnya yang juga merupakan seorang tukang.Pernah mendapat pendidikan formal sehingga darjah dua. Beliau menghabiskan masa di bengkel ayahnya dengan membuat barangan kecil seperti pisau, hulu parang dan pisau kemudian dijual kepada rakan-rakan sekolah pada harga antara 20 sen hingga 60 puluh sen. Sebagai remaja beliau pernah mencuba beberapa pekerjaan dan merantau ke Thailand dan Singapura.



      Akhirnya anak muda ini mengambil keputusan untuk kembali ke kampung halaman dan bertekad mengusahakan pertukangan besi sepenuh masa dan pada usia 24 tahun beliau telah mahir menempa senjata. Beliau mahir menghasilkan pelbagai jenis senjata seperti keris, pedang, parang, tukul, beliung, golok, kapak dan kerambit. Senjata istimewanya ‘Kerambit Lawi Ayam’. Keistimewaan En Abdullah yang lebih senang dengan panggilan Pak Lah ialah kemahiran beliau melakukan proses menghasilkan senjata dari memilih besi sehingga mengukir hulu dan sarung senjata. Ini adalah merupakan bakat semulajadi beliau.



      Apabila perusahaannya bertambah maju beliau membuka bengkel sendiri dengan dibantu oleh ayah saudara beliau. Beliau sentiasa berusaha untuk mempertingkatkan perusahaan beliau. Barangan yang dihasilkan dilakukan dengan cara pengeluaran dengan kuantiti yang banyak dan dipasarkan di Pasar Kota Bharu dan Machang. Ternyata hasil kerja beliau sememangnya mendapat perhatian penduduk- penduduk setempat, pelancong serta orang kenamaan.



      Encik Abdullah lebih suka memasarkan barangan buatan beliau secara terus kepada pelanggan. Ini kerana pelanggannya dapat melihat hasil kerja tangannya yang halus serta dapat terus berurusan dengan beliau.Secara tidak langsung mereka akan mengenali beliau dengan lebih dekat lagi. Terdapat juga pelanggan yang menempah terus dari beliau dan ada juga dijual melalui pasar.

      Pak Lah bukan sahaja mahir dalam membuat senjata malah beliau mampu menghasilkan hulu keris, parang dan senjata lain dengan unik sekali. Lama – kelamaan kemahiran beliau dalam petukangan besi ini telah mendapat tempat di kalangan orang ramai dan beliau mula menerima tempahan dari orang luar dan orang – orang kenamaan. Antara senjata yang dihasilkan oleh beliau adalah keris untuk Istana Besar Perlis serta peralatan lembing dari Kerajaan Negeri Terengganu.

      Antara motif-motif yang memperlihatkan identiti kain tenunan Puan Rubangki seperti motif kinodut-kodut (motif kena cubit), binugang (burung), inugarang (biawak kecil), kinulit (kulit kayu) linapung (ular sawa) dan mansimong (hantu).

      Secara tradisi, untuk menghasilkan sehelai kain rungus, Puan Rubangki perlu menyediakan benang untuk ditenun. Puan Rubangki mengutip kapas yang ditanam dan kemudian dipintal menjadi benang. Benang-benang ini kemudiannya diwarna menggunakan warna semulajadi yang diperolehi dari daun tarum, kulit kayu sepang dan kunyit.

      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Kejayaan demi kejayaan mula beliau kecapi. Antaranya beliau pernah dijemput beberapa kali membuat persembahan dan demonstrasi bagi pihak Lembaga Pengalakkan Pelancongan Malaysia. Tempahan barangan senjata dari agensi – agensi kerajaan lain juga turut diterima antaranya ialah Muzium Kelantan, Muzium Johor, Muzium Terengganu dan Muzium Pekan, Pahang. Beberapa majalah, suratkhabar, dan media lainnya mula memberi publisiti kepada beliau dalam ruangan seni dan budaya. Beliau dilantik sebagai Adiguru Kraf Pandai Besi pada tahun 1993 oleh Kraftangan Malaysia.



      Beliau dipilih berdasarkan beliau merupakan satu – satu pembuat senjata Melayu yang mahir membuat senjata dan mengukir hulu senjata serta komitmen beliau terhadap penduduk setempat. Di Kampung Manan, Bunut Susu, Pasir Mas, Kelantan beliau terkenal sebagai guru silat dan guru mengajar mengaji Al-Quran. Tidak hairanlah beliau sering menjadi pakar rujuk dan juga orang yang dihormati di tempat beliau.

    • Adiguru Kraf Blok Batik  Allahyarham Encik Ibrahim bin Mohamad

      Adiguru Kraf Blok Batik
      Allahyarham Encik Ibrahim bin Mohamad

      Nama           : Allahyarham Encik Ibrahim bin Mohamad
      Bidang Kraf  : Blok Batik
      Adiguru        : Adiguru Kraf Blok Batik
      Negeri          : Terengganu
      Tarikh Meninggal Dunia  : 2 Januari 2003
      Lantikan Pertama Adiguru  : Tahun 1994


      LATAR BELAKANG PENGLIBATAN

      Industri batik di negara ini dipercayai bermula dengan penghasilan teknik terap atau cetak. Awalnya bungkah-bungkah kayu digunakan dalam pembuatan batik terap. Motif-motif ringkas seperti bunga-bunga atau daun-daun diukir di atas bungkah kayu lembut. Bungkah ini dikenali sebagai sarang bunga atau blok dicelup ke dalam bahan pewarna dan kemudian diterap di atas kain putih.



      Di antara tukang pembuat blok batik yang ternama adalah Allahyarham Encik Ibrahim bin Mohamad yang menetap di Kampung Padang, Terengganu. Hubungan akrab dengan alam sekeliling menjadi inspirasi pada setiap ukiran blok batik yang beliau hasilkan. Beliau melakar reka corak yang diilhamkan dan kemudian mengukir penuh teliti di atas kayu lembut terpilih.



      Setiap blok batik rekaan Allahyarham Encik Ibrahim bin Mohamad menampilkan reka corak motif yang cantik dan disenangi oleh pembuat-pembuat batik. Selain daripada kreativiti, kesungguhan dan ketabahan merupakan faktor kejayaan Ibrahim sebagai pengukir blok batik.



      Penggunaan kepingan logam seperti tembaga mula menggantikan blok kayu. Reka corak yang lebih halus dan daya tahan yang lebih lama menyebabkan permintaan ke atas blok kayu semakin berkurangan. Allahyarham Encik Ibrahim bin Mohamad tidak ketinggalan mengaplikasikan kemahiran yang beliau miliki ke atas kepingan logam yang lebih mudah dan halus hasilnya.



      Sungguhpun demikian, semasa hayatnya beliau terus membuat blok batik kayu sebagai usaha mengekal dan menyanjungi kemahiran kraf warisan. Bagi menghargai kesungguhannya menghidupkan seni warisan ini, pada tahun 1994 Kraftangan Malaysia telah melantik Allahyarham Encik Ibrahim bin Mohamad sebagai Adiguru Kraf Blok Batik. Namun begitu beliau telah meninggal dunia pada 2 Januari 2003. Semoga rohnya dicucuri rahmatNya dan ditempatkan di kalangan golongan yang beriman.
    • Adiguru Kraf Ukiran Halus dan Tokoh Kraf Negara Allahyarham Tengku Ibrahim bin Tengku Wook

      Adiguru Kraf Ukiran Halus dan Tokoh Kraf Negara
      Allahyarham Tengku Ibrahim bin Tengku Wook

      Nama           : Allahyarham Tengku Ibrahim Tengku Wook
      Bidang Kraf  : Ukiran Halus
      Adiguru        : Adiguru Kraf Ukiran Halus
      Tokoh Kraf   : Tokoh Kraf Negara
      Negeri          : Terengganu
      Tarikh Lahir  : Tahun 1929 - 2000
      Lantikan Pertama Adiguru  : Tahun 1995
      Tahun Lantikan Tokoh Kraf Negara   : Tahun 1998

      LATAR BELAKANG PENGLIBATAN

      Sejarah membuktikan bahawa semenjak 500 tahun yang lalu, orang-orang Melayu telah memberi perhatian istimewa terhadap seni ukiran halus. Seni ukiran halus yang dihasilkan ini bukan sahaja dikenali oleh masyarakat tempatan malah turut mendapat tempat di hati para pelancong asing.

      Dr. Othman Bin Yatim Kurator Kesenian Timur dan Islam, Muzium Negara berpendapat :

      “Seni ukiran kayu dan kemahiran Melayu dalam bidang ini telah wujud, sekurang-kurangnya sejak zaman kesultanan Melaka lagi. Seni ini melambangkan ketinggian daya kreativiti dan kehalusan cita rasa masyarakat penciptanya. Walaupun seni tradisi ini terpaksa menghadapi cabaran hasil dari pertembungan budaya tradisi dan budaya luar.”





      Allahyarham Tengku Ibrahim dilahirkan pada tahun 1929 di Kampung Gong Kemuntong, Besut Terengganu. Beliau merupakan salah seorang pencinta seni yang menjalankan aktiviti mengukir ukiran halus seperti hulu dan sarung keris, tongkat, katil, rumah dan barangan lainnya. Ukiran halus yang dihasilkan beliau sememangnya tinggi nilai seni mutunya. Sejak dari kecil lagi beliau telah didedahkan dengan teknik-teknik mengukir yang baik daripada ayahnya yang juga merupakan salah seorang pengukir yang masyhur.

      Apabila usianya meningkat belasan tahun barulah beliau mula melibatkan diri dengan ukiran halus ini dan mula mendirikan bengkel di belakang rumahnya sendiri. Bengkel yang tidak seberapa ini, dilengkapi dengan peralatan yang baik. Kemampuan Allahyarham Tengku Ibrahim bukan sahaja dari segi pembuatan barangan kraf malah beliau juga mampu melahirkan ataupun mereka cipta peralatan mengukir dengan sendiri. Antara peralatan yang dibuat sendiri adalah seperti pahat, set penebuk lubang, semawar serta menajamkan pahat.



      Ilmu yang terdapat pada beliau tidak dipendam begitu sahaja. Pada awal tahun 1970-1985 beliau mengajar penduduk-penduduk setempat kemahiran mengukir yang dimilikinya. Selain daripada mengajar penduduk setempat, Ilmu yang terdapat pada beliau tidak dipendam begitu sahaja. Pada awal tahun 1970-1985 beliau mengajar penduduk-penduduk setempat mengukir dan terdapat para pengukir yang kini mahir di bawah bimbingan beliau di antaranya ialah Norhaiza. Selain daripada mengajar penduduk setempat, Allahyarham Tengku Ibrahim juga mengajar belia di bawah jagaan IRDA dan juga pelatih-pelatih di Perbadanan Kemajuan Kraftangan Malaysia.

      Kehalusan dan mutu ukiran yang tinggi menjadikan barangan yang dihasilkan beliau meningkat harga dan mempunyai pasaran yang luas. Beliau pernah menghasilkan ukiran halus untuk Yang Amat Berbahagia Tun Mahathir Mohamad (bekas Perdana Menteri Malaysia), Sultan Azlan Shah, Tuan Haji Haida serta beberapa orang kenamaan lainnya yang tidak dapat diingat oleh beliau. Penghasilan ukiran beliau juga mendapat tempat daripada agensi-agensi kerajaan seperti Jabatan Perdana Menteri, Muzium Kelantan, Muzium Terengganu, Muzium Negeri Pahang dan kerajaan negara Brunei Darussalam.

      KETOKOHAN DAN KEPIMPINAN

      Keistimewaan Allahyarham Tengku Ibrahim juga adalah dalam menghasilkan motif-motif menggunakan motif tersendiri dan bunga-bungaan tersendiri. Kejayaan beliau juga terserlah apabila Dato’ Seri Marina binti Mahathir menghasilkan buku bertajuk ‘The Craft of Malaysia’ dan beliau adalah seorang tukang kraf yang menjadi pilihan kerana kehalusan produk ukiran yang dihasilkan.



      Allahyarham Tengku Ibrahim Tengku Wook juga seorang tokoh yang mahir dalam membuat pemilihan bahan mentah. Bahan mentah kayu yang lazim digunakan adalah kayu kemuning putih dan hitam. Di samping kayu Tengku Ibrahim gemar mengukir taduk, gigi ikan, gading dan bahan-bahan kayu lainnya.



      Barangan ukiran yang dihasilkan juga disesuaikan dengan bahan mentah. Contohnya ukiran kepala buaya akan diukir atas gading gajah yang lebih menampakkan kesenian dan keistimewaan tersendiri.

      Kemahirannya mengukir dengan cara manual adalah keistimewaan dalam dirinya. Selama penglibatan kira-kira 30 tahun banyak pengalaman yang ditimba menjadi panduan memahirkan lagi bakatnya.

      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Sebagai pewaris kemahiran dari ayahnya, beliau amatlah berbesar hati dan berhasrat menjadikan bidang ukiran halus sebagai warisan generasinya. Beliau juga tidak keberatan mencurahkan ilmunya kepada mereka yang benar-benar berminat. Biasanya masa untuk mengajar secara teori dan cara-cara menghasilkan ukiran halus, diatur pada waktu-waktu tertentu. Beliau juga pernah berkhidmat dengan agensi kerajaan seperti MARA dan Pejabat Kebudayaan dalam bidang ukiran halus.



      Pencapaian Allahyarham Tengku Ibrahim memang membanggakan. Berkat kesungguhan, ketelitian dan keinginan yang kuat, beliau kian popular di kalangan peminat-peminat seni ukiran Melayu khususnya dari golongan istana. Sesuailah dengan kebolehannya itu, beliau dilantik sebagai Adiguru Kraf Ukiran Halus pada tahun 1995 dan seterunya diiktiraf oleh Perbadanan Kemajuan Kraftangan Malaysia sebagai Tokoh Kraf Negara pada tahun 1998.
    • Adiguru Kraf Tekatan Hajah Azizah binti Mohd Yusof

      Adiguru Kraf Tekatan
      Hajah Azizah binti Mohd Yusof

      Nama           : Hajah Azizah Binti Mohd Yusof
      Bidang Kraf  : Tekstil
      Adiguru        : Adiguru Kraf Tekatan
      Negeri          : Perak
      Tarikh Lahir  : 14 Ogos 1938
      Lantikan Pertama  : Tahun 1995
      Lantikan Semula   : Tahun 2006

      KETOKOHAN DAN KEPIMPINAN

      Hajah Azizah binti Mohamad Yusof merupakan seorang penggiat dan pencinta seni kraf tanahair terutamanya seni sulaman benang emas yang menjadi warisan turun temurun beliau. Dilahirkan pada 28 Januari 1938 di Kota Lama Kiri, Kuala Kangsar, Perak. Berpendidikan Darjah 6, Sekolah Inggeris dan kini pengusaha sulaman benang emas sepenuh masa. Menerima kemahiran dari ibu beliau dan diwarisi kepada dua orang anak beliau yang masih muda.

      Selain daripada ibunya, beliau turut mengkagumi seorang lagi tukang tekat tersohor iaitu Allahyarhamah Puan Ainatishah Bilal Din. Ia merupakan pendorong kuat kepada beliau untuk terus berjaya dalam bidang tekatan ini.



      Beliau memiliki kemahiran melukis, menebuk empulur dan menekat . Ketiga-tiga kemahiran ini merupakan asas kepada kejayaan beliau. Beliau memilih dan menggubah reka corak berunsurkan motif flora kemudian disesuai dengan warna mengikut kehendak dan cita rasa pelanggan. Antara dan motif yang beliau gubah:-

      i.     Paku pakis
      ii.    Pucuk rebung
      iii.   Sulur bayung
      iv.   Bunga-bunga padi, anggerik, asam batu, bunga raya, kemboja dan mawar.
      v.    Awan larat
      vi.   Tulisan Khat




      Karya seni beliau sering dijadikan perhiasan dan alat kelengkapan perkahwinan antaranya:-

      i.   Set bilik tidur (cadar, sarung bantal, kusyen, kipar, tetampan, ombak-ombak, tepak sireh, buah dan pengikat kelambu).
      ii.   Hiasan pelamin ( kipas, cior-alas duduk pengantin, kusyen, ombak-ombak, tetampan, bantal inai dan sebagainya)
      iii.   Kelengkapan rumah seperti tudung saji, sarung kusyen, hiasan dinding, cenderamata dan sebagainya.
      iv.   Pakaian, kasut, beg tangan dan hiasan kepala.

      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Puan Hajah Azizah terlalu banyak memberi sumbangan kepada masyarakat dan Negara. Sejak pembabitan beliau bermula pada tahun 1980-an telah banyak menyumbang bakti mengembangkan kemahiran seni tekatan benang emas melalui beberapa agensi dan pertubuhan antaranya:-

      i.     KEMAS
      ii.    Kraftangan Malaysia
      iii.   Kementerian Belia Dan Sukan
      iv.   Lembaga Penggalakan Pelancongan Malaysia (Malaysian Tourist Development Board).
      v.    Institut Pengajian Tinggi
      vi.    Persatuan Nelayan
      vii.   Muzium-muzium Negeri



      Beliau pernah menjadi guru KEMAS selama 10 tahun dan bergiat cergas dalam aktiviti perkumpulan wanita setempat. Semasa menjadi guru KEMAS, tugas beliau adalah mengajar dan mendidik masyarakat wanita Kuala Kangsar berkenaan teknik-tekik menekat. Rata-rata penduduk kampung mengenali beliau sebagai Cikgu Azizah. Beliau juga berperanan sebagai tenaga pengajar dalam bidang tekatan bagi membimbing pelatih Kraftangan Malaysia.

      Beliau mengambil inisiatif memajukan kegiatan menekat dengan membuka bengkel menekat dan sebuah ruang pameran berhampiran rumah beliau di Kampung Changkat, Kuala Kangsar. Selain daripada itu beliau juga memiliki sebuah kedai tekatan di Kuala Kangsar. Di samping bekerja keras mengusahakan tekatan benang emas beliau turut bergiat aktif dalam pergerakan politik dan aktiviti kemasyarakatan terutama di sekitar Kuala Kangsar, Perak.



      Puan Azizah turut meneroka penggunaan mesin dalam seni tekatan. Ia bertujuan untuk meluaskan lagi pasaran. Penggunaan mesin menpercepatkan sulaman namun kualiti dan keindahan tekatan benang emas masih terus dikekalkan. Perkara yang paling penting kos pengeluaran dapat dikurangkan dan ia memberi peluang kepada semua lapisan masyarakat untuk memiliki barangan tekatan. Sungguhpun demikian beliau masih terus mengusahakan tekatan tradisional menggunakan tangan kerana permintaan produk ini masih tinggi.

      Sokongan dan kerjasama dari beberapa agensi kerajaan serta individu menguatkan lagi semangat Hajah Azizah untuk terus memulih dan memelihara seni kraf tradisional negeri Perak.

      Beliau memberikan komitmen sepenuhnya kepada bidang sulaman tekat ini kerana minat dan kecintaannya mendalam serta kehalusan kerja tangannya yang membuatkan beliau sering mendapat tempahan dari pihak istana. Kraftangan Malaysia telah melantik beliau sebagai Adiguru Kraf Tekatan pada tahun 1995 di atas usaha gigih beliau dalam memastikan seni kraf ini dipelihara dan dimajukan.
    • Adiguru Kraf Songket Sarawak  Puan Dayang Norsalam binti Pengiran Parsih

      Adiguru Kraf Songket Sarawak
      Puan Dayang Norsalam binti Pengiran Parsih

      Nama            : Puan Dayang Norsalam binti Pengiran Parsih
      Bidang Kraf  : Tenunan Songket Sarawak
      Adiguru        : Adiguru Kraf Songket Sarawak
      Negeri          : Sarawak
      Tarikh Lahir  : 4 Ogos 1943
      Lantikan Pertama  : Tahun 1995
      Lantikan Semula : 2006

      PENGLIBATAN AWAL

      Puan Dayang Norsalam binti Pengiran Parsih dilahirkan di Kampung Hulu Rejang, Sarikei, Sarawak. Beliau dibesarkan dalam lingkung keluarga yang mempunyai kemahiran menenun. Walaupun pernah menerima pendidikan di peringkat sekolah, namun beliau lebih mempunyai cenderung untuk meneruskan perusahaan warisan keluarga ini. Kemahiran menenun yang dipelajari oleh Puan Dayang sejak usia remaja telah mendapat galakan daripada keluarga untuk terus menceburi bidang tenunan ini.



      DAYA KREATIVITI DAN INOVASI

      Beliau memiliki bakat yang tinggi dan kreatif dalam mengadun keindahan dan penuh ketelitian pada setiap reka corak kain yang akan ditenunnya. Corak Emas Rebung, Kayak Tersusun, Bunga Semalu, Bunga Mawar dan Bunga Cabit merupakan antara reka corak yang dihasilkan oleh Puan Dayang.



      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Songket tenunan Puan Dayang dikenali bukan sahaja di Sarawak malah hingga ke Semenanjung Malaysia dan juga Brunei. Beliau mewariskan kemahiran ini kepada anak dan generasi muda agar ianya tidak dilupakan begitu sahaja.



      Bagi menghargai usaha dan sumbangan yang diberikan, pada tahun 1985, Kraftangan Malaysia telah melantik beliau sebagai ADIGURU KRAF TENUNAN SONGKET SARAWAK.
    • Adiguru Kraf Rebana Ubi  Allahyarham Tuan Haji Mahmood bin Abdul Latif

      Adiguru Kraf Rebana Ubi
      Allahyarham Tuan Haji Mahmood bin Abdul Latif

      Nama           : Allahyarham Tuan Haji Mahmood bin Abdul Latif
      Bidang Kraf  : Aneka Kraf (Rebana Ubi)
      Adiguru        : Adiguru Kraf Rebana Ubi
      Negeri          : Kelantan
      Tarikh Lahir  : Tahun 1930 - 28 Januari 1998
      Lantikan Pertama  : Tahun 1996


      LATAR BELAKANG ADIGURU

      Alat muzik terbesar yang terdapat di Malaysia adalah rebana besar. Tingginya hampir 2 kaki dan beratnya 528kg. Rebana besar dibalut dengan kulit dikepalanya dan badannya diperkuatkan dengan kayu-kayu baji. Rebana biasanya dipalu pada sebelah malam di kawasan terbuka. Alat ini dimain berpasang-pasang. Bunyinya agak kuat dan boleh didengar pada jarak yang agak jauh. Salah seorang seorang tokoh tersohor dengan kemahirannya bermain dan membuat alat muzik ini adalah Allahyarham Tuan Haji Mahmood bin Abdul Latif yang merupakan anak jati negeri Kelantan.



      Suatu ketika dahulu, rebana ubi juga merupakan media komunikasi tradisional yang kini semakin dilupakan. Allahyarham Tuan Haji Mahmood atau lebih mesra dengan panggilan Pak Mud di antara pembuat dan pemain rebana yang terkenal serta ternama semasa hayatnya. Beliau dilahirkan pada tahun 1930 di Kampung Jelutong, Kok Lanas di negeri Kelantan. Allahyarham Tuan Haji Mahmood berkebolehan membuat dan bermain rebana yang diwarisi daripada ayahnya yang juga merupakan salah seorang penggiat seni .

      DAYA KREATIVITI DAN INOVASI

      Kerja-kerja menghasilkan alat muzik terbesar ini memerlukan kesabaran dan ketekunan yang tinggi di samping kemahiran dan daya kreativiti yang tinggi. Beliau membuat rebana dengan menggunakan peralatan tradisional dan moden. Pengalaman beliau yang mendalam dalam pembuatan rebana menjadikan beliau mampu menghasilkan rebana sebiji dalam masa satu bulan dengan kadar hanya RM1,500.00 sebuah.



      Selain berkepakaran dalam pembuatan rebana ubi, merupakan ketua kumpulan rebana bagi Kampung Sokor dan telah memimpin persatuan ini hampir 15 tahun dan sepanjang pimpinan beliau kumpulan ini telah berjaya memenangi beberapa pertandingan anjuran kerajaan dan swasta antaranya di Stadium Negara pada tahun 1996 di bawah anjuran PEPSI. Persembahan utamanya adalah setiap petang Isnin dan Rabu yang diadakan di Gelanggang Seni Kota Baharu, Kelantan.



      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Kemahiran serta pengalaman beliau dalam bidang ini menjadikan beliau sebagai salah seorang penduduk terpenting di kampung beliau dan sering menjadi pakar rujuk dalam sebarang permasalahan penduduk setempat. Ketokohan, keterampilan dan pengalaman beliau menjadikan beliau mampu bersaing bersama alat-alat muzik yang lainnya.



      Bagi menghargai jasa dan perjuangan beliau dalam mengekalkan seni warisan ini, Kraftangan Malaysia telah melantiknya sebagai Adiguru Kraf Rebana Ubi pada tahun 1996. Beliau telah meninggal dunia pada 28 Januari 1998. Semoga rohnya dicucuri rahmatNya dan ditempatkan di dalam golongan yang beriman.
    • Adiguru Kraf Tembikar Pulau TigaPuan Hawa Binti Ngah Salam

      Adiguru Kraf Tembikar Pulau Tiga
      Puan Hawa Binti Ngah Salam

      Nama           : Puan Hawa Binti Ngah Salam
      Bidang Kraf  : Hasil Tanah
      Adiguru        : Adiguru Kraf Tembikar Pulau Tiga
      Negeri          : Perak
      Tarikh Lahir  : 5 Mei 1934
      Lantikan Pertama  : Tahun 1996
      Lantikan Semula   : Tahun 2006

      LATAR BELAKANG PENGLIBATAN

      "Sejarah silam labu sayong serba sedikit cuba menyingkap teknologi pembuatan tangan masyarakat Melayu. Menurut cerita penduduk-penduduk Kampung Kepala Bendang, Kuala Kangsar, Perak merupakan asal-usul seramik tanah air bermula dari pedagang-pedagang India dan China yang melewati perkampungan Perak awal abad ke-15. Pedagang ini menyusuri sungai Perak dan membuka era perkembangan labu sayong."


      Demikianlah ungkapan awal yang diutarakan oleh Puan Hawa binti Ngah Salam seorang pencipta warisan seni dan pakar dalam pembuatan labu sayong. Mula melibatkan diri dalam pembuatan labu sayong sejak berusia 15 tahun lagi.



      Puan Hawa binti Ngah Salam dilahirkan pada 5hb Mei 1934 merupakan antara tokoh yang mahir dalam pembuatan labu sayong secara tradisional dan juga moden. Beliau mendapat pendidikan awal di Sekolah Kebangsaan Pulau Tiga, Kampung Gajah, Perak sehingga darjah 3. Beliau juga mendapat pendidikan informal dari ayah dan ibu secara teratur dan didikan yang diterima mengajar beliau menjadi seorang wanita yang berdisiplin dan bertekad untuk maju. Pendidikan ini juga menjadikan diri beliau sentiasa berusaha memajukan diri dan belajar mencintai kraf warisan labu sayong.

      Puan Hawa berasa bertuah mempunyai seorang ibu yang mempunyai kemahiran dalam pembuatan labu sayong. Warisan yang Puan Hawa terima merupakan warisan 6 keturunan. Puan Hawa bertekad biarlah warisan seni kebangsaan negeri Perak ini kekal diwarisi oleh salasiah keturunan beliau.

      Cintanya kepada dunia seni kraf seramik mendorongnya untuk sentiasa berfikir memperbaiki dan mempelbagaikan mutu produknya mengikut arus sezaman. Beliau bukan sahaja mahir dalam pembuatan tradisional tetapi juga cekap dalam penggunaan teknik moden sehingga berupaya menghasilkan 7 hingga 10 buah biji labu dalam sehari.



      DAYA KREATIVITI DAN INOVASI

      Puan Hajah Hawa mempunyai daya kreativiti yang tinggi dalam setiap aspek seni kraf seramik bermula dari bahan, pemprosesan hingga ke bentuk produk. Jari-jemarinya yang halus berseni dalam membentuk labu telah menghasilkan produk yang begitu menarik, cantik dan kemas ditambah lagi dengan kombinasi antara teknik moden dengan tradisional.

      Beliau satu-satunya pembuat tembikar yang mengasaskan teknik bunga tampal dalam hiasan tembikar. Beliau turut mengambil kira citarasa pengguna yang mulai berubah, Puan Hajah Hawa telah menghasilkan labu sayong sebagai barangan perhiasan yang diserikan dengan gabungan motif asal bersama hiasan bunga yang direka sendiri bagi meningkatkan mutu produk kraf.



      Beliau turut mengamalkan beberapa petua lama misalnya semasa menggali tanah, beliau akan memastikan ianya betul-betul baik dan berkualiti. Bukan sahaja mahir dalam pembuatan labu sayong tetapi beliau juga menghasilkan labu gelugor, pasu bunga, labu puchong dan pelbagai barang hiasan seramik. Hasil kerja tangan beliau telah mendapat tempat di kalangan pencinta seni, agensi-agensi kerajaan mahupun swasta.


      PENGALAMAN, PENGLIBATAN DAN PENCAPAIAN

      Dikenali sebagai seorang yang aktif, kreatif dan berdisiplin dalam menghasilkan kerja seni kraftangan maka tidak hairan jika hasil produknya mendapfat perhatian dari orang ramai dan juga pihak akhbar yang sentiasa ingin menulis rencana mengenainya.



      Puan Hajah Hawa dianggap sebagai Tokoh Kraf Seramik di Persada Seni bagi mereka yang menghargai dan menilai seni dan jasa beliau. Berikut adalah pencapaian beliau selama penglibatannya dalam bidang seni kraf seramik :

      i.     Dilantik sebagai Adiguru Kraf Seramik oleh Kraftangan Malaysia (1996)
      ii.    Penghargaan WICITRA (1984)
      iii.   AJK Keselamatan dan Kemajuan Kampung Gajah, Perak
      iv.   Pameran anjuran Universiti Malaya, Muzium Negara, Lembaga Penggalakan Pelancongan Malaysia.
      v.    Produk beliau turut di pamerkan di Koleksi tetap di Muzium Negara, Muzium Taiping, Muzium Negeri Kedah dan beberapa hotel terkemuka tanahair.
      vi.   Rencana Akhbar : 1987 - “Hawa Mewarisi Kesenian Enam Keturunan” Berita Harian.
      vii.   Rencana Akhbar : 1973 - “A Display Of Malay Handicraft” The Star.
      viii.  Rencana Akhbar : 1977 - “Dari Jari-jari Yang Lembut Terciptalah Labu Tanah Yang Bagus” (sebuah akhbar yang tidak dinyatakan)
      x.  Rencana Akhbar : 1976 - “Feats At Clay” The Malay Mail.


      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Selain menghasilkan dan memasarkan barangan kraf, beliau juga telah mengikuti program-program yang dianjurkan oleh agensi kerajaan atau swasta sebagai salah satu usahanya untuk memperkenalkan produk-produk barangan kraf tempatan pada masyarakat setempat dan luar.

      Kemahiran dan kreativitinya dalam menghasilkan barangan yang berkualiti dan mempunyai nilai-nilai estetika yang tinggi ini mendapat liputan daripada media tempatan. Kerjasama beliau yang sentiasa diberikan kepada pihak kerajaan atau swasta dalam pelbagai perkara merupakan satu pengorbanan yang tidak ternilai.

      Beliau turut mengadakan demonstrasi pembuatan labu Pulau Tiga serta turut menyertai pameran pelancongan anjuran Lembaga Penggalakan Pelancongan Malaysia dan Kraftangan Malaysia. Semangat beliau yang sentiasa aktif dan peka pada perkembangan industri kraf seramik dapat dijadikan contoh dan inspirasi kepada pelapis muda untuk menceburi bidang ini.

      Pada tahun 1984, beliau menerima anugerah penghargaan WICITRA anjuran Kraftangan Malaysia. Segala jasa dan usaha murninya diberi pengiktirafan oleh Kraftangan Malaysia dengan melantik beliau sebagai Adiguru Kraf Tembikar Pulau Tiga pada tahun 1996.

    • Adiguru Kraf Serunai Encik Isa Bin Samad

      Adiguru Kraf Serunai
      Encik Isa Bin Samad

      Nama           : Encik Isa Bin Samad
      Bidang Kraf  : Aneka Kraf (Serunai)
      Adiguru        : Adiguru Kraf Serunai
      Negeri          : Kelantan
      Tarikh Lahir  : 11 Mei 1948
      Lantikan Pertama  : Tahun 1997
      Lantikan Semula   : Tahun 2006

      LATAR BELAKANG PENGLIBATAN

      Serunai merupakan pelengkap kepada peralatan muzik tradisional. Encik Isa bin Samad yang lebih mesra dengan panggilan Pak Isa di antara pemain dan pembuat serunai yang disegani terutama oleh masyarakat setempat. Dilahirkan pada tahun 1943, di Kampong Kebakat, Wakaf Baru, Kota Bharu, Kelantan.

      Beliau mewarisi kebolehan bermain dan membuat serunai daripada ayahnya. Sejak kecil lagi beliau telah mula memegang dan belajar meniup serunai. Pernah mendapat pendidikan formal di Sekolah Rendah Manek Tumpat, Kelantan. Ketika beliau meningkat dewasa, beliau telah mahir meniup dan membuat serunai.



      KETOKOHAN DAN KEPIMPINAN

      Di samping menyertai pertandingan beliau juga mengajar warisan ini kepada dua orang anaknya yang kini mahir di dalam bermain alat muzik lainnya seperti rebab, gendang, gong, gedombak dan pelbagai barangan muzik lainnya.

      Kejayaan dan kemahiran beliau sering mendapat liputan dari media massa tempatan dan stesen televisyen. Beliau juga pernah dihantar ke Perancis selama 3 bulan setengah untuk demonstrasi meniup serunai.

      Di samping menjaga kemerduan alunan serunai, Encik Isa turut menitik beratkan penampilan serunai yang ditiupnya. Oleh yang demikian beliau membuat dan mengukir sendiri alat muzik tradisional ini dengan menggunakan kreativiti seninya yang tersendiri.




      SUMBANGAN TOKOH KEPADA INDUSTRI KRAF DAN MASYARAKAT

      Selain daripada menghasilkan serunai beliau turut tersohor sebagai pemain alat muzik tradisional yang disegani di negeri Kelantan malah di seluruh negara.

      Kemahiran beliau adalah :
      i.   Boleh membuat dan bermain serunai.
      ii.  Berkebolehan bermaian rebab, gong, gendang dan gedombak.



      Sepanjang penglibatan beliau di dalam kerjaya seni ini, beliau telah menyertai pelbagai aktviti, pertandingan dan persembahan yang diadakan dan telah menerima beberapa penghargaan dari pihak tertentu. Antara pencapaian beliau ialah :

      i.   Pernah menyertai Pertandingan Serunai anjuran Lembaga Penggalakan Pelancong Malaysia dan berjaya menjadi johan (1994 - 1997).
      ii.  Memenangi Pertandingan Budaya peringkat negeri anjuran Tan Sri Mubin Sheppard (1997).
      iii.   Penerima sijil daripada Yang Dipertuan Agong dengan gelaran Kebudayaan Sri Setia (1971).

      Kemahiran Encik Isa bermain dan menghasilkan alat muzik tradisional telah berjaya memartabatkan seni warisan bangsa ini. Pada tahun 1997 Kraftangan Malaysia melantik beliau sebagai Adiguru Kraf Serunai bagi menghargai bakat dan kemahirannya.

    • Adiguru Kraf Tenunan PuaPuan Bangie a/k Embol

      Adiguru Kraf Tenunan Pua
      Puan Bangie a/k Embol

      Nama           : Puan Bangie a/k Embol
      Bidang Kraf  : Tekstil (Tenunan Pua)
      Adiguru        : Adiguru Kraf Tenunan Pua
      Negeri          : Sarawak
      Tarikh Lahir  : 8 Mei 1945
      Lantikan Pertama  : Tahun 2000
      Lantikan Semula    : Tahun 2006


      KEPIMPINAN DAN INTELEKTUAL

      Puan Bangie telah melibatkan diri dalam bidang seni Tenunan Pua lebih kurang 40 tahun. Mewarisi seni kemahiran dari kedua ibubapanya sejak remaja lagi dan kini diwarisi oleh dua orang anak perempuannya agar seni warisan keluarga kekal oleh keturunannya.



      Beliau tidak pernah mendapat pendidikan formal di sekolah tetapi hasil didikan dan pengajaran ilmu kemahiran yang diterima dari ibubapanya, Puan Bangie merupakan antara tokoh yang berjaya dalam bidang seni kraf tenunan. Tiga perkara yang menjadi pendorong kepada beliau supaya meneruskan seni tenunan tradisi ini iaitu:-

      i.     Tenunan Pua merupakan tenunan warisan yang perlu dipertahankan agar terus berkembang.
      ii.     Beliau ingin menjadi penenun pua yang cemerlang dan terbilang.
      iii.    Beliau ingin memartabatkan seni kemahiran masyarakat Iban.

      Semangat kepimpinannya untuk melihat seni warisan kraf dipelihara dan diwarisi oleh anak-anak tempatan, pencinta seni dan individu luar menyebabkan beliau sanggup mengadakan bengkel, kursus dan latihan kepada mereka yang ingin mempelajarinya. Hasilnya, terdapat anak didiknya yang mahir dalam bidang menenun.

      DAYA KREATIVITI DAN INOVASI

      Mempunyai daya kreatviti dalam teknik tenunan, reka corak/motif dan kekemasan dalam penghasilan Tenunan Pua. Beliau berkemahiran menghasilkan dan mencipta reka corak dan motif yang indah dan mempunyai nilai-nilai estetika yang tersendiri. Antara motif Tenunan Pua yang dihasilkan seperti bunga rang jugah, bunga buah sepuyong dan bunga bali malikut. Beliau juga berupaya menterjemahkan rekaan pelanggan melalui Tenunan Pua.

      Di samping motif-motif tradisional, beliau turut mereka motif-motif kontemporari yang dapat memenuhi cita rasa pelanggan yang terdiri daripada masyarakat tempatan dan antarabangsa. Kebiasaannya beliau menggunakan benang kapas dalam Tenunan Pua. Kini beliau turut menggunakan benang sutera bagi memenuhi permintaan pelanggan dan pasaran.

      Selain daripada itu keunikan tenunan beliau kerana menggunakan bahan semula jadi untuk menghasilkan warna di samping penggunaan warna sintatik yang lebih mudah proses penghasilannya. Jenis produk yang dihasilkan oleh beliau kain pua kumbu dan hiasan berasaskan Tenunan Pua.

      SUMBANGAN KEPADA INDUSTRI DAN MASYARAKAT

      Sepanjang penglibatan beliau dalam bidang seni Tenunan Pua, pelbagai aktiviti dan program yang dianjurkan oleh agensi kerajaan dan swasta diceburinya tanpa sebarang alasan dengan niat untuk memperkenalkan Tenunan Pua di persada antarabangsa.



      Sumbangannya tidak setakat di situ sahaja, bagi memastikan seni warisan ini di warisi oleh generasi seterusnya beliau telah memberi pengajaran kepada anak-anak tempatan melalui bengkel, kursus dan kelas bimbingan yang diadakannya. Berikut adalah pencapaian beliau selama penglibatannya dalam bidang seni kraf Tenunan Pua:

      i.      Menyertai pertandingan Wicitra anjuran Kraftangan Malaysia (1990).
      ii.     Menjadi jurutunjuk kelas Tenunan Pua anjuran Sarakup Indu Dayak Sarawak (SIDS) dan Sarakup Dayak Iban Association (SADIA) Pampang (1994 - 1995).
      iii.     Menjadi jurutunjuk Tenunan Pua kepada pelatih Kraftangan Malaysia.
      iv.   &nbs;p Menyertai pameran dan demonstrasi di Paris, Bangkok, Manila dan Singapura.
      v.      Menyertai Pertandingan Kraftangan Peringkat Negeri Sarawak anjuran Sarawak Craft Council (1998).
      vi.     Menyertai Pertandingan Penggunaan Warna Asli Dalam Tenun Ikat (Pua) anjuran UNESCO di Bangkok dan menangi hadiah pertama (1998).
      vii.    Menyertai ertandingan Pua Kumbu anjuran ‘The Tun Jugah Foundation’ (1998).
      viii.   Menyertai demonstrasi tenunan pua di dalam Pameran Pua Kumbu di Ethnographis Museum, Sweden (1999).

      Di atas sumbangan dan jasa beliau dalam bidang seni kraf Tenunan Pua, pada tahun 2000, Kraftangan Malaysia telah melantik beliau sebagai Adiguru Kraf Tenun Pua.
    • Adiguru Kraf Tenun Mugah Puan Sabnah Binti Dullah

      Adiguru Kraf Tenun Mugah
      Puan Sabnah Binti Dullah

      Nama           : Puan Sabnah Binti Dullah
      Bidang Kraf  : Tenunan Mugah
      Adiguru        : Adiguru Kraf Tenun Mugah
      Negeri          : Sabah
      Tarikh Lahir  : 27 Julai 1945
      Lantikan Pertama  : Tahun 2002
      Lantikan Semula    : Tahun 2006


      KEPIMPINAN DAN INTELEKTUAL

      Puan Sabnah Dullah menetap di Kampung Merabau, Kota Belud Sabah bersama keluarga sejak turun temurun. Beliau yang berketurunan Irranun ini memang terkenal dengan kemahiran menenun. Keunikannya mereka menghasilkan tenunan untuk kegunaan suku kaum lain seperti Bajau dan Dusun. Beliau mewarisi kemahiran menenun kain Mugah daripada ibunya Allahyarham Puan Hamidah Adoi. Ketika masih kecil, ayahnya telah meninggal dunia dan disebabkan hal demikian beliau membantu ibunya menenun untuk menyara 6 orang adik beradiknya masih kecil. Beliau membantu ibunya menenun dan kemudian menjual hasil Tenun Mugah di Pasar Tamu.



      Apabila ibunya meninggal dunia Puan Sabnah pula mengambil alih menyara adik beradiknya yang masih kecil dan 3 orang anak saudaranya yang yatim piatu. Berkat kesabaran dan ketabahannya, beliau menjadi penenun yang disegani. Walaupun tidak mendapat pendidikan formal, beliau mampu menghasilkan reka corak tenun yang unik dan indah berasaskan alam semulajadi seperti tumbuh-tumbuhan dan geometri.

      Perwatakan beliau yang sederhana, penyabar, cekal, tekun serta merendah diri menyebabkan beliau disenangi dan mudah didampingi. Beliau mengajar anak tempatan yang berminat dalam seni tenunan di sebuah bengkel tenunan. Ciri-ciri keperibadian yang dimilikinya telah meletakkan beliau sebagai penenun kain tradisional yang mahir dan berjaya menghasilkan kain Tenun Mugah yang berkualiti serta diperakui mutunya.

      DAYA KREATIVITI DAN INOVASI

      Kain Tenun Mugah ini dipakai oleh orang lelaki dari suku kaum Dusun terutama dalam majlis rasmi, upacara adat, keagamaan, pesta dan perkahwinan.



      Beliau berkemahiran menghasilkan reka corak dan motif yang berunsurkan alam. Di antara reka corak yang dihasilkan adalah seperti:-

      i.     Tenunan Kalingguon.
      ii.     Anunon.
      iii.    Tuara.
      iv.    Bakaki.
      v.     Bunga Emas.
      vi.    Tialali.
      vii.    Lincu.
      viii.   Siku Keluang.
      ix.     Sunding.

      Reka corak Tenun Mugah yang dihasilkan ini disesuaikan dengan kehendak dan adat budaya suku kaum Dusun yang menggunakannya. elain daripada menenun kain Tenun Mugah, beliau berkemahiran juga menenun kain Baraguru, kain Ampik, kain Tapak Sila dan kain Dastar. Beliau juga mahir menganyam tikar pandan.

      PENGALAMAN, PENGLIBATAN DAN PENCAPAIAN

      Penglibatannya dalam menceburi bidang seni Tenunan Mugah telah berjaya menaikkan nama beliau di kalangan masyarakat setempat, orang luar dan pencinta seni. Beliau turut melatih beberapa orang anggota kerja dari Kraftangan Malaysia.



      Kesungguhan dan komitmen yang ditunjukkan oleh Puan Sabnah sekali lagi mendapat kepercayaan dari Kraftangan Malaysia. Beliau telah dilantik sebagai jurutunjuk kepada penenun tempatan dalam program Satu Daerah Satu Industri (SDSI).

      Beliau turut mengajar masyarakat setempat teknik tenunan kain Tenun Mugah dan lain-lain tenunan tradisional Sabah sama ada di rumah atau di bengkelnya. Tujuannya agar seni Tenun Mugah ini akan diwarisi oleh generasi seterusnya secara tidak langsung dapat menyelamatkan seni warisan ini dari pupus begitu sahaja.

      SUMBANGAN KEPADA INDUSTRI DAN MASYARAKAT

      Kepakaran Sabnah dalam menghasilkan kain Tenun Mugah telah menempatkan beliau sebagai salah seorang penenun kain mugah yang handal dan disegani terutama di sekitar Kota Belud, Sabah.



      Bagi memastikan seni kemahiran tangan ini tidak pupus, beliau memberi bimbingan dan tunjuk ajar kepada penenun-penenun muda di sekitar Kampung Merabau. Kegigihan dan kepakaran beliau ini dijejaki oleh Kraftangan Malaysia dan pada tahun 2002 beliau telah dilantik sebagai Adiguru Kraf Tenun Mugah.

    • Tokoh Kraf Negara Hajah Zainab @ Ngah Bt. Mamat

      Tokoh Kraf Negara
      Hajah Zainab @ Ngah Bt. Mamat

      Nama           : Hajah Zainab @ Ngah Bt. Mamat
      Bidang Kraf  : Tenunan Songket
      Negeri          : Terengganu
      Tarikh Lahir  : 22 Disember 1942
      Tahun Lantikan Tokoh Kraf Negara : Tahun 2002

      KETOKOHAN DAN KEPIMPINAN

      Dilahirkan pada 22 Disember 1942 di Kampung Gelung Gajah iaitu sebuah perkampungan kecil yang terletak kira-kira 7km dari Kuala Terengganu. Ketika itu Negara sedang di bawah jajahan tentera Jepun. Dalam keadaan yang serba kekurangan pasangan Che Mamat dan Mariam tetap menerima kehadiran puteri kedua mereka dengan penuh kesyukuran.

      Kepayahan dan keperitan hidup akibat jepun rupa-rupanya menjadi pendorong kepada penduduk kampong ini untuk membina kerjaya khususnya dalam bidang tenunan. Kemahiran menenun kain diusahakan secara serius oleh kaum wanita termasuk keluarga Mariam. Pendapatan hasil menenun ini sedikit sebanyak membantu suaminya menyara tujuh orang anak yang masih kecil.

      Selepas menamatkan pendidikan pada tahun 1955, Hajah Zainab yang ketika itu berusia 13 tahun ditawarkan untuk menjadi guru dan jururawat. Harapan ibu, ayah dan keluarga ingin melihat beliau menjadi guru tidak tercapai apabila Hajah Zainab memilih bidang tenunan sebagai kerjayanya. Minat, semangat dan kesungguhan akur dengan keputusan yang diambilnya untuk menjadikan tenunan songket sebagai mata pencarian.

      PENCAPAIAN TOKOH

      Selama penglibatan beliau di dalam perusahaan tenun songket, pencapaian yang paling membanggakan adalah apabila hasil tenunan songket beliau telah mendapat perhatian dari kalangan istana. Selain Istana Negara, Istana Maziah di Terengganu turut pernah menempah pakaian songket untuk kegunaan upacara tertentu di istana. Beliau juga pernah menghasilkan kain songket untuk pakaian pengantin diraja Brunei. Kepercayaan yang diberi oleh pihak istana kepada beliau adalah pengiktirafan yang tinggi terhadap kain songket yang dihasilkan oleh beliau.

      Selain menghasilkan samping songket untuk lelaki, beliau turut menghasilkan sarung, selendang dan persalinan untuk wanita termasuk pakaian pengantin. Hajah Zainab turut menghasilkan beberapa produk hiasan yang menggunakan kain songket seperti alas meja, sarung kusyen, hiasan dinding, beg tangan, cekak kepala dan sebagainya.



      SUMBANGAN TOKOH TERHADAP INDUSTRI KRAF

      Kini Hajah Zainab mampu tersenyum puas melihat himpunan kain songket hasil ciptaannya. ia terdiri daripada pelbagai corak dan warna dengan seni kehalusan dan keindahannya yang tersendiri. Terengganu Songket adalah nama yang diberi untuk galeri Hajah Zainab yang ditempatkan di kediamannya sendiri bagi menghimpunkan koleksi hasil Tenunan Songket Terengganu.

      Di sini terdapat seribu satu macam kain songket yang dipamerkan untuk tatapan pengunjung. Mereka yang berkunjung tidak terhad kepada pelanggan sahaja, bahkan pelancong asing juga tidak melepaskan peluang untuk singgah menatap kehalusan seni tenunan kain songket yang juga digelar "queen of handwooven fabrics".

      Dalam menguruskan pekerja pula, Hajah Zainab mengaplikasikan sistem pengkhususan. Setiap pekerja mempunyai kemahiran yang tertentu, oleh itu mereka bekerja berdasarkan kepada kemahiran masing-masing. Antara proses-proses yang mereka jalankan adalah menerai, mengani, menggulung, menyapak, mengarat, menyongket dan menenun.

      Bagi menghargai jasa dan sumbangan beliau,pada tahun 2002 Kraftangan Malaysia telah melantik beliau sebagai Tokoh Kraf Negara.
    • Tembeling Pottery Craft Master Craftsmen  Puan Noriah Binti Mohd Ali

      Tembeling Pottery Craft Master Craftsmen
      Puan Noriah Binti Mohd Ali

      Name : Puan Noriah Binti Mohd Ali
      Craft Field : Tembeling Pottery Craft
      Master Craftsmen : Tembeling Pottery Craft Master Craftsmen
      State : Pahang
      Date of Birth : 19 October 1934
      First Appointment : 2006

      BACKGROUND OF INVOLVEMENT
      Puan Noriah binti Mohd Ali was born on 19 October 1934 in Kampung Pasir Durian where her parents are also from this village. She has six siblings but only her and her younger sister are still alive. She never attended school during her childhood years and only received informal religious education while helping her parents at home. At the age of 21 years, she was married and was blessed with seven children - four sons and three daughters, all now residing around Pahang. She then inherited the Tembeling pottery making skills from her mother-in-law, Sepian binti Mat Amin.



      She is one of the Tembeling or Terenang pottery craft entrepreneurs in Pasir Durian, which is located in the district of Kuala Tembeling, approximately 16 kilometres from Jerantut town, Pahang. The village is accessible by waterway and takes a 15-minute boat ride from Kuala Tembeling jetty. A long time ago, it was believed that the pottery was preferred by the king and most of the pottery makers were protected and lived in the palace. Among the many uses of the Tembeling pottery products are for cooking or storing food and drinking water.



      The clay used for pottery making was sun dried before being soaked in water for about three days. The soaking process is to break up clumpy soil by removing unwanted materials, rocks and other debris. The clay is kneaded, shaped and designed by a skilful potter.

      The Terenang pottery maker adapts the beauty of nature to produce design motifs such as crescent moon, fish bone and bamboo shoots. The pots are left in the sun to dry before firing. The perfect drying process produces durable and non-breakable pottery.

      CREATIVITY AND INNOVATION

      The Tembeling Pottery Craft has a specialty of its own unique fine clay and is only available in the village. Ever since, pottery makers in Pasir Durian Village extracted clay from six acres of donated land. There are a variety of motifs used on the surface of the pottery such as Sambar Flower, Mangosteen Base, Lemur Sole, Duck Sole, Bamboo Shoots, Flower Petals, Pierced Grasshopper, Four-burst Flower and Fan Flower.

      The motif mould was made by Puan Noriah using wood and stone to polish the surface of pottery. Other tools used include a stone for polishing the surface and a carved wooden blade for the cross-cutting pattern. Pottery products produced by her are available in various sizes and encompasses several types of potteryware such as Terenang, Pot, Vase, Fruit Container and several old potteries and products at the request of her customers.




      `

      In addition to the use of cooking or storing water, this Tembeling Pottery craft can be used as decoration and for use in traditional medicine. Usually, she was able to complete a set of Pottery (with cover and base) within 20 days while a simple bowl can be completed in one to two days.

      RECOGNITION

      Puan Noriah is fully committed to the field of pottery making. Based on her experience, she has passed on her knowledge to a number of young people who are interested in making this traditional craft product. However, only one or two are completely consistent and continuing the efforts.



      Her skills in the art of creativity often took her all over the place like Perlis, Perak and Pekan, Pahang to demonstrate the making of Tembeling Pottery products. Orders are often received from numerous government departments, museums and locals around Pahang. Other than bookings, she also regularly received visitors from within or outside the country to her workshop. In appreciation of her perseverance and hard work, Kraftangan Malaysia has appointed her as Master Craftsmen of Tembeling Pottery Craft in 2006.

      In January 2008, a workshop equipped with exhibition space was built with the help from the Pahang Branch of Kraftangan Malaysia located next to her residence. This is an initiative by Kraftangan Malaysia to help her continue the traditional tembeling pottery making business.



    • Adiguru Kraf Wau TradisionalEncik Shafie Bin Jusoh

      Adiguru Kraf Wau Tradisional
      Encik Shafie Bin Jusoh

      Nama           : Encik Shafie Bin Jusoh
      Bidang Kraf  : Aneka Kraf
      Adiguru        : Adiguru Kraf Wau Tradisional
      Negeri          : Kelantan
      Tarikh Lahir  : 6 September 1947
      Lantikan Pertama Adiguru  : Tahun 2006


      LATAR BELAKANG PENGLIBATAN

      Encik Shafie Bin Jusoh mula meminati bidang Kraf Wau sejak berada di sekolah rendah lagi. Ketika berusia 10 tahun, beliau sering mengikut rakan-rakannya bermain wau di bendang sehingga sanggup berhenti sekolah ketika berada di tahun tiga.

      Demi minat, beliau belajar membuat wau dari rakan-rakan dan cara-cara sobekan melalui pemerhatian sendiri. Encik Shafie amat berbangga kerana minatnya tersebut mendapat dorongan daripada ibu bapanya dan sebagai tanda sokongan ayahnya telah memainkan wau besar yang telah dihadiahkannya. Dengan jualan secara kecil-kecilan, wau yang dihasilkan serba sedikit dapat membantu ekonomi keluarganya.



      Ketika awal penglibatannya, belum ada lagi anak Kota Bharu yang mengusahakan pembuatan wau secara serius. Pada masa itu beliau hanya bertanding sambil bermain wau di Stadium Kota Bharu serta Kompleks KB. Bakat tokoh mula menyerlah ketika beliau berusia 22 tahun dengan kedatangan dua orang pelancong luar negara yang menyaksikan bakatnya memainkan wau di stadium. Berminat dengan keunikan permainan tersebut, kedua-dua pelancong tersebut menempah wau dari beliau.

      Semenjak dari itu, beliau mula yakin dengan produknya serta menerima tempahan wau naik untuk dijual. Encik Shafie mula menerima tempahan secara eksklusif dari syarikat-syarikat besar serta jabatan kerajaan ketika berusia 30 tahun.



      DAYA KREATIVITI DAN INOVASI

      Salah satu keunikan wau bulan yang dihasilkan oleh beliau ialah badan wau yang dihasilkan berbentuk bulat dan seimbang antara kiri dan kanan yang direka berkonsepkan wau pada permukaan syiling 50 sen.



      Beliau juga tidak pernah meniru corak-corak wau daripada ciptaan orang lain walaupun atas permintaan pelanggan. Sekiranya diminta menghasilkan wau berdasarkan gambar yang diberi untuk tempahan, tokoh pasti mereka cipta corak lain berdasarkan konsep yang diberi. Ini adalah kerana tokoh amat menghormati rekacipta orang lain dan ingin menghasilkan rekaan identitinya sendiri.

      Secara keseluruhannya, terdapat empat jenis wau tradisional yang mampu di hasilkan oleh beliau iaitu wau bulan, wau merak, wau puyuh dan wau barat. Dari segi corak atau sobekan, terdapat pelbagai jenis corak tradisional yang terdapat pada wau iaitu "Awan Larat", "Lada Hitam", "Ketam Guri", "Daun Kacang", "Daun Jarak", "Daun Kangkung" dan "Daun Jawa". Namun begitu, belau juga turut merekacipta corak-corak baru mengikut citarasa pelanggan.

      Menurutnya, kesemua jenis wau tersebut boleh mengeluarkan bunyi kecuali Wau Barat. Bunyi-bunyi ini terhasil dari alunan angin yang meniup busur apabila wau terbang tinggi di atas langit. Bunyi ini berbeza-beza mengikut kenipisan busur san kelajuan angin dan ia bergantung kepada kemahiran peneraju wau semasa memainkannya. Wau Merak yang merupakan warisan negeri Johor boleh mengeluarkan tujuh jenis bunyi manakala Wau Bulan yang merupakan kebanggaan negeri Kelantan pula boleh menghasilkan tiga jenis bunyi.

      PENGIKTIRAFAN

      Apa yang paling menarik, keunikan wau yang telah dihasilkan oleh Encik Shafie telah membawa beliau kepada pelantikan sebagai duta MAS. Pihak MAS sering menjembut beliau untuk membuat demonstrasi di luar negara seperti Australia, German, Maldives, Melbourne dan Jepun. Sehingga kini, pencapaian tokoh telah mendapat liputan daripada penerbitan majalah, akhbar serta agensi-agensi media massa.



      Satu keistimewaan yang ada pada tokoh ialah beliau amat merendah diri meskipun namanya masyhur di kalangan penggiat seni wau. Beliau juga tidak pernah menetapkan sebarang kadar bayaran terhadap pihak media yang ingin membuat liputan tentang dirinya, perusahaan ataupun produknya.

      Produk-produk wau yang di hasilkan oleh beliau sering dibeli oleh hotel-hotel, jabatan kerajaan, muzium serta syarikat swasta terutamanya selepas wau berkenaan digunakan dalam sesuatu pertandingan. Beliau sangat mahir membuat wau perhiasan dan wau naik untuk pertandingan. Sehingga kini beliau telah banyak memenangi pertandingan wau di peringkat kebangsaan mahupun di peringkat antarabangsa.



      Antara pertandingan yang pernah disertainya ialah pertandingan wau peringkat antarabangsa ialah Pasir Gudang Kite Festival International Guests anjuran Lembaga Pelabuhan Pasir Gudang dan peringkat negeri seperti Johan Wau Cantik dan Johan Wau Naik peringkat negeri Johor serta pertandingan-pertandingan anjuran Majlis Pelancongan Negeri Kelantan.



      Selain pertandingan, beliau juga ada menerima jemputan untuk membuat demonstrasi oleh Lembaga Penggalakan Pelancongan Malaysia dan aktiviti kebudayaan anjuran kerajaan negeri. Beliau juga kerap dijemput untuk mengadakan demonstrasi pembuatan wau dan sesi interaktif bersama pengunjung bagi pihak Kraftangan Malaysia. Pada tahun 2006, beliau telah dilantik sebagai Adiguru Kraf Wau Tradisional oleh Kraftangan Malaysia.

    • Pahang Royal Woven Fabric Master Craftsmen Puan Natipah @ Nortipah Abd. Kadir

      Pahang Royal Woven Fabric Master Craftsmen
      Puan Natipah @ Nortipah Abd. Kadir

      Name : Natipah @ Nortipah Abd. Kadir
      Craft Field : Woven Textile
      Master Craftsmen : Pahang Royal Woven Fabric Master Craftsmen State : Pahang
      Date of Birth : 4 November 1944
      First Appointment : 2006

      BACKGROUND OF INVOLVEMENT

      Puan Nortipah Binti Abdul Kadir has lived in Keladi Island since birth. She has a blood relations with Al-Marhum Keraing Aji (Tuk Tuan) who is a pioneer of Pahang woven fabric. Based on the weaver family tree, she is the 12th generation who is still working on Pahang Silk Weave. Since generations, the family of weavers lived around Keladi Island, Benta, Jambu, Langgar district and Pekan, Pahang.



      The weaving skills had been inherited since her teenage years and her deep interest led to this prominent figure readily accepting everything she had learned. This prominent figure is the only heir who is still active until now in the Pahang Silk Weave.

      She has the support and encouragement of her family to take this field seriously. Hard work and never giving up have been worthwhile as she received many orders from royalties, national leaders and individuals.



      She is also one of the best known and respected weavers in the country. Although her skills were known in the weaving field, she still strives to gain knowledge by attending workshops and seminars such as:

      i. Sarawak Natural Coloring Workshop organised by Kraftangan Malaysia
      ii. Pakan Tie Weave Workshop organised by Kraftangan Malaysia; and
      iii. Gerus and Telepuk Art Workshop organised by Ministry of Tourism, Arts and Culture.

      CREATIVITY AND INNOVATION

      The current trends have also affected the growth of local fabric production as well as the weaving style of Pahang. As an entrepreneur and manufacturer of woven fabrics, she has adapted to these innovations. Nonetheless, the traditional features especially in the design and tips were adhered to maintain the identity of Pahang Woven fabric which is known for its beauty and fineness.

      She has extensive experience and expertise in producing woven fabric designs. Among the fabric designs created and weaved are the Pahang fabric pattern of gold flower chess board with bee head. According to her, the Pahang Woven fabric has its own identity of woven cloth decorated with Shrimp Clip pattern. This pattern distinguishes Pahang Woven fabric with other states.



      To ensure the quality of the fabric produced, this prominent figure handles personally the weaving process from beginning to an end. She has skills in producing colors from natural ingredients. This is because before the synthetic colors were introduced, she dyed the silk threads with natural colors.

      As the heir to Pahang's woven art, this prominent figure still practices and adheres to some of the prohibition and tips that have been revealed by choosing Thursday to start weaving. These traditional practices embodies various philosophies and prohibitions as part of her appreciation for maintaining the identity and fabric of Pahang's weave.



      She also gives tips on the care of silk fabrics so that they are not easily fading or worn out. Lime is used to wash the cloth of Pahang and then rinsed with clean water. The rinsed cloth is stretched and dried in the shade.

      Her love and appreciation for the art of this heritage can be seen in the collection of well-preserved family heritage of old-woven fabrics. She is still passionate about preserving the fabrics of this tradition by maintaining an old and modern touch in keeping with the changing times. She is also skilled at weaving Limar Cloth, a traditional woven fabric that has been extinct and is capable of making Tekat Gubah Embroidery.

      RECOGNITION

      Her perseverance and commitment in protecting the weaving heritage received the attention of the Pahang State Government. A handicraft center was set up on Keladi Island located 5 km from Pekan, the Royal Town. She was entrusted with leading a team of weavers who carried out their activities at this centre. The handicraft centre established in the 1980s is the largest weaving center in Pahang and has provided weavers the opportunity to work and sell their woven produce.



      Besided working on weaving orders, she also spent some time providing guidance and mentoring to 15 trainees at the Keladi Island Weaving Center, as well as to staff and trainees from the Malaysian Handicraft Development Corporation. She also passed down the skills to her children who worked full time on it.

      The inspiring success story of this figure has often gained coverage from many local medias. The beauty of her weaving is also recognised by:

      i. The Award of Craft Design 1996/97 organised by the Kraftangan Malaysia
      ii. The Appreciation of Wicitra Competition 1990 organised by the Kraftangan Malaysia; and
      iii. The Appreciation in conjunction with the National Farmers, Breeders and Fishermen's Day 1995; by the Ministry of Agriculture Malaysia.

      Kraftangan Malaysia has appointed her as Pahang Royal Woven Fabric Master Craftsmen in honour of her contribution in the preservation of the art of nation’s heritage.
    • Nyonya Embroidery Master Craftsmen The Late Puan Lim Swee Kim

      Nyonya Embroidery Master Craftsmen
      The Late Puan Lim Swee Kim

      Name : The late of Puan Lim Swee Kim
      Craft Field : Nyonya Embroidery
      Master Craftsmen : Nyonya Embroidery Master Craftsmen
      State : Pulau Pinang
      Date of birth : 17 June 1933 - 6 April 2014
      First appointment : 2006

      “Purple kebaya with embroidered art, Worned by Nyonya of Pearl Island beautifully,
      A courteous smile that invited the heart,
      Unforgettable for half a century


      - - Datuk Abdul Samad bin Mohamed Said, the National Literature Laureate (1985)

      INVOLVEMENT BACKGROUND

      The Nyonya embroidery has often adorned the kebaya which is a traditional outfit of Baba descent. One of these embroidery experts was the late Puan Lim Swee Kim who was born in Kelantan on 17 June 1933. After getting married, she lived in Penang and worked on making embroidery to supplement her family income. She specialises in embroidery for cheongsam and kebaya clothing.



      She began to learn the art of embroidery since she was eight and inherited it from her mother. At the age of 15, she mastered the art of knitting using foot sewing machines. She has since ventured into this full time. In 1965, she was assisted by a number of workers to prepare a growing number of embroidery orders. Around 1986, the demand for embroidery began to decline. However, this situation did not deter her in continuing the legacy of the artistic heritage of the Nyonya Embroidery.



      CREATIVITY, EXPERIENCE AND ACHIEVEMENTS OF MASTER CRAFTSMAN

      In 2000 the demand increased again when the Nyonya Kebaya Book was launched by the late Datin Paduka Seri Endon Mahmood. She was among the dignitary customers of the late Puan Lim who regularly reserved Kebaya outfit. She has also given a lot of encouragement and inspiration to the late Puan Lim to continue in this field. Orders received also increased as many as 20 pieces of kebaya every month.



      In 2005, she received an award from the Singapore Museum. As a result of her hard work, she was able to open an embroidery shop in Gurney Plaza, Penang known as Kim’s Fashion. She also received extensive publicity coverage through local media. During her involvement in the Nyonya Embroidery field, she had produced more than 1,000 motif designs consisting plant, flower, animal, fruits and abstract art.




      CONTRIBUTIONS TO THE CRAFT AND CULTURE INDUSTRY

      The late Puan Lim Swee Kim also provided training and guidance to a junior team to preserve this heritage art. Her trainees are from all over the country. For more than four decades she has trained more than 50 students and some of them are embroidery entrepreneurs with calibre. She used to be an embroidery instructor for the group of trainees in the Heritage Craft Apprenticeship Scheme organised by Kraftangan Malaysia.



      She has also provided embroidery guidance to students from countries like South Korea, Japan, Mongolia, Africa and the United State. In 2004, she received an intern from the United States who successfully mastered the skills of embroidery in two weeks. The trainee, Dr. Jessica Krakow learned the techniques of embroidery for 8 hours daily with the guidance of the late Puan Lim. As a result, she managed to embroider a piece of kebaya before leaving for the United States.



      The late of Puan Lim Swee Kim was appointed as Nyonya Embroidery Master Craftsmen in 2006 by Kraftangan Malaysia. At the age of 81 years, a prominent figure who contributed much to the continuation of the country’s legacy of the Nyonya embroidery passed away on 6 April 2014.
    • Sambitan Weave Master CraftsmenPuan Pandian Binti Sulaiman

      Sambitan Weave Master Craftsmen
      Puan Pandian Binti Sulaiman

      Name : Puan Pandian binti Sulaiman
      Craft Field : Textile
      Master Craftsmen : Sambitan Weave Master Craftsmen
      State : Sabah
      Date of Birth : 17 April 1950
      First Appointment : 2006


      BACKGROUND OF INVOLVEMENT

      Since a long time ago, the Iranun community who lived around Kota Belud have always been skilled in producing various handicrafts such as weaving, embroidering and playing musical instruments. The uniqueness of the Iranun's handicrafts are not only for their use but also to meet the needs of other tribes such Bajau and Dusun. The Sea Rampayan village, located about 30 km from the town of Belud, is one of the Iranun villages that is well known for its Sambitan woven products.



      One of the well-known sambitan weavers, Puan Hajah Pandian binti Haji Sulaiman, is a highly respected weaviing prominent figure. Born on April 17, 1950, she began to learn weaving from her mother and grandmother at an early age. At that time, the girls were taught a wide range of skills such as sewing, hand woven, weaving and everything related to household chores.

      THE CREATIVITY, EXPERIENCE AND ACHIEVEMENT OF MASTER CRAFTSMAN

      Apart from hand weaving, Puan Pandian is very good at weaving a decorated bead mat (tipo selisir) embroidery and a traditional pattern called Langkit. The wife and mother of seven children utilised the talents and creativity learned to supplement their family's income. Every weekend, she brings her handicraft products to the guest market in Kota Belud town for sale.



      In order to ensure the skills continue to grow, Hajah Pandian provided weaving training and guidance to some of the school leavers who lived near her home. Her house was used as a workshop to train passionate young weavers. Her noble efforts have gained the attention of the government. She received assistance from the Ministry of Rural Development to build a more comfortable workshop that could accommodate more trainees.

      CONTRIBUTIONS TO THE CRAFT INDUSTRY AND SOCIETY

      Puan Hajah Pandian was always invited to hold demonstrations and exhibitions in Sabah and Kuala Lumpur. Her mastery in woven also gained media coverage. In 2006, she participated in Heritage Craft Apprenticeship Scheme, a programme organised by Kraftangan Malaysia that aimed at assisting future leaders in the field of heritage craft including sambitan weave.



      Kraftangan Malaysia has appointed Puan Hajah Pandian Sulaiman as SAMBITAN WOVEN MASTER CRAFTSMEN in 2006 in honour of her significant contributions in sambitan weave.
    • Mask/Sculpture Carving Craft Master Craftsmen The Late Pion Anak Bumbong

      Mask/Sculpture Carving Craft Master Craftsmen
      The Late Pion Anak Bumbong

      Name : The Late Pion Anak Bumbong
      Craft Field : Assortment of Crafts
      Master Craftsmen : Mask /Sculpture Carving Craft Master Craftsmen
      State : Selangor
      Date of Birth : 1967 - 10 May 2014
      First Appointment : 2006

      BACKGROUND OF INVOLVEMENT

      The indigenous people are ethnic minorities in the country and possess handicraft skills that also added variety to the country's craft industry. Their crafts are also recognised locally and abroad. Among the artistic skills that have gained recognition both locally and abroad are sculptures and masks. One of the famous sculptors is the Late Pion Anak Bumbong who was born on 8 August 1946.



      The late Pion anak Bumbong was a native of Carey Island. He was from the Mah Meri community who worked on wood carving of masks and sculptures for the past 40 years. The art of carving was inherited through generations of his ancestors.

      The uniqueness of sculptures and masks produced by him are fully hand carved and without the use of tools like machines. The raw material used is Nyireh Stone wood which is found around the coastal area in Selangor. The Mah Meri community talks about their carving with pride because its uniqueness and hand carving is synonymous with their way of life.

      CREATIVITY, EXPERIENCE AND ACHIEVEMENT OF MASTER CRAFTSMAN

      His specialties in the art of carving are his unrivalled technique, fineness and high quality in every product that he produced. The product inspiration came from his own and mostly taken from nature such as plants and animals.

      The main reason of his full engagement in the wood carving field was due to his keen interest in the carving art that represents the Mah Meri community. In addition, it was his self-awareness to preserve the art of this heritage craft that led him to continue his father's journey to produce this carving product. Most of his work and craft produced were documented and recorded by broadcast organisations, local newspapers and magazine publications.

      Among the products or scupltures produced by most sculptors which are from his guidance include the Crocodile Ancestor, Gendi Ancestor, Hurricane Ancestor, Cape Ancestor, Shake Ancestor, Craving Staring Ancestor, Fern Ancestor, Anchor Ancestor, Bujam Ancestor, Ba’ai Ancestor, Pelimbai Ancestor, Tok Naning Ancestor, Kaler Frog Ancestor, Leaf Box Ancestor, Water Sepua Ancestor, Elephant Badi Ancestor, Chained Tiger Ancestor, Squirrel-Grasshopper Ancestor, Kelolong Ancestor and Jasmine Ancestor.



      THE EXPERIENCE AND ACHIEVEMENTS OF MASTER CRAFTSMEN

      As a result of his 40 years of experience in wood carving, he has participated extensively in competitions and exhibitions at international and national levels. Other than wood carving orders from the local community, he has also received orders from all over the country including from abroad such as Indonesia, Thailand, New Zealand and Australia.

      He was also invited to hold a demonstration of wood carving in the above countries, to enable the local community to value the fine art in each of his carving piece. He was given the opportunity to introduce the art of wood carving of the Mah Meri by participating in a handicraft art event organised by both governmental and non-governmental bodies.



      He has entered several wood carving competitions, including the "Handicraft Product in Southeast Asia" competition organised by UNESCO in 2004, held in Thailand. In this competition, the late Pion took first place with the wood carving of "Chained Tiger Ancestor" sculpture. In 2005, the late Pion again entered the "Handicraft Product in Southeast Asia" competition organised by UNESCO in Thailand and he retained the first place with the carving of the “Tiger Trap Jenug Ancestor ".

      CONTRIBUTION OF MASTER CRAFTSMEN TO THE CRAFT INDUSTRY

      To this day, many of his knowledge and skills were passed on to his children. Apart from that, he has taught young people and potential carvers in Sungai Bumbun on the basis of his principles and awareness of preserving this heritage. Many of these potential carvers have been successful and have made wood carving as a source of income. In addition, wood carving has also become a major source of income to support his family.



      Throughout his life, he has shown a persistence and commitment in contributing continuously towards developing and upholding the craft industry. He is also a competent, skilful and knowledgeable in the craft field involved. He was always generous in sharing his enormous knowledge. His knowledge is the legacy that need to be continued to ensure it remain and appreciated by local community.



      His skills gained recognition and he was appointed as Mask/Sculpture Carving Master Craftsmen by Kraftangan Malaysia in 2006. Pion passed away on 10 May 2014 (Saturday) in Sungai Bumbun Village, Carey Island, Selangor.
    • Traditional Boat Master Craftsmen Tuan Haji Abdullah Bin Muda

      Traditional Boat Master Craftsmen
      Tuan Haji Abdullah Bin Muda

      Name : Tuan Haji Abdullah bin Muda
      Craft Field : Traditional Boat
      Master Craftsmen : Traditional Boat Master Craftsmen
      State : Terengganu
      Date of Birth : 2 August 1937
      First Appointment : 2006

      BACKGROUND OF INVOLVEMENT

      Tuan Haji Abdullah bin Muda was born in August 1937 in Duyung Besar Island, Kuala Terengganu. He has seven siblings and son to Encik Muda bin Abdul Rahman and Puan Nik binti Ismail. He was raised up in Duyung Island with a village atmosphere and received his education up to secondary level at Zainal Abidin Religious Secondary School, Ladang, Terengganu.



      Growing up in an environment that is close to the river and sea has sparked his interest and involvement in water activities. He inherited his grandfather's talent, who is also one of the earliest boat operators in the island. Encik Haji Abdullah has also participated in boat building training in enhancing his talents and skills. He has been involved directly in boat making and started as an assistant at a young age. Even three members of his family are involved as well in the traditional boat making industry. Driven by his own family, his in-laws and friends, encouraged him to pursue the field full time.




      PROMINENCE AND LEADERSHIP

      The training skills and experience gained in the 50’s has given him the strength to work on his own traditional boat building business. Starting with small boat making, his skill level has developed and he was able to produce many types of traditional boats and yachts.

      Normally, Tuan Haji Abdullah makes drag-net boats (Payang) and traditional fishing boats (Kolek). This boat received most bookings especially for fisheries and water transportation. Other than that, there are boats of different types such as Sekuci, Bedar and Gelibat. The differences between the types of boats mentioned are based on their shapes and uses.



      His work has not changed with the passing of time. He emphasised the use of the best timber materials and the preservation of traditional methods of production. Every boat produced needs to be well maintained to withstand up to 50 years. The most noticeable difference between modern and traditional boats is in the installation of "keel". A large "keel" is installed to stabilise the boat due to engine shaking factors as compared to the small "keel" of traditional boats as it is not using any mechanical engines.

      THE FIGURE’S CONTRIBUTION TO THE CRAFT INDUSTRY AND SOCIETY

      The popularity of his boat art has been widely disseminated through local and overseas print and electronic media covering his grandeur traditional boatbuilding art. In 2006, he was awarded a recognition from the Terengganu State Art Award presented by the state government.



      One of his six children, Encik Khairul Azuar, has now inherited the art of craftsmanship. In addition, Tuan Haji Abdullah also provided skills training to the workers at his workshop in Duyung Island including a group of trainees funded by the Federal and State Government agencies of Terengganu. This special workshop is located near his home where he can launch the boat onto water upon completion. The spacious and covered workshop can accommodate up to four boats at a time even during the rainy season.

      SOLID FIGURE AND LEADERSHIP

      Tuan Haji Abdullah has successfully completed various yachts from overseas clients such as Singapore, Algeria, Australia, Denmark, England, Italy, New Zealand, Canada, the United States and France. One of his best piece of work was the accomplishment of a 52 feet x 16 feet boat reservation from the citizen of United States which being showcased in the Alaska Museum of the United States in 1980. Even the customers came personally to meet Tuan Haji Abdullah to make a reservation. Since 1965, there have been at least 20 boats made by him found around the world.



      The achievements of Tuan Haji Abdullah bin Muda are notable in developing the country's traditional boat making industry. Kraftangan Malaysia has appointed him as a Traditional Boat Craft Master Craftsmen in 2006 in appreciation and recognition for his efforts to develop the country's traditional boat industry.
    • Iban Pottery Craft Master CraftsmenEncik Andah A/K Lembang

      Iban Pottery Craft Master Craftsmen
      Encik Andah A/K Lembang

      Name : Encik Andah A/K Lembang
      Craft Field : Iban Pottery
      Master Craftsmen : Iban Pottery Master Craftsmen
      State : Sarawak
      Date of Birth : 11 May 1948
      First Appointment : 2006


      BACKGROUND OF INVOLVEMENT

      Encik Andah a/k Lembang was born on 11 May 1948 in Nangga Sumpa, Batang Ai, Sarawak. He started to learn how to make Iban pottery (Iban Pots) at the age of 15 from his mother Chandi a/k Lupuh. He learned the art craft traditions of his family while driven by his passion for the art of making Iban pottery.

      At first, he was just learning to make simple patterns that his mother used to create, but now he is able to produce patterns according to customer request. Among the motif patterns that he has produced are Square Flower, Eggplant Flower, Bat Flower, Cast Net Flower, Bunut Flower, Eye-shaped Flower and Perut Morek Flower (Small frog).



      THE CONTRIBUTION OF FIGURE TO THE CRAFT INDUSTRY AND SOCIETY

      To ensure the continuity of this skill, he persevered to teach the younger generation not only to the residents of the Nanga Sumpa Long House, but also to interested parties such as the Sarawak State Museum and the University of Malaysia Sarawak (UNIMAS).



      He was also brought to the Langkawi Craft Complex in 1987 and travelled to Japan in 1991 to demonstrate the Iban pottery. He was appointed as a demonstrator by Kraftangan Malaysia in the production of documentation on Iban Native Pottery. During the Pottery Emotion Exhibition in kuala lumpur, he has been demonstrating for a week to show the techniques of making traditional Iban Pottery from beginning to end. In addition, he is often interviewed by local broadcasters to share his knowledge and skills in manufacturing Iban pottery.



      As an expert in this field, he has been teaching and giving demonstrations to local communities, associations, government agencies or private individuals as well as PKKM trainees. Kraftangan Malaysia has appointed him as the Iban Pottery Master Craftsmen in 2006 to honour his efforts and contributions.
    • Rebana Ubi Master Craftsmen Encik Mat Yaacob bin Awang Besar

      Rebana Ubi Master Craftsmen
      Encik Mat Yaacob bin Awang Besar

      Name : Encik Mat Yaacob bin Awang Besar
      Craft Field : Rebana Ubi (Traditional Huge Drum)
      Master Craftsmen : Rebana Ubi Master Craftsmen
      State : Kelantan
      Date of Birth : 19 October 1942
      First Appointment : 2006


      BACKGROUND OF INVOLVEMENT

      Encik Mat Yaacob bin Awang Besar began to learn the craft from a young age by following his father and uncle who were active in making and playing rebana ubi. Since ages ago, the generation of his great-grandparents and the identity of Baru Pupuk Village have always been well known for the art of playing rebana ubi. He has been playing the rebana ubi since 1955 at the age of 12 years old. Besides engaging in the making of rebana ubi, he also works as a paddy farmer and rubber tapper.



      The art craft of rebana ubi produced by Mat Yaacob is noted around the country for his great skill in the process of tying buffalo hide that has been dried and stretched to the body of rebana. The most complicated process is called ‘take’. It was his excellence that made the orders he received not only from the outside community but also from other rebana ubi enterpeneurs because of his unrivalled skill and excellent quality of work.



      He also produces rebana ubi with natural motifs painted on the surface of buffalo hide. Orders are usually received during festivals and official occasions such as the coronation of the sultan and the opening of an official ceremony. Rebana ubi is rarely ordered because of its durability and hardly breaking. Therefore, Encik Mat Yaacob rarely receives repeat orders other than repairing of the old rebana ubi.

      THE UNIQUENESS OF THE MASTER CRAFTSMEN’S ART CRAFT

      The rebana ubi produced by him is well-known all over the country for his skills in the process of tying the buffalo hide that has dried and stretched on the body of a drum. The most complex process is called the 'take' process. His outstanding skills made him accepting orders not only from abroad but from other entrepreneurs as his skills in the process were unrivalled and of high quality.



      The process of making rebana ubi in the past is more complicated than it is today because of the use of traditional hand tools. Huge tree branches are difficult to cut because they only use crocodile saw and axes. Nowadays, all these processes are made easier by using machines without compromising the quality of the wood and the sound quality of rebana ubi. However, the use of the original motif on the rebana ubi is still maintained by decorating with nature motifs on the surface of buffalo hide.

      The materials needed for making the rebana ubi are merbau/tapang/mubor/laban timber wood, buffalo hide, paints, rattan, big catgut string and even nylon rope. According to him, there is no prohibition in the production of rebana ubi. However, raw materials such as rattan, buffalo hide and large quantities of wood are scarce and influenced by rising price factors.



      Normally, a rebana ubi is sold for around RM2,000 to RM3,000 each depending on the process duration and materials. Customers who provide their own raw materials will usually be charged RM400 as a fee for the process of preparing the rebana ubi.

      THE CONTRIBUTION OF MASTER CRAFTSMAN TO THE CRAFT INDUSTRY AND SOCIETY

      In order to ensure the continuity of these skills, he persevered to pass on these skills to interested local people as part of a training scheme organised by Kraftangan Malaysia. However, the interest and enthusiasm shown by this young generation is not stimulating and inconsistent in terms of attendance.



      His children of four are also not interested in becoming the next generation of craftsmen in the making and playing of the rebana ubi. However, one of his students, Encik Shafawi bin Tahir has mastered the skills. Shafawi, who has reached his 50s is called Pak Wi, a resident of Baru Pupuk Village. Encik Mat Yaacob is expecting Pak Wi to become the next heir of this cultural heritage of rebana ubi.



      He regularly receives invitations for demonstrations and competitions throughout Malaysia. Some of the demonstrations he has attended include National Craft Day (2002 & 2010), Cultural Performances in Independence Square (2002) and Cultural Performances in Putrajaya (2005). He has also been crowned the Champion in State Level Rebana Competition. Furthermore, his expertise have also gained many media coverage in either electronic or print.



      A workshop was set up next to his home with the help of Kraftangan Malaysia in 2007. Earlier, he had been able to park his materials and tools at the village hall right in front of his house. In this workshop, he will be able to conduct trainings for the younger generation who interested to run the business of this rebana ubi in a more organised way.

      To appreciate his passion and skills, Kraf Malaysia has appointed Encik Mat Yaacob bin Awang Besar as Rebana Ubi Craft Master Craftsmen in 2006.
    • Wood Carving Craft Master CraftsmenEncik Wan Mustafa bin Wan Su

      Wood Carving Craft Master Craftsmen
      Encik Wan Mustafa bin Wan Su

      Name : Encik Wan Mustafa bin Wan Su
      Craft Field : Assortment of Crafts
      Master Craftsmen : Wood Carving Craft Master Craftsmen
      State : Terengganu
      Date of Birth : 5 May 1939
      First Appointment : 2007



      THE BACKGROUND OF INVOLVEMENT

      Wood carving is another art craft heritage that has long been produced by the local community. Among the well-known and respected carvers is Encik Wan Mustafa Wan Su who was born on 5 May 1939. He has been involved in carving for 39 years. Basic skills of carving were acquired from his father, Encik Wan Su bin Wan Othman, a Malaysian famed carver and also a Wood Carving Master Craftsmen.

      He has successfully opened a gallery of wood carving known as Wan Mustafa Wan Su Art Gallery. In this gallery, he prepared the bookings received with the help of 30 skilled and semi-skilled carvers. The gallery also provides employment opportunities for the local youth. Wan Mustafa also offers guidance and advice to young carvers who are interested in traditional carving.



      Based on his skills and expertise, Dewan Bahasa dan Pustaka has appointed him as one of the linguists for the field of carving. He is an expert in the field of carving and a reference to individuals, students, government agencies and private sectors.

      CREATIVITY AND INNOVATION

      Wan Mustafa's appreciation for the art of carving that has been passed down through the ages can be seen in his works as well as the selection of carvers who will be working with him. To ensure that each carving produced has its own identity, Wan Mustapha ensures that each carver working with him has never worked with any other carver.



      According to Wan Mustapha, the value and quality of work lies in the exquisite perfection of a carving. He personally ensures that the quality of each carved product reaches a satisfactory level before being delivered to the customer. He often refined and enhanced the carving products that was carved by his employees.

      In the surroundings of the Wan Mustapha Art Gallery and home, it is filled with beautiful trees, shrubs and flowers that provides inspiration for each of his wood carving.

      EXPERIENCE, INVOLVEMENT AND ACHIEVEMENT

      In addition to passing on his expertise and knowledge to his son who is a degree holder in architecture, he also played a key role in the growth of this heritage art. He has provided training and instruction to various parties who are interested in learning the art of wood carving including:
      1. Teachers from the Curriculum Development Center of Jalan Duta Kuala Lumpur
      2. Teacher from Batu Rakit Teacher’s Training College, Terengganu; and
      3. Youth from the Department of Youth and Sports Malaysia as well as the Kraftangan
      4. Malaysia.




      Since the 1980s, he has received and work on numerous types of wood carving. Among his excellent handiwork craft products that can be seen and displayed are:
      1. Terengganu Muktabillah Palace (1980s)
      2. Terengganu Museum (2003)
      3. Melawati Putera Jaya Palace (2003); and
      4. Mustapha Wan Su Art Gallery is the hallmark of his success.


      CONTRIBUTIONS TO THE CRAFT INDUSTRY

      Encik Wan Su has contributed greatly to the development of the country's craft industry throughout his involvement in the industry. Among his invaluable contributions are:

      1. Consulting Experts in art of traditional to students from institutions of higher learning
      2. As a speaker for Art of Malay Carving in Universiti Teknologi MARA, Universiti Teknologi Malaysia and other Higher Education Institutions (1980 – 1990s)
      3. The Deputy Chairman of Committee for the Carving Art Literature-Dewan Bahasa dan Pustaka; and
      4. Committee Member of the Terengganu Heritage Trail organised by Tourism Malaysia.




      He was awarded a Traditional Wood Carving Craft Master Craftsmen in 2007, in recognition of his efforts and perseverance in the wood carving, a source of the country pride.
    • Songket Craft Master Craftsmen And National Master CraftsmenPuan Hajah Habibah binti Zikri

      Songket Craft Master Craftsmen And National Master Craftsmen
      Puan Hajah Habibah binti Zikri

      Name : Hajah Habibah binti Zikri
      Craft Field : Songket
      Master Craftsmen : Songket Master Craftsmen
      Master Craftsmen : National Master Craftsmen
      State : Terengganu
      Date of Birth : 5 Februari 1948
      First Appointment : 2007
      First Appointment of National Master Craftsmen : 2007


      BACKGROUND INVOLVEMENT

      Hajah Habibah Zikri is a big name who also adds to the colourful songket industry in the country. She was born on 5 February 1948 in Sungai Petani, Kedah Darul Aman and raised in a big family. The third child of nine siblings consisting of two boys and seven girls, she was very fascinated by art. Her passion in art is inherited from her father who loved collecting craft goods. From an early age Hajah Habibah loved to sketch, draw and look at beautiful things.

      She received her early education at Sungai Petani Convent School. After high school, she decided to pursue an education in the arts. While studying at the MARA Institute of Technology, Hajah Habibah was among the outstanding students. She is always looking for something different and added value to each piece of her work because satisfaction to her is creating something that is remarkable. At the end of her studies, she received an outstanding student award in the textile-related field.

      After graduating in 1974, she was offered a job in Kraftangan Malaysia as a designer and was responsible for producing new designs of local textile crafts. While serving in Kraftangan Malaysia, she continued to gain knowledge in weaving especially songket fabric. As a designer, she often met with songket weavers and explored the process and work of menyongket from beginning to end.

      Her marriage with Encik Shamsul Baharin Abdul Mutalib is blessed with three children. She shares her interests and ambitions with her husband and family. After nine years as a designer, with the passion and support from family, she resigned and started her own songket weaving business. Equipped with talent and skills as a designer, Puan Habibah began her career as a songket entrepreneur.

      CREATIVITY AND INNOVATION

      Hajah Habibah, who has been interested in art since childhood, aimed to transform the country's songket industry. Songket fabrics tare a great heritage and have been given a new breath to be affordable and wearable to all walks of life. She is confident that this limited use of songket and its functionality can be commercialised.
      Songket is the only ancient Malay textile that is able to survive until today. Handmade Malaysian Songkets have proven to be of high in value because of its uniqueness and artistry. This is the reason that makes Puan Hajah Habibah binti Haji Zikri is fully focus on her songket company. Puan Hajah Habibah's high quality and world-class songket is due to its pattern uniqueness and creative design.

      Puan Hajah Habibah’s involvement has made her a successful figure. Her first success was to venture into the business by opening a weaving workshop. The workshop was opened next to her house can produce quality songket fabrics and able to meet customer needs.

      EXPERIENCE, INVOLVEMENT AND ACHIEVEMENT

      Bibah Songket is the hallmark of Puan Habibah greater success. Currently, 50 songket weavers are under this brand, helping her produce fine, beautiful and high quality songkets. Her songket design was also used as a commemorative stamp in conjunction with the launch of Songket the Regal Heritage together with TV3 and Pos Malaysia in 2004.

      After more than 33 years in the field of songket woven, Puan Hajah Habibah has established herself as a well-known and respected weaver in the country. Her creative work has revitalised the country's songket industry. She has achieved many accomplishment over the years in songket weaving business.

      In 1983 she participated in the Witcitra competition organized by the PKKM and in 1984 he received the best design award. In 1987 she received the The Best Traditional Textile ASEAN Award in Jakarta. She also received the Seni Tampak Award in 2002.

      CONTRIBUTIONS TO THE CRAFT INDUSTRY

      Puan Hajah Habibah also trained the young weavers in her workshop. Most of them are high school leavers who have no basic weaving skills. The group has been given training and guidance until they become skilled weavers. Her creative work has also been used as an exclusive decoration of the National Palace, Johor Palace, overseas embassy offices, Kuala Lumpur UMNO buildings, hotels and resorts across the country. The contribution of Hajah Habibah throughout its involvement has elevated and put the nation's heritage songket in its proper place.

      In recognition of her efforts and perseverance in the field of songket, she was appointed as the Songket Master Craftsmen and was crowned as National Master Craftsmen in 2007 by Kraftangan Malaysia.
    • Labu Sayong Pottery Craft Master CraftsAllahyarham Zamari @ Zamri Pandak Ahmad

      Labu Sayong Pottery Craft Master Crafts
      Allahyarham Zamari @ Zamri Pandak Ahmad

      Name : Allahyarham Zamari @ Zaenciki Pandak Ahmad
      Craft Field : Labu Sayong Pottery
      Master Craftsmen : Labu Sayong Pottery Craft Master Craftsmen
      State : Perak
      Date of Birth : 15 November 1942 - 26 May 2009
      First Appointment : 2007

      LATAR BELAKANG PENGLIBATAN

      Kampung Kepala Bendang di daerah Kuala Kangsar terkenal dengan perusahaan membuat tembikar tradisional terutamanya labu Sayong dan menjadi sebutan di seluruh negara. Salah seorang pakar yang menghasilkan labu Sayong ialah Encik Zamri Pandak Ahmad.



      Beliau dilahirkan pada 16 November 1942 dan memperolehi kemahiran membuat labu Sayong pada umur 15 tahun. Pada ketika itu perusahaan membuat tembikar dimonopoli oleh kaum wanita sahaja. Oleh kerana minat, Zamari tidak merasa kekok dan menjadikannya satu-satu kaum lelaki yang membuat tembikar di kampungnya ketika itu.

      Sekitar tahun 1974, beliau telah ditawarkan sebagai tenaga pengajar seramik di Lembaga Kraf Malaysia yang kemudian dikenali sebagai Kraftangan Malaysia. Selain daripada mengajar kemahiran membuat seramik, Encik Zamari turut diberi tugas dan tanggungjawab memperkenal dan memajukan seni kraf tembikar di Koperasi-koperasi Industri Kampung yang terdapat di seluruh negara termasuk Koperasi Industri Kampung di Kelantan, Pahang dan Perak.



      Walaupun terikat dengan tugas dan tanggungjawab beliau sebagai pengajar di Kraftangan Malaysia, beliau masih berkesempatan meluangkan masa memberi latihan dan bimbingan berkaitan dengan pembuatan tembikar kepada belia dan beliawanis yang tinggal di sekitar Kuala Kangsar. Harapan beliau supaya golongan muda ini dapat mengisi masa lapang dengan kegiatan berfaedah yang boleh dijadikan sebagai sumber pendapatan serta memastikan warisan ini berkekalan.

      Kreativiti beliau dapat dilikat berdasarkan inovasi dan pengubahsuaian dalam reka bentuk dan reka corak mengikut kehendak semasa. Bagi mengekalkan ciri-ciri estetik, Encik Zamri masih membentuk labu Sayong menggunakan kemahiran tangan. Beliau bergerak cergas dalam pelbagai aktiviti kemasyarakatan dan menjadikan beliau antara tokoh yang disegani oleh masyarakat setempat.



      Kemahiran beliau mendapat pengikitrafan dari dalam dan luar negara antaranya anugerah ”Seal of Excellence” oleh UNESCO AHPADA 2002. Pada tahun yang sama beliau dijemput oleh Kerajaan Jepun mengadakan demonstrasi pembuatan Labu Sayong di Nagoya Jepun dengan kerjasama Universiti Teknologi MARA. Bagi menghargai sumbangan beliau di dalam membangunkan industri kraf seramik, Kraftangan Malaysia melantik beliau sebagai Adiguru Kraf Labu Sayong pada tahun 2007. Namun pada tanggal 26 Mei 2009, beliau yang telah kembali ke Rahmatullah. Segala jasa dan bakti beliau dalam memartabatkan seni kraf Labu Sayong amat disanjungi. Semoga roh Allahyarham dicucuri rahmat oleh Allah S.W.T. dan ditempatkan di kalangan orang yang beriman.
    • Metal Craft Master Craftsmen And National Master CraftsmenAllahyarham Tuan Haji Ab. Manan Bin Haji Yakub

      Metal Craft Master Craftsmen And National Master Craftsmen
      Allahyarham Tuan Haji Ab. Manan Bin Haji Yakub

      Name : Allahyarham Tuan Haji Ab. Manan Bin Haji Yakub
      Craft Field : Metal
      Master Craftsmen : Metal Craft Master Craftsmen
      Master Craftsmen : National Master Craftsmen
      State : Kelantan
      Date of Birth : 10 June 1944 - 1 January 2001
      First Appointment as Master Craftsmen : 2008
      Year of Appointment as National Master Craftsmen : 2011

      BACKGROUND OF INVOLVEMENT

      The late Allahyarham Tuan Haji Ab. Manan bin Haji Yakub or better known as Pok Teh is a native of Kampung Sireh Kota Bharu, Kelantan which has been the main area of silver mining ever since. Born on June 10, 1944, he was exposed to silver carving at the age of seven.

      As a child, he often watched his father's craftmanship work, the late Haji Yakub bin Mohamad, who was a skilled silversmith crafts for British officials besides receiving orders from the palace. Starting at early age of 14-year-old (in 1958), the late Pok Teh began to seriously develop his father's silver craftmanship skills. The late Pok Teh received his higher education at Kota Bharu Garong High School, Kelantan. Married to Limah binti Che Abdullah, they were blessed with 8 children.

      Along with the awareness, enthusiasm and high spirits that traditional silver crafts must be well-preserved, he continues to work hard to elevate the art of silver craftmanship in the Malay community. After his father passed away in 1977, he continued his father's efforts in small-scale silver craftmanship.



      SOLID FIGURE AND LEADERSHIP

      By the early 1980s, the late Tuan Haji Ab. Manan is actively involved in the art of silver craftmanship through various agencies and organisations such as Kelantan Malay Arts, Morak Village Co-operative, Malaysian Handicraft Development Corporation and museums. In addition to actively running his company, he is also active in community activities around Kota Bharu, Kelantan. His efforts and seriousness began to show his success with the establishment of the Permai KB Company which was established in 1985. To date, his company has highly skilled workers in the silver craftmanship.

      The late Tuan Haji Ab. Manan often uses and designs floral motifs, to customise the craft products based on customer's requirements and demands. His masterpieces or creations are often use as decoration and souvenirs by the Kelantan Palace such as Custom Umbrella, Palace Vehicle Logo Head and Cokmar. He regularly receives bookings from the State Legislative Assembly, Institution of Higher Education, National Sports Council and Pahang State Sports Council. His handiwork has garnered the attention of the Malaysian Government when he received a silver product order for souvenirs to the former UN Secretary-General (Koffi Annan) in 2005



      Here are products that have been produced by him :

      i. Cokmar of Terengganu State Legislative Assembly – 1980
      ii. Rose Water Sprinkler for National Palace – 1990
      iii. Sukma Premier Cup – National Sports Council – 1990
      iv. Official Invitation Souvenir SUKOM 98 Berhad - 1998
      v. Pahang State Athletic Cup – Pahang State Sports Council - 1999
      vi. Cokmar of University of Tun Abdul Razak - 2000
      vii. Cokmar of University Putra Malaysia - 2000
      viii. Keris Ceremony of Cokmar University of Selangor (Unisel) - 2001
      ix. National Sports / Athletic Awards Trophies - National Sports Council (MSN) 2002
      x. Cokmar of Institut Iktisad Kemajuan Pahang (IKIP) -2005
      xi. Cokmar of Technical University Malaysia - 2007
      xii. Gong Bertanduk reserved by Sultan Muhammad Ke V (Istana Kelantan) -2010
      xiii. Cokmar of Cyberjaya College of Medical College - 2010

      In 2008, his artwork was selected by the Government of Malaysia for sale at the Harrods Department Store in London.


      THE RECOGNITION OF MASTER CRAFTWORK AND DESIGN

      Among the awards and recognitions received by him:
      i. During the 1970s, he participated in an exhibition and won runner-up for the crafts organised by the Jabatan Muzium Malaysia
      ii. In 1993, he was appointed as a Kelantan Palace Craftsman by the Royal Palace
      iii. He received the Silver Arts Craft Entrepreneur Award from the Government of Malaysia in 2007; and
      iv. In 2008, he received the Kelantan State Tourism Industry Award for the category of silver craft products.




      CONTRIBUTION TO THE CRAFT INDUSTRY AND SOCIETY

      The late Mr. Haji Abdul Manan was tireless and eager to pass down the silver craftsmanship to young people who are interested in learning this skill.

      Anyone who approaches him especially the employees of KB Permai company will be able to gain some of craftmanship knowledge and it is his hope that this skill will be inherited by someone. His two children, Puan Harnaini binti Abdul Manan and Encik Hasnan bin Abdul Manan, also followed in his footsteps, both of which run a shop and workshop of silver and gold craftmanship in Pasir Puteh and Kota Bharu, Kelantan. His nephews also inherited the knowledge of silver craftsmanship.

      The Kelantan State Palace Office made him a consultant for the manufacture and bookings of silver products in the Kelantan Palace. He is the Special Silversmith of the Kelantan State Palace appointed by the Kelantan Sultan's Office to produce exclusive silver crafted products of His Royal Highness the Sultan of Kelantan.



      He also received the former Short Term Training trainees conducted at the Kraftangan Malaysia Kelantan Branch to gain knowledge on silver craftsmanship. The Kelantan Branch Kraftangan Malaysia has also used his services as a consultant and a panel of evaluator on silver crafts produced by participants of Silver Chiseling Short Term Training held in 2009. He also helped promote silver crafts by participating in a series of exhibitions and demonstrations nationwide and overseas including those organised by Kraftangan Malaysia.

      In 2008, he was appointed a Silver Craft Master Craftsmen by the Kraftangan Malaysia with the recognition of the Kelantan Tourism Industry Award by the local craft products category. In addition, he also received the Silver Craft Art Entrepreneur Award from the Malaysian Handicraft Development Corporation in 2007. He who passed away on 1 January 2011 was also awarded the National Craft Person in the same year. May his soul be honored and placed among the believers.
    • Rattan Weave Master Craftsmen  Encik Ishak bin Kassim

      Rattan Weave Master Craftsmen
      Encik Ishak bin Kassim

      Name : Encik Ishak bin Kassim
      Craft Field : Rattan Weave
      Master Craftsmen : Rattan Weave Craft Master Craftsmen
      State : Melaka
      Date of Birth : 6 October 1959
      First Appointment : 2011

      THE CREATIVITY, INNOVATION AND ACHIEVEMENT OF MASTER CRAFTSMEN

      Encik Ishak Bin Kassim often uses and arranges existing designs by adding floral and fauna motifs, geometric shapes, shapes of grains and legumes and residential parts such as roofs and others to suit the figure of craft products according to the customer needs and preferences.

      The design created by Encik Ishak Kassim combines a variety of traditional and contemporary geometric motifs especially the Blessing Basket orders as well as the variety of baskets used by customers. Among the motifs used are "Bamboo Shoots", "Keluang Elbow", "Mata Punai", "Eel Bone", "Fish Scales" and the technique of "Braid One", "Braid Two", "Braid Three" and "Kelarai". The shapes used are geometric shapes which are Round, Oval, Triangle, Squares, Hexagon, Octagon and "D" shape as well as applied Grains, Peanuts and Number "8".



      Encik Ishak Kassim also explores the use of modern tools in the art of rattan weaving. It aims to expand the rattan weaving crafts to local and foreign markets. The use of these tools can speed up the manufacturing process, but the quality and fineness of rattan weaving is still maintained. In addition, he combines other materials such as wood, metal, ceramics, batik and screwpine leaves. The cost of production can also be reduced and it gives an opportunity to everyone to own a rattan craft item.

      He often engages in courses and workshops organised by the FELDA, RISDA, FELCRA, MEDEC, BIKSs, SIRIM, MECD, ITM, Malaysian Entrepreneur Development Center and in particular the Kraftangan Malaysia.

      RECOGNITION AND ACHIEVEMENT OF MASTER CRAFTSMEN

      From the 1980s onwards, he has made a significant contribution by developing rattan weave skills through several agencies and organisations. He also helped to promote rattan weave crafts by participating in a series of exhibitions and demonstrations at the local and overseas levels.

      Starting in 1990, he frequently received sales invitations, demonstrations and exhibitions in the promotion programmes organised by Kraftangan Malaysia. He also regularly develops product samples for Kraftangan Malaysia (1986 - 2011) besides receiving various VIP product orders. In fact, he also received the order of Blessing Basket for the 2006 souvenirs from the Wife's Charity and Welfare Agency (BAKTI). His handicraft has garnered a lot of attention from the Government of Malaysia, when his Blade Basket product was on display in conjunction with the Promotion of Malaysian Craft at Harrods Shopping Mall, London in 2009.



      He received the runner-up Award at the prestigious UNESCO (Asia Pacific) Rattan Handicraft Competition held in Kuala Lumpur from 15 to 21 March 2003. The product he produced for the competition was a Three-Level Blessing Basket using Thousands of Weaving Techniques. Around 2007, Encik Ishak bin Kassim also won the One Industry One District (SDSI) competition organized by the Ministry of Entrepreneur and Cooperative Development.



      Kraftangan Malaysia also published a documentary titled 'Rattan Craft Weave' published in 2005. The documentary aims to showcase the fineness of rattan weave inherited by him and shared his experiences and ventures in the field of crafting.

      CONTRIBUTIONS TO THE CRAFT AND INDUSTRY AND SOCIETY

      Encik Ishak Kassim has never been tired of passing on the weaving skills to any young person who is interested in learning these skills. He hopes to pass on his knowledge and skills to the next generation.



      He also received certificate and diploma level trainees from the National Crafute (IKN) for industry practical and training programs since 2004 to the present. In addition, he also received trainee from MARA and Polytechnic who wanted to undergo practical programs. The Kraftangan Malaysia of Malacca Branch also used the service of Mr Kassim as a promotional promoter and rattan weaving instructor for Short Term Training participants in 2011.

      The Malaysian Handicraft Department of Melaka Branch also used the service of Mr Kassim as a promotional demonstrator and rattan weave instructor for Short Term Training participants in 2011.

      Factors that led him to pursue this traditional weave craft were:
      i. Maintaining the traditional art of rattan weave crafts to continue developing and be widely known
      ii. Upholding the Malay art skills
      iii. To train young people on producing high quality weaving products; and
      iv. Pass on the skills and knowledge available to the new generation in order to preserve the art of rattan weaving to become a useful national treasure.



      In 2011, Kraftangan Malaysia has appointed him as Rattan Craft Masters Craftsmen for his contributions in the art and skills.
    • Fine Carve Craft Master Craftsmen Encik Norhaiza Bin Noordin

      Fine Carve Craft Master Craftsmen
      Encik Norhaiza Bin Noordin

      Name : Encik Norhaiza Bin Noordin
      Craft Field : Fine Carve
      Master Craftsmen : Fine Carve Craft Master Craftsmen
      State : Terengganu
      Date of Birth : 20 February 1963
      First Appointment : 2011

      CREATIVITY, INNOVATION AND ACHIEVEMENTS OF MASTER CRAFTSMEN

      Encik Norhaiza bin Noordin is a renowned traditional wood carver not only in Terengganu but also internationally. Based on his deep interest in wood carving he studied and mastered the field by studying with 6 prominent wood carvers in the State of Kelantan and Terengganu, the late Encik Wan Su (National Art Craftsmen), the late Tengku Ibrahim (National Master Craftsmen), Mr. Wan Mustafa, the late Rahman Long, Encik Latif Long and the late Encik Nik Rashiddin.



      By this time, his flair and carving style were well known and had a distinctive identity. The wood carvings he produced often captured the hearts of carving fans consisting of dignitaries, palace officials, departments and agencies as well as individuals and preserved in homes and buildings.



      The delicate and meticulousness features in each of his carving crafts now have made him now accepting orders both domestically and abroad. The following are some of the carvings he has made:

      i. Wooden panel carved of Al-Quran verse at Prime Minister's Office in Putrajaya
      ii. Wood carving of Sultan Brunei shrine
      iii. Wooden decoration at Putrajaya Second Palace
      iv. Wood ornaments at the Prime Minister's residence in Putrajaya
      v. Wooden decoration at Oxford University's Center for Islamic Studies
      vi. 15 units carved head of the keris for the Terengganu State Government Exco
      vii. Two dagger keris for the Yang di-Pertuan Agong; and
      viii. Cokmar for Universiti Malaysia Kelantan.

      To ensure that the wood carving company he worked with was able to survive and thrive, he divided his market into three segments by establishing:

      i. Bakawali Art of Carving Company to focus on high quality and exclusive fine art of carving
      ii. ii. Bakawali House Of Arts Company to focus on high demand, easy to market and affordable prices; and
      iii. Tunjang Bakawali Sdn Bhd Company to focus on large-scale engraving projects involving tenders/quotations.




      As a result of this strategy focused on this specific market segment, he has been able to obtain carving orders both domestically and abroad and has survived to this day. The handiworks produced by Encik Norhaiza has been followed by fans of Malay carving art. Students from institutions of higher learning, as well as departments and agencies often attend workshops conducted by him for reference and study.

      Nowadays the art of wood carving is supported by the use of modern machines, especially in prefabrication such as cutting, and wood shaping. Innovations in the use of this equipment can accelerate the process of wood carving produced. However, he still values the quality and finesse of the carved art despite the carvings created with the help of modern machine tools.

      RECOGNITION AND ACHIEVEMENTS OF MASTER CRAFTSMAN

      Encik Norhaiza most admirable recognition was when he was asked to produce wood carving for the interior decoration of the Islamic Studies Center at Oxford University. His finished wood carving work at Oxford University was visited and viewed by Prince Charles of the Royal Family of Britain. Encik Norhaiza is always committed in developing his own business and skills. This was done with the establishment of Bakawali Art Carving Company, Bakawali House Of Arts Company and Tunjang Bakawali Sdn Bhd. He has provided a plot of land as a workshop for the production of his carved products. A building provided for office purposes is also used as a gallery where carved sample products are produced. There are 18 people working with him as carvers and two workers as clerks who manage the workshop operations.

      Since Encik Norhaiza mastered the carving craft, he has received extensive coverage and attention both from electronic and print media. His name and photo are often featured in major national newspapers such as Utusan Malaysia and Berita Harian as well as magazines.



      Through electronic media, he was frequently interviewed for documentary purposes on wood carving and advertising for the purpose of promoting handicrafts. Malaysian Handicraft Development Corporation has also interviewed him for documentary purposes and production of the book entitled "Malay Heritage Wood Carving" and "Spirit Of Wood".

      Encik Norhaiza constantly strives to improve his knowledge and skills in producing his works. Here are some of the seminars and workshops he has attended to increase his knowledge:

      i. In 1999 he traveled to Europe for two weeks and do research on Malay weapons in London and Amsterdam with the late Nik Rashidin & Datin Waveney Jenkins
      ii. From 1999 to 2004, he also traveled with the late Rashidin Nik Hussein to several locations around the archipelago such as Pattani, Riau Islands, Bali Islands, Sulawesi, Java and Sumatra. He wanted to study the history of the early Malay carvings including external government of Indonesia and the difference carving techniques and styles with carved Malay carving foreign countries
      iii. Attended the wood engraving workshop at MTIB in 2003
      iv. Attended Seminar Preserving Traditional and Future Wood Carving at UITM in 2005; and
      v. Attended the wood carving motif seminar at the National Craft Institute in 2003.

      THE CONTRIBUTIONS TO THE CRAFT INDUSTRY AND COMMITTEE

      Encik Norhaiza has never been tired of expanding and growing the craft of wood carving industry. To date, his four younger siblings have followed in his footsteps in the field of wood carving as a result of his guidance and training.

      Agencies such as Kraftangan Malaysia and MTIB as the Institute of Higher Education often send students and trainees to his workshop for skills training and practical students.



      In 2002
      i. Presents the paper 'Traditional Wood Carving Motifs' at the National Craft Institute; and
      ii. International Seminars 'Who They What Design' at the National Art Carve Gallery, Kuala Lumpur.

      In 2003
      i. Motivational Seminar in Carving Art at the National Institute of Skills;
      ii. Wood Carving Workshop at MITB Kota Bharu; and
      iii. Operate a Carving Demonstration session in conjunction with Wood Carving Week at MITB Kuala Lumpur.

      2004
      i. Present paper work at the National Craft Innovation Convention; and
      ii. Handle a Wood Craft Products Heritage Workshop at Muar Development Center, Johor.

      2005
      i. Congress Seminar in Malay Heritage at UITM ; and
      ii. 'The Spirit & Form Of Malay Design' International Seminar on June 27 to 29, 2017 at the Kuala Lumpur Museum of Art & Antiquities Department Auditorium.
      Year 2006
      Appointed as a consultant by the Government of Malaysia in the design of traditional wood carving in the interior decoration of the Oxford Center for Islamic Studies (OCIS).



      In 2007
      i. Paperwork Presentation 'The Direction of Traditional Art in the Globalisation Era'
      ii. Malay Keris Heritage Exhibition at SACC Mall in Shah Alam; and
      iii. Terengganu State Heritage Seminar Organised by UDM – Primula Beach Resort).
      Encik Norhaiza regularly participates in programs organised by agencies especially Kraftangan Malaysia for promotional purposes both domestically and abroad.

      While at the national level, he is actively involved in various national level promotional programs such as:
      i. NAM Exhibition 2003 at PWTC
      ii. Spirit Of Wood at the National Museum
      iii. Malay Keris Heritage in SACC Mall, Shah Alam; and
      iv. Interior 2008 at PWTC.
      He also plays a part in state-level promotional programs such as the Spirit Of Wood Program at the Terengganu Museum. Due to his expertise and knowledge in the field of fine carving, Encik Norhaiza has often being consultant in references involving the art of wood carving.



      His contributions at the national level are:
      i. Being a reference in the production of a book called The Malay Heritage Wood Carving produced by the Kraftangan Malaysia
      ii. Being the spokesperson for a carving discussion session in conjunction with the wood carving week at MTIB in 2003
      iii. Presented the paperwork at the Seminar on Direction of Traditional Art in the Globalization Era in 2007; and
      iv. Appointed as a consultant by the Government of Malaysia in the design of traditional wood carving in the interior decoration of the Oxford Center for Islamic Studies (OCIS).

      The value of philosophy and identity in Mr. Norhaiza's heritage craft has always been to promote and elevate the art of wood carving so that it is fresh and can be appreciated to all ages. For him the art of carving has a very high value and this tradition should be developed from generation to generation.

      In 2011, Kraftangan Malaysia has appointed him as a Fine Carving Craft Master Craftsmen in recognition of his contribution in fine carving art.

    • Boat Making Craft Master Craftsmen Allahyarham Hasni bin Ali

      Boat Making Craft Master Craftsmen
      Allahyarham Hasni bin Ali

      Name : Allahyarham Hasni bin Ali
      Boat Making Craft Master Craftsmen (2013)
      State : Terengganu

      Artwork/Inventions
      The late Encik Hasni bin Ali was among the pioneers of making traditional boats and perahu based in Pulau Duyong, Terengganu. The skills inherited from his late father were never wasted. Among the boats and perahu produced are the Sekoci, Payang, Kolek and sailboat.

      Exclusive Work/Invention Level
      The production of boats and perahu often gets attention from buyers both domestically and abroad. Some of the orders received from overseas are from Singapore, Saudi Arabia and Germany.

      Niche Market
      Encik Hasni has no specific market in this boat business. However, he is one of the leading boatbuilders in Malaysia and often receives orders in boatbuilding both from local and abroad.

      Work/Invention (trend-setter)
      Traditional boat designs and techniques developed by Encik Hasni have always been a staple among the new boat makers.

      Recognition of Expertise
      Due to his continued commitment to the preservation and production of traditional boats, the late Encik Hasni bin Ali has been recognised by Kraftangan Malaysia in 2010 which has established him as one of the Excellent Craft Craftsman. In addition, the Terengganu State Government also granted him with the Terengganu Boat and Perahu Entrepreneur Award in 2006

      Career Achievement
      Having worked hard and tirelessly since 1988, he is now proud to have established the Duyong Boat Company and also a production workshop in Duyong Island with a number of permanent and part-time employees of between five and 10.

      Documentation
      In addition, the Terengganu State Government plans to make Duyong Island a hub for traditional boats and perahu. Encik Hasni himself frequently received visits from the electronic and print media to cover on the traditional perahu and boat industry. Among the media that has covered his workshops include RTM, TV Alhijrah and print media such as Utusan Malaysia and Berita Harian.

      Kraftangan Malaysia also documented him in the form of videos and pictures during the Boat Making Basic Training held at its workshop from 2007-2009 involving 15 participants.

      Passing down of knowledge
      His skills and experience also become a reference to many people. For example, KETENGAH previously appointed him as a panel member for the preparation of the Boat Manufacturing Module in 2009. In addition, students from higher education institutions and the private sector are always interviewing him to obtain information on traditional boats especially in Pulau Duyong. He has a high commitment to elevate the National Heritage Craft Art.

      Improved knowledge and improved skills
      Despite his advanced age, his passion for boatbuilding craft has never waned. When offered courses, training and related seminars he will still be interested in participating either as a participant or as a panel member. Among the courses he has attended are organised by Kraftangan Malaysia and government agencies such as MTIB.

      The value of philosophy and identity in promoting heritage crafts Each of the works produced is always anchored with traditional Malay values and interspersed with aspects of the modern and contemporary.
    • Bergerang Weave Craft Master Craftsmen  Ngot Binti Bi

      Bergerang Weave Craft Master Craftsmen
      Ngot Binti Bi

      Name : Ngot Binti Bi
      Craft Field : Forest Product
      Master Craftsmen : Bergerang Weave Craft Master Craftsmen Bergerang
      State : Sarawak
      Date of Birth : 30 June 1932
      First Appointment : 2014


      INTRODUCTION
      Puan Ngot binti Bi is an entrepreneur in the art of making Sarawak heritage craft 'Bergerang Pandan Woven Mat'. Bergerang Pandan woven mat is a handicrafts of Sarawak Malays which has been a pride from past to present. The uniqueness of this creation is reflected in the creativity, delicateness and determination of weavers who are very sensitive to nature and cultural influences.

      Puan Ngot Binti Bi is an entrepreneur who has been active in weaving mats since 1999. She was born on 30 June 1932 in Kampung Semera, Sadong Jaya, Sarawak. She has been blessed with seven children and two of them have been raised to follow in her footsteps in producing Bergerang woven mats.

      CREATIVITY AND INNOVATION
      The Bergerang Woven pandan mat is believed to be inherited by the Malay community in Sarawak. This is a woven mat where the technique used is quite remarkable. The weaving technique with double plaiting and motifs symbolise certain beliefs and practices by the earlier craft entrepreneur. The technique of making woven mats will disappear if there are no efforts to introduce them to the new generation. Her perseverance and confidence in producing high quality and well-crafted weaving of nature motifs make her mats appealing to many.



      Each of the weaving mats made by Puan Ngot has its own values and identities such as motifs of ‘manggo, bunut seed, sword motif, frog motif and bridge motif which is the identity of the weave. Her skills in the manufacturing of these woven pandan mats have attracted much interest from the public and she has also received bookings from art lovers inside and outside Sarawak. Bergerang pandan mats with natural floral patterns have attracted particular attention. Orders are usually made for keepsakes and are used as a spread sheet for home guests. Madam Ngot binti Bi also received orders from villagers and dignitaries.

      In older times, bergerang weaving pandan mats was designed specifically for use in various forms such as prayer mats, mattress to celebrate the birth of a first child, cushioned pads in coffins of the deceased, cushioned pads for bridal seating during ceremonies and for spread sheets in certain ceremonies.


      ACHIEVEMENTS
      The motifs and designs on the bergerang woven mats are very limited but the result of the skills acquired will continue to produce long and wide mats with transparent diagonals. What makes these mats unique is that they can be used on both sides of the surface. In the effort and uniqueness of the bergerang pandan mat, Puan Ngot binti Bi was awarded the 'Seal Of Excelent' from UNESCO for Handicraft Products in Southeast Asia in 2005.

      Her dedication in producing the Sarawak's popular bergerang pandan mat weaving has awarded her the Weave Craft Master Craftsmen in 2014. For about fifteen years she has produced a bergerang pandan mat which has brought her a great source of income over the years.
    • Crescent-Moon Kite Craft Master Craftsmen Samat Bin Man

      Crescent-Moon Kite Craft Master Craftsmen
      Samat Bin Man

      Name : Samat Bin Man
      Craft Field : Assortment of Crafts
      Master Craftsmen : Crescent-moon Kite Craft Master Craftsmen
      State : Perlis
      Date of Birth : 18 May 1946
      First Appointment : 2018


      INTRODUCTION
      Encik Samat Bin Man or better known as "Pak Non" in the State of Perlis is well-known as a kite maker in the northern part of Peninsular Malaysia. The knowledge learned to produce the kite is from Kelantanese people who often came to Perlis during the rice harvest season in the 1970s. Usually after the end of the rice harvest season they will play crescent-moon kite (wau) to relieve tiredness.

      Encik Samat Bin Man was born on 18 May 1946 in Kuala Perlis. He has been active in producing kites since 1972. He is married and has five children – two of them inherited his skills in producing kites. He also frequently receives calls for organising courses at the Primary and Secondary Schools around the state of Perlis. He was also invited as a judge for each of the National Kite Competition in Pasir Gudang, Johor Bahru.

      CREATIVITY AND INNOVATION
      Encik Samat or Pak Non often used and composed designs based on floral motifs with the production of five-layer flower motifs compared to other kite makers who are using only three layers of carving. However, the production of the kite is based on the personal taste and preference of the customer. In the event that customers book with full flower engraving, Pak Non will use the five-layer technique to produce the kite.


      The artwork produced by his products is often used in competitions by contestants at state or national level. There are also kites made for souvenirs and decorations as ordered by the Arau Perlis Palace, Resort hotels and the national Malaysia Airline System (MAS). His artwork received the attention of MAS airlines when he received a request to produce a carved crescent-moon kite to serve as a symbol for the company's logo.

      Pak Non will produce orders based on the orders received from customers either exclusively or with regular orders. The variations of the custom designs are made according to the designs requested by the customer either for competition or for corporate souvenirs. He has also produced a crescent-moon kite ‘Do It Yourself’ kit in collaboration with the Perlis Branch Malaysia Handicraft aimed at providing knowledge and education especially for middle and elementary students.

      Mr Non is also an expert who is generous in sharing the knowledge he has with the younger generation who are interested in learning the making of crescent-moon kite. He is often invited as an instructor for courses conducted by Government Departments, IPTA/S and Schools. He has also passed on the knowledge of kite making to his two childrens who have become skilled in kite making. His children are also often invited to teach in courses organised by government bodies such as School and IPTA/S.



      Pak Non always ensures that the materials used is from high quality products. The selected bamboo is from the old bamboo tree type for easy bending. Once cut, the sorted bamboo will be dried and dried according to size. Tools such as knives, yarn and corn paper are used to build the kite structure before adding carved paper in addition to the design of the kite.


      The enhancements in the design of the kite are based on the three-ply and five-ply techniques that will be implemented as per the order received. Each order received will be carefully made in order to satisfy the customers.

      ACHIEVEMENTS
      Pak Non is a very dedicated and responsible person in every piece of artwork he produces. Due to his long commitment to the production of crescent-moon kite since 1972, he has been awarded the Craft Master Craftsmen in 2018.

      He also won two consecutive championships during the ASEAN-level Wau Tournament in Satun, Thailand from 2015 to 2016. Every December, Johor will be hosting a National Kite Tournament and Pak Non will usually be invited as the competition judge. In 2018, he again received an invitation to be the judge of the competition.
    • Wood Carving Craft Master Craftsmen Allahyarham Latif Bin Long

      Wood Carving Craft Master Craftsmen
      Allahyarham Latif Bin Long

      Name : The Late Allahyarham Latif Bin Long
      Craft Field : Forest Product
      Master Craftsmen : Wood Carving Craft Master Craftsmen
      State : Kelantan
      Date of Birth : 22 December 1946
      First Appointment : 2018


      INTRODUCTION
      The late Allahyarham Latif Bin Long was a wood carver who was very dedicated to his work. His handiworks can be seen gracing doors and walls at a number of great buildings, including Bank Bumiputra Malaysia Berhad (BBMB), the Malaysian Aviation Office (MAS) in London, Tokyo, Hong Kong and Los Angeles, United States. He skilfully carve many kinds of carvings such as the palace throne, pulpits in mosques, traditional Malay homes, keris covers, carved doors, carved ceilings and walls.



      He was awarded the Medal of Ahli Mangku Negara after completing the National Palace in Kuala Lumpur during the coronation of the DYMM (SPB) Yang Di Pertuan Agong in the VII, Sultan Hj. Ahmad Shah Pahang on 6 October 1980. He is well-known as a traditional wood carver in Kelantan. His carving skills, which includes the pulpit of mosques make him well-known locally and abroad.



      The late Allahyarham Latif Bin Long was a very dedicated man in his life of producing very fine wood carvings. He was born in Kota Bharu, Kelantan on 22 December 1946. He has been involved in wood carving since 1955 at his teenage years and from the knowledge passed down by his father. His passion for wood carving led him to set up his own company called Kelantan Wood Carving. He is married and has nine children. Early in his career, Che Latif opened a small workshop at his home located at Batu 1 ¼, Pengkalan Chepa Road, Kota Bharu, Kelantan.

      At the age of 17, he began to study Keris cover making and Malay Ulu Weapons all over the area and villages across the country. His skills in wood carving are unrivalled. The unique features of his carving are the Black Pepper Flower on the pulpit and Tebuk Timbul Silat carving technique.

      ACHIEVEMENTS
      The late Allahyarham Latif Bin Long produced special products that are sold to specific organisations or individuals who make special orders. Among his greatest creations are carvings on walls and buildings in the Dewan Undangan Negeri (DUN) in Kota Darul Naim, Kota Bharu, Kelantan.

      He has demonstrated his skills through training, short-term courses as well as passing his skills and expertise to the local community who are interested in wood carving. The late Allahyarham Latif was also a carving teacher arranged by the Malaysian Craft Board in Temerloh, Pahang on 1 April 1975. He was awarded the Wood Carving Craft Master Craftsmen in 2018 for his dedication to produce wood carving products with distinctive designs.


    • Woven Pandan/Screwpine Craft Master Craftsmen  Hajah Kelsom Binti Abdullah

      Woven Pandan/Screwpine Craft Master Craftsmen
      Hajah Kelsom Binti Abdullah

      Name : Kelsom Binti Abdullah
      Craft Field : Forest Product
      Master Craftsmen : Woven Master Craftsmen
      State : Terengganu
      Date of Birth : 20 March 1954
      First Appointment : 2018


      INTRODUCTION
      Puan Hajah Kelsom binti Abdullah is one of the successful woven craft entrepreneurs and is still active in her craft business. Puan Kelsom's woven products are often ordered either from individuals or organisations. She has received orders from her customers to make fine pandan mats in the value range of RM250 to RM1,500. Her meticulousness in producing woven products is very much admired by many pandan and screwpine weavers.

      Puan Hajah Kelsom Binti Abdullah is an expert in producing pandan and screwpine weaves in Kuala Terengganu. She was born on 20 March 1954 in Cendering, Kuala Terengganu. She is married with seven children. She was active in producing pandan and screwpine woven mats while serving with the Malaysian Handicraft Development Corporation until her retirement in 2014. Until today, she has been active in teaching pandan and screwpine weaving at her home. Among the course participants who attended the short-term training, she is fondly called Kak Ani. In developing the weaving , she is known as a generous person in sharing her knowledge with others.



      INNOVATION AND CREATIVITY
      Kak Ani is a person who loves to make weavings from designs and patterns that were inherited from former weavers. The motifs used in the woven mat designs are mostly from flora and nature elements. The old pandan and screwpine leaves were selected as it is pliable and easy to heat the leaves on flame. The patterns produced are mangosteen base, bamboo shoots, geometric shapes of various flower patterns. The Kelarai mat is a time-consuming weave but due to its delicate designs often receive orders from her customers.



      There are several patterns that are woven, consisting of the Chess Site Pattern, often woven in two or three colors and the results are light and dark colour combinations. The Anchovy Eye pattern, uses bright and dark colours. Dark colours are only weaved ‘one-eyed’ in a bright colour. Both of these colours appear as though they are broken rice. The Broken Rice Pattern, resembles the Anchovy Eye pattern, but the three-dimensional bright colour is interlaced by one dark eye. Dark colours are only one-eyed in bright colours. Both of these colours appear as though they are broken rice. The Broken Rice Pattern, resembles an elongated eye pattern but the three-dimensional bright colour is interrupted by one dark eye.

      The results of this gives the impression that the rice is broken. The squares or kundang seeds are lined with green and surrounded by red and white stripes. The Bugis pattern, derived from Bugis and the use of two colours of green and white. The squares are smaller than the Muar pattern and are woven in stand and bevel shape.

      The Muar pattern, comes from Muar and is a quadrilateral motif. They are two red and blue colours and are surrounded by white, green and yellow stripes. Among the square used are red and blue blends. The interlaced pattern is of dark and bright colors. Both parts are weaved by entrepreneurs. Using two colours but getting a truly straight pattern is very difficult, whereby the beveled pattern is less complicated. Various types of kelarai can be weaved through this sample and are highly liked by the weavers. The Ketapang Gilir eyes are equally paralleled. The Standing pattern has less response from the Peanuts, which seems to be a more intricate pattern and arrangement. Weaved in two colours, bright and dark, as well as the Malaysian Pattern, it is interlaced and surrounded by red, white, green and blue.

      Throughout Kak Ani's involvement in producing mats, she has provided instruction on how to make woven mats for many of her students. She has been teaching various government agencies and IPTAs on how to produce pandan woven mats.

      Nowadays, she takes pandan leaves and stems that have been dried and pre-colored from those who carry out these processes. However, the process of making mats is usually through several stages that need to be implemented to obtain a piece of woven mat. Starting from pandanus leaves and take on heat until the leaves to remove spines using a tool called a bamboo blade, cut and then left to dry.

      Once dried, it is then dyed with colours according to the designs that have been planned earlier. When the colouring process is complete and ready to be woven, the sheet is carefully dried to soften the leaves to make them easy to weave. The tool of the bamboo blade is used to make it easier for a pattern to be made on the woven mats.

      ACHIEVEMENTS
      For Kak Ani's dedication in the craft of producing woven mats for over forty years, she was conferred the Weaving Craft Master Craftsmen in 2018. This award is given for her contribution in the weaving industry and for creating many opportunities for housewives and individuals who are interested in earning a full-time or additional income. In 1989, she attended the Asia Craft Seminar in Bangladesh and was invited as a lecturer at the German Technical Institute in 2014. She gave a tutorial on how to make the screwpine weave for the course participants at the institute.
    • Batik Terap/Block Craft Master Craftsmen Ibrahim Bin Ismail

      Batik Terap/Block Craft Master Craftsmen
      Ibrahim Bin Ismail

      Name : Ibrahim Bin Ismail
      Craft Field : Textile
      Master Craftsmen : Batik Terap/Block Craft Master Craftsmen
      State : Kelantan
      Date of Birth : 29 November 1953
      First Appointment : 2018


      INTRODUCTION
      Haji Ibrahim Bin Ismail began working in the field of batik making with his uncle Mohd Nor Bin Che Ahmad. The work of making batik began under his stilt house in Penambang Village, Moonlight Beach Road, Kota Bharu, Kelantan. He made the place a workshop to produce batik and the finished product were sold wholesale to individuals and batik dealers who came to his workshop.

      Haji Ibrahim Bin Ismail is an entrepreneur in the making of batik terap in Kelantan, which has been active since 1986. He was born in Kota Bharu on 29 November 1953 and blessed with 10 children from his marriage. However, only one of his children inherited his skills in producing batik terap. His perseverance in producing batik terap continues to expand under the incorporation of Aliff Batek Trading company for making and getting orders from regular customers including several states such as Terengganu, Perlis and Pahang.

      CREATIVITY AND INNOVATION
      In making the batik terap, he has gain expertise in the batik technique of laksam, sketching, discharge, crackle effect and rainbow. The tools used by Aliff Batik Company consists of table block, cotton cloth and batik block of iron or copper.

      In the past, only sarong and t-shirt batik were produced by Aliff Batik Company. Nowadays, new product changes are in line with market demands such as fabric, ready-made clothing and blouses. The pre-cut fabric from Aliff Batik are also getting demands from abroad, which was ordered by Amy Blair from the United Kingdom.

      He is a friendly person and always received visits from university students who came to study and conduct research on the production of batik terap. He has also passed on his knowledge of making batik terap to his children. Encik Ibrahim also trained the Machang Prison Department, Kelantan trainees so they could train offenders who potentially would receive parole before they were released from prison.

      Encik Ibrahim Bin Ismail has been in the field of batik for over forty years and is outstandingly proficient in the patterns and colours to be produced. Usually, he will convey his idea to the batik block maker and determine the pattern of nature and flora elements that will be used to produce batik terap fabric. The batik block table is made of wood, and the surface is covered with a sponge wrapped in plastic to ensure the stamp dipped in wax sticks on the fabric. To give colour to the fabric, the stamped fabric will be dipped in a container with predefined colors. To develop a three-layer batik fabric, he will adding three layers of wax and more colours to the soaking process. The batik blocks are made of steel or copper, ordered from the batik block maker and designed according to his ideas and demands.

      ACHIEVEMENTS
      He has a burning passion of maintaining and preserving batik heritage from extinction or abandonment. The batik terap made by him often received orders from his regular clients who have been involved in promoting batik products that were released by his company. Due to his dedication in upholding the manufacturing of batik, he was awarded the Batik Terap Master Craftsmen in 2018.

      His warm and friendly nature is very much loved and respected by the locals. He also offers jobs to former addicts to work in his workshop.
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