Development of Sarawak Pottery
96
1 DEVELOPMENT ON SARAWAK POTTERY NURAINI BINTI DAUD A thesis submitted in partial fulfillment of the requirements for the award of the degree of Bachelor of Science (Industrial Design) Faculty of Mechanical Engineering University Technology Malaysia MAY 2010
description
Distinction between China Sarawak Pottery and Ethnic Sarawak Pottery.
Transcript of Development of Sarawak Pottery
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DEVELOPMENT ON SARAWAK POTTERY
NURAINI BINTI DAUD
A thesis submitted in partial fulfillment of the
requirements for the award of the degree of
Bachelor of Science (Industrial Design)
Faculty of Mechanical Engineering
University Technology Malaysia
MAY 2010
2
UNIVERSITI TEKNOLOGI MALAYSIA
‘ I hereby declare that I have read this thesis and in my opinion
This thesis is sufficient in terms of scope and quality for
the award of the degree of Bachelor Science of Industrial Design’
Signature : _________________________________
Name of Supervisor : PM. Abdul Muta’ali bin Othman
Date : _________________________________
Faculty of Mechanical Engineering
Faculty of Mechanical Engineering
DECLARATION OF THESIS PAPER AND COPYRIGHT
Author’s full name : NURAINI DAUD
Date of birth : 23 MAY 1988
Title : DEVELOPMENT OF SARAWAK POTTERY
Academic session : 2009/2010
I declare that this thesis is classified as:
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( Contains confidential information under the Official Secret act 1972)*
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I agree that my thesis to be published as online open access (full text)
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Universiti Teknologi Malaysia
VALIDATION OF E-THESIS PREPARATION
Title of the thesis : DEVELOPMENT OF SARAWAK POTTERY
Degree : BACHELOR OF SCIENCE (INDUSTRIAL DESIGN
Faculty : MECHANICAL ENGINEERING
Year : 2009
I _______________________NURAINI BINTI DAUD_______________________
declare and verify that the copy of e-thesis submitted is in accordance to the Electronic
Thesis and Dissertation’s Manual, Faculty of Mechanical Engineering, UTM
__________________________
_____________________________
Signature of the student
Signature of supervisor as a witness
Permanent address: Name of Supervisor:
No. 31, TMN SRI CEMPEDAK
ASSOC. PROF ABDUL MUTA’ALI BIN
OTHMAN
71600, JELEBU,
NEGERI SEMBILAN Faculty: MECHANICAL
ENGINEERING
Note : This form must be submitted to FKM, UTM together with the CD
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“ I hereby declare that I have read this report and in my opinion this report
is sufficient in terms of scope and quality for the award of the degree
of Bachelor of Science (Industrial Design)”
Signature : _____________________________________
Name of Supervisor : ASSOC. PROF ABDUL MUTA’ALI BIN OTHMAN
Date : 23 MAY 2010
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‘I declare that this thesis entitled “Development on Sarawak Pottery” is the result of
my own research except as cited in the references. This thesis has not been accepted
for any degree and is not concurrently submitted in candidature or any other degree’
Signature : __________________________
Name : NURAINI BINTI DAUD
Date : 23 MAY 2010
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To my beloved parents,
my siblings,
Assoc. Prof. Abdul Muta’ali bin Othman,
My beloved one,
Staff at Museum Sarawak, Kuching
Staff at Kraftangan Sarawak,
and
my dearest friends,
Thank you for everything…
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ACKNOWLEDGEMENT
Special gratitude to my supervisor, Assoc. Prof Abdul Mutaa’ali bin Othman for his
guidance and patience in helping me completing my thesis. Not to forget, En.Kamal
Azam bin Bani Hashim, for his opinion about my field of study.
To my father and my mother, without both of them, I will not have the
strength and energy in fulfilling the requirements to complete my degree and thesis
literally. Only Allah will bless you.
Other than that, millions of thank you to all the staff at the Museum of
Sarawak especially the curator and to Puan Nabilah Huda and Encik Fendi of
Kraftangan Sarawak for all the willingness to share their knowledge with me.
Also to my dearest mates and seniors, really appreciated the ideas and willing
to spend times discussing with me. Finally, to those who have assisted me directly or
indirectly to complete my thesis.
Thank you
Nuraini Daud, 23 May 2010
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ABSTRACT
Sarawak, one of Borneo state in Malaysia, is rich with unique crafts such as
shields, colorful mats, bead jackets, pottery and pua kumbu. One of the most sought
after craft when visiting Sarawak is the Sarawak pottery.
Pottery in Sarawak comes from two distinct types, one by the natives and one
by the Chinese potters from Swattow. Every each of the pottery has different design
aspects in term of the shapes, form and surface design. The curiosity of the pottery in
Sarawak was what Sarawak pottery is as it has an origin from two distinctive types;
the natives and the Chinese. Eventhough at present it is called ‘Sarawak pottery’. It is
the interest to investigate how do these two distinctive types being able to
compromise to become ‘Sarawak Pottery’.
Generally, the revolution on Sarawak pottery happened since the natives’ and
the traders from China come and started to exchange their goods. This is believe the
beginning of Chinese pottery elements start to spread and slowly influence the
pottery industry in Sarawak.
This thesis is to study and to investigate the development and the influences
factors that have change the design of Sarawak pottery. On the design area, there will
be focusing more on the aspect of the native surface design, in which eventually been
influenced by the Chinese and what make a Sarawak pottery. As technology
improved, the process of making pots also changed from the traditional methods to
slip casting methods. Further research will be conduct to study the development in
production process of Sarawak pottery.
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ABSTRAK
Sarawak ialah salah satu dari Tanah Borneo yang kaya dengan kraftangan yang unik
dan menarik seperti perisai, tikar mengkuang yang berwarna-warni, jaket bermanik
dan kain pua kumbu. Antara kraf yang sering menarik perhatian oleh pelancong
ketika menziarahi Sarawak ialah tembikar Sarawak.
Tembikar di Sarawak terbahagi kepada dua jenis iaitu satu dari kaum-kaum di
Sarawak iaitu tembikar tradisioanl dan satu lagi diperbuat oleh pembuat tembikar
dari Swattow, China. Setiap tembikar mempunyai rekabentuk yang berbeza dari segi
bentuk dan ragam hias. Persoalan yang timbul disini ialah apakah tembikar Sarawak,
yang terdiri daripada dua jenis; kaum-kaum dan dari China. Ini telah menimbulkan
minat untuk menyelidik bagaimana dua jenis tembikar yang berbeza pembuatnya
menjadi ‘Tembikar Sarawak’.
Tembikar Sarawak mengalami perubahan yang sangat ketara semenjak etnik-
etnik dan pedagang-pedagang dari China saling membuat pertukaran hasil-hasil dari
tempat masing-masing. Ini menunjukkan bahawa titik permulaan elemen Tembikar
Cina telah bermula dan mempengaruhi industri tembikar di Sarawak.
Thesis ini bertujuan untuk menyelidik perubahan dan faktor-faktor yang
mempengaruhi perubahan terhadap rekabentuk tembikar Sarawak. Di dalam aspek
rekabentuk, thesis ini memfokuskan kepada rekabentuk luaran tembikar tradisional
yang mana telah dipengaruhi oleh tembikar China dan ianya
menjadi persoalan apakah itu tembikar Sarawak. Proses pembuatan tembikar telah
berubah sedikit sebanyak dari tradisional ke teknik menggunakan acuan selari
dengan kemajuan teknologi kini. Penyelidikan lebih lanjut akan dijalankan untuk
mengetahui perubahan didalam proses membuat tembikar Sarawak.
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TABLE OF CONTENT
CHAPTER TITLE PAGE
DECLARATION i
DEDICATION ii
ACKNOWLEDGEMENT iii
ABSTRAK iv
ABSTRACT v
TABLE OF CONTENT vi
LIST OF FIGURES vii
LIST OF TABLES viii
1 INTRODUCTION
1.1 Introduction 1
1.2 Objective 5
1.3 Scope 5
1.4 Research Methodology 6
2 POTTERY IN SARAWAK
2.1 Introduction 8
2.2 Ceramics and the usages 10
2.3 The present after the past 15
2.4 Conclusion 17
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3 ORIGIN
3.1 Introduction 18
3.2 Sarawak pottery 21
3.3 Traditional pottery 22
3.4 Contemporary pottery 26
3.5 Conclusion 27
4 SURFACE DESIGN
4.1 Introduction 28
4.2 Motif and pattern in caingr 29
4.2.1 Tree of Life 30
4.2.2 Types of ‘Kelok’ 32
4.2.3 Motif ‘Daun Ukir’ 33
4.2.4 Pattern 35
4.2.5 ‘Cunggit’ 36
4.2.6 ‘Mata’ 36
4.2.7 Types of carving 37
4.2.8 Anatomy in carving 38
4.3 The usage on carving 39
4.3 Conclusion 43
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5 PRODUCTION PROCESS
5.1 Introduction 44
5.2 Traditional pottery production process 45
5.3 Sarawak pottery 57
5.4 Conclusion 69
6 CONCLUSION AND SUGGESTION
6.1 Introduction 70
6.2 Development in design 71
6.3 Development in product usage 72
6.4 Development in production processes 72
6.5 Conclusion
79
REFERENCES 80
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LIST OF TABLES
TABLE NO TITLE PAGE
3.1 Types of Pottery in Sarawak 21
4.1 Types of ‘Daun Ukir’ 34
5.1 production process (traditional method) 45
5.2 production process 57
5.3 Decorating techniques 63
5.4 Firing process 67
6.1 The development of Sarawak Pottery (design aspect) 71
6.2 The development of Sarawak pottery (usage aspect) 73
6.3 The development of Sarawak Pottery (preparation of
material)
74
6.4 The development of forming process in Sarawak pottery 75
6.5 The development of decorating process in Sarawak pottery 76
6.6 The development of firing process of Sarawak pottery 77
6.7 The development of finishing process in Sarawak pottery 78
6.8 The factors that influenced the Development of Sarawak
pottery
79
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LIST OF FIGURES
FIGURE NO TITLE PAGE
1.1 Pua Kumbu 2
1.2 The bead jacket 2
1.3 The Shields 3
1.4 Basketry and mat 4
2.1 Precious jars in Rumah Panjang Tuai Rumah Kunding,
Sunagi Merurun, Julau, Sarawak.
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2.2 The dragon jar 11
2.3 The Fa hua or “Fa-Fa’ vase 11
2.4 A dead body of the Melanau ethnic 13
2.5 Melanau ‘Ulou Berian’ bride wealth 13
2.6 Ceramic assorted with Melanau marriage ceremony 14
2.7 K’ang-his ceramic vessels 14
2.8 Ceramics plates for the Ian hornbill (kenyalang) ritual 15
2.9 The revolution of Sarawak pottery 16
3.1 Labu Sayong from Perak 19
3.2 Terenang from Pahang 19
3.3 Mambong from Kelantan 20
3.4 Sarawak pottery 20
3.5 Nuan from Iban ethnic 22
3.6 Anatomy pottery 23
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FIGURE NO TITLE PAGE
3.7 Nuan from Iban ethnic 24
3.8 Form and shape of Nuan 24
3.9 Nuan pots in Ibanese kitchen 25
3.10 Kudin from Kelabit ethnic 25
3.11 Sarawak Pottery by the Chinese from Swattow 26
3.12 Sarawak pottery 27
4.1 Design inspired by crab 29
4.2 Design inspired by prawn 30
4.3 Tree of Life at the Museum Sarawak’s entrance 31
4.4 Tree of Life 2 31
4.5 Tree of Life 3 32
4.6 Types of ‘Kelok’ 32
4.7 Types of ‘Daun Ikir’ 33
4.8 Patterns 35
4.9 Types of Cunggit 35
4.10 Types of ‘Mata’ 36
4.11 Type : Balance 37
4.12 Type : Unbalance 37
4.13 Parts in carving 38
4.14 Sarawak pottery 40
4.15 Shield 41
4.16 The Ibanese with variety of tattoos design 42
4.17 Sarawak pottery 42
5.1 A roundish stone 46
5.2 A piece of rattan 46
5.3 The beaters 47
5.4 Clay 48
5.5 A moist rattan ring on the top of cylinder 49
5.6 Making hole 49
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FIGURE NO TITLE PAGE
5.7 Flatten the clay 50
5.8 Form the neck of the pot 51
5.9 The wooden beaters 51
5.10 The patterns 52
5.11 Beating the pot 53
5.12 After finished beating 53
5.13 Firing the pots using traditional method 55
5.14 Pot with the rattan carrier 56
5.15 The electric mixing machine 58
5.16 Electric-powered potter’s wheel 59
5.17 A potter shapes a piece of pottery 59
5.18 One piece mould slip casting 1 60
5.19 One piece mould slip casting 2 60
5.20 Two pieces mould 61
5.21 The clays 61
5.22 The clays poured in the moulds 61
5.23 The thickness were formed 62
5.24 The clay were shaped 62
5.25 Carving technique 64
5.26 Sarawak pottery : Carving technique 64
5.27 Perforating technique 65
5.28 Sarawak pottery: Perforating technique 65
5.29 Painting technique 66
5.30 Sarawak pottery: Painting technique 66
6.1 The ashtrays with Sarawak motif 72
6.2 The vases with Sarawak motif 72
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CHAPTER 1
INTRODUCTION
1.1 Introduction
Sarawak is one of two Malaysian states on the island of Borneo, also
known as ‘Bumi Kenyalang’ which has more than 40 ethnics such as Iban,
Melanau, and Kelabit.
Every ethnic has own culture and believe and one of the well-spoken
ethnic is Iban. One of the spiritual events to the Ibanese is Hari Gawai which
they celebrate it on 1st June every year and now, Hari Gawai become a state
holiday for the Sarawakian.
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In Sarawak, there are numerous of craft work made by the ethnics and
one of it is pua kumbu (Figure 1.1). Pua kumbu is a traditional cloth worn by
the Iban for ceremonial purpose and have multicolored patterned which are
weaved by the native women. The Ibanese wore pua kumbu for lifecycle
rituals and special events including the birth of a child. Other than pua
kumbu, the rare bead jackets (Figure 1.2) which are worn by the Murut
ethnics are crafted in techniques that very delicate and intricate.
Figure 1.1: pua kumbu
Figure 1.2: The bead jacket
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The Iban and Bidayuh ethnics carved human images and motifs from
the jungle on their shields (Figure 1.3) and wooden pillars. The images
carved on the shields reflect the courage’s and bravery of the warriors while
the wealthy people carved the wooden pillars around their long house.
Figure 1.3: The shields
Pottery, colorful mat and basketry (Figure 1.4) are made by the
women ethnics group. The composition of details in the design reflects the
fine of women’s ethnic artwork that able to make it look appealing and stand
out. The pottery made by the women is for daily usage especially for cooking.
Even though the pots were use for cooking, the patterns on the pots are very
much different from the other pottery in states of Malaysia.
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Figure 1.4: basketry and mat from Sarawak
The Ibanese called their pottery as ‘Nuan’ and the Nuans has rounded
base for easy cooking and eating. The Kelabit’s ethnic used their pot for
storing water and cooking rice which they called it ‘Kudin’. The ethnics in
Sarawak have their own pots to meet various functions and purposes and each
of the pottery crafted by the ethnic have adapted different surface design,
shapes and forms.
The migrations of Chinese from Swatow create a very high impact for
the pottery industry in Sarawak. In recent years, the Sarawak potteries
produced by the Chinese potteries have become most sought after souvenirs
compare with the traditional pottery. Most of the tourists are looking for the
vibrant and attractive potteries that represent Sarawak. Based from Heidi
Munan, a researcher on Sarawak pottery, she stated that pottery in Sarawak is
from two distinct types, one done by the ethnics and the other done by the
Chinese potters from Swatow.
In conclusion, there are two different designs of pottery that come
from mainland Sarawak. Further research will conduct to identify the
evolution of Sarawak pottery’s design.
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1.2 Research objective
The research is to investigate the influences factors in the development of
pottery in Sarawak.
1.3 Research scope
The research will focus on:
• The Ethnics pottery in Sarawak
• The surface design of the Sarawak pottery
• The development of production methods
1.4 Research Methodology
Research methodology is a method of collecting data needed in
completing the research. In these investigation will focus more on the
historical and the ethnics pottery in Sarawak, the development of the pottery
and analyzing on the ethnics pottery and the Swattow pottery and how it
become the Sarawak pottery.
After finish the research, the collected data can categorize into
primary data and secondary data. Below are some descriptions of the about
primary data and secondary data:
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1.4.1 Primary Data
Primary data are data that are collected where the research or investigation
will deal directly with the subject studied. Two methods are selected as
describe below:
i. Interview
In this method, several places has been visit such as Museum
Sarawak, Kraftangan Malaysia, cawangan Sarawak and manufactures along
Batu 5, Kuching.
The expected data are including:
o The history of Sarawak pottery
o Development of Sarawak pottery in surface design area
o Decorating techniques
o Production methods and techniques
ii. Observation
During the observation on the practitioners and manufactures of
Sarawak pottery in Kuching and Sarawak pottery outlets, the expected data
are the development of Sarawak pottery, the motif and pattern on the pottery
and production process.
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1.4.2 Secondary data
Secondary data is data that has already been collected and collated by
somebody for some reason other than the current study. Secondary data can
further be divided into two parts which are Qualitative data and Quantitative
data. The data are acquired from internet, books, articles, journals, videos and
others are as below:
i. Literature Review
o Development of Sarawak pottery
o Differences between Sarawak pottery from the ethnics and the Chinese
potters
o History of Sarawak pottery
o Production methods
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CHAPTER 2
HISTORY
2.1 Introduction
South China Sea is the first leg on the long distance Trans-Asia route leading
from China to the Mediterranean. Through its southern ports, China export its natural
and manufactured product to South East Asia, the Indian Ocean countries, the
Middle East and Europe.
This barter trade system between the traders from China and the ethnics in
Borneo Land started since thousand years ago. The traders from China are interested
in exchanging the goods from Sarawak such as resins, rattan and bark while the
natives are looking for the dragon jars brought by the Chinese. The collection of the
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glazed dragon jars symbolized the wealth among the ethnics. The more collection
they have, the higher their status among the community.
During the 10th-13th century (song Dynasty), the jars also refered as ‘Songs
Jars’ and most of it decorated with dragons and floral scrolls. The natives stated that
the jars are the subject of many legends, which intimately connected with the
spiritual life of the owners.
Figure 2.1: Some of the precious jars belong to the ethnics in Rumah Panjang Tuai
Rumah Kunding, Sunagi Merurun, Julau, Sarawak.
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2.2 Ceramics and the usages
Ceramics objects, ancient glass beads and brass objects such as sireh boxes,
gongs and cannons have been found among the every ethnic group including the
Kelabit who lives in the upland, 4,000 feet above sea level in central Borneo.
These ceramics been treasured and guarded by the ethnics as their heirlooms
and valuable and handed down from one generation to one generation. They form the
traditional symbols of status and wealth and are appropriately and proudly worn in
longhouse.
2.2.1 The jars
Between 1945-1955, a researcher named Tom Harrisson, has been living and
studying the culture of uplands people who live in the Northern interior of Borneo.
Along the upland houses, the existing of precious large and small jars, plates, and
other ceramic object have been there since thousand years ago.
Each of the jars has its own value, the rarest being the most treasured. The
common jars are those brown dragon jars, known as Martaban stoneswares and the
rarest are the olive glazed type known as ‘Dusun’ jars(Figure 2.2) of the 15th – 17th
Centuries. It is belived that only wealthy people among the ethnics can afford the
olive glazed jars. The dragons motif and folaral patterns( Figure 2.3) appear at the
ceramic represent courages and the ethnic feel like the dragon will protect them from
the enemy.
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Figure 2.2: the dragon jar
Figure 2.3: A very rare Fa-Hua or “Fa-Fa” vase decorated with turquoise, olive and
black glaze, Ming Dynasty (Museum Cat. No. 59/47)
28
Most of the ethnics used the jars fro utilirian purposes such as for storing rice
grains, for brewing rice wine (tuak), and as containers for medicines and ointments,
while some of the jars been used for the ceremonial functions. For the Melanau
ethnics, they used ceramics in their wedding and healing ceremonies, the Kelabit
used the head rites and the Iban Bird Festival (Gawai Burong) as well as the bride
wealth, as fines for offences and as gravegood.
2.2.2 Plates
Besides the jars, the other ceramics product is the plate. Based from the
Kelabit myth, rich people did possess half of dozen such plates, kept hanging along
above their jars in special frames made from a vine in the long house. The most
common Kelabit plates are ‘Ming export’ with a bare central ring. The collection has
been made of these plates, which have been manufactured over a long period of time.
Traditionally when a Melanau died, the body was first laid out in the house.
After it had been dressed, a blue and white plate was put under the head, the smaller
ceramic plates under the feet and hands, added with some brass objects were also
placed near the body. A string of ancient blue glass beads was then tied around the
wrist of the dead body (Figure 2.4).
The Melanau will keep the body for at least a year and the bones collected
and placed inside a large jar. The others such as plates, jarlets, bowls and beads were
buried as gravegoods with the jar containing the bones.
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29
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31
Gawai Day is one of the annual events celebrated by the Ian in honour of
their god, Sengalang Burong. A tall-carved pole is erected at the open verandah
(tanju) of the longhouse and the heads of enemies are hung from it. A wooden statue
carved in the form of rhinoceros hornbill is placed on top of the pole and plates with
foods are placed around the foot of it. (Figure 2.8)
Figure 2.8: Ceramics plates containing offerings made to the Iban Hornbill
(Kenyalang) ritual
2.3 The present after the past
According to Tom Harrison, potteries made by China have their own strength
and beauty. They are never very lavish or oppressively ornate especially in the
Vh’ing dynasty from the 17th century on. The simplicity of those potteries create own
identity and easy to accept by others. In fact, the potters from Teochew, “Swattow”
area working now at Kuching (at Tanah Puteh) and Sibu in Sarawak, near Papar in
N
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32
r
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33
Figure 2.9 show how the pottery in Sarawak evolve from traditional pottery
and slowly Chinese Jar came and finally contemporary Sarawak pottery that have
both elements, Chinese and traditional elements. The changes in design aspects look
very ‘ketara’ as well as the development in production process. Nuan as the
traditional pottery made by the Iban ethnics use hand-mould method and changed to
slip casting method used by the contemporary pottery.
In design aspects, the basic pattern been decorated by the ethnics women had
change to the Sarawak motif and pattern and for the shapes, most of the
contemporary pottery been influenced by the Chinese pottery. The development that
happened makes the traditional pottery elements immersed.
2.6 Conclusion
The revolution of Sarawak pottery started to occur since Song Dynasty and
yet the dragon jars really give high crash for the native that produces traditional
pottery. The authorities should play important roles in order to make sure the
heirlooms not faded away.
34
CHAPTER 3
POTTERY IN SARAWAK
3.1 Introduction
The traditional pottery has enriched the heritage of our country with variety
of design and motif. The beauty of it symbolizes the delicate of traditional society
that came from different culture. Other than that, the motif shows the creativity of the
potters that been inspired from the flora and fauna elements.
Based from Perbadanan Kemajuan Kraftangan Malaysia, there are still
traditional potters exists in Perak, Pahang, Kelantan, Sabah and Sarawak. As what
we can see here, different states have different pottery design and also the shapes and
forms mostly been adapt from things around them.
35
There are several of potteries in Malaysia, but the most prominent are Labu
Sayong from Perak (Figure 3.1), Terenang from Pahang (Figure 3.2), Mambong from
Kelantan (Figure 3.3) and pottery from Sarawak (Figure 3.4).
Figure 3.1 : Labu Sayong from Perak
Figure 3.2: Terenang from Pahang
36
Figure 3.3: Mambong from Kelantan
Figure 3.4: Sarawak pottery
3
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37
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38
3.3 Traditional pottery
Sarawak’s tribal communities used pots for cooking and storage purpose. the
making of pots are practised by the women in the trobal community and being
traditionally handed from generation to generation. The pots surface were decorated
with pattern by beating them with patterened wooden paddles. For examples, pattern
on the Nuan ( Figure 3.5) that were made by the Ibanese and Kudin by the Kelabit
for cooking purpose. Besides that, jars were also one of precious pottery that
produces for spiritual use especially burials.
The pots that been used by the ethnics usually look almost the same,but the
differences are on the pattern. The traditional potters, Nabila Huda said most of the
potters carved pattern of the basic geometric shape on the paddles and the design of
the pattern depend on the creativity of the crafters. That why the differences on each
ethnics only on the pattern. The shapes and forms are almost the identical.
Figure 3.5 Nuan from Iban ethnic
- The rattan is tied around the pot is for stability as the Nuan is
rounded bottom pot
39
3.3.1 Anatomy Pottery
The pottery of Sarawak as any other pottery in Malaysia has its anatomy to describe
its function and visual appearance. The anatomy of pottery in Sarawak is as below:
Figure 3.6: Anatomy pottery
40
3.3.2 Nuan is a pot name by the Ibanese
Figure 3.7: Nuan from Ian ethnics
The surface design of the pot is from geometrical pattern. The patterns are
unstructured and unplanned while the colors of Nuan are grey and black due to the
process of firing. The rounded form shaped of the bottom of the Nuan for its stability
when place on the cooking stove.
Figure 3.8: form and shape of Nuan
41
Figure 3.9: Nuan pots in Ibanese kitchen
3.3.3 Kudin from Kelabit
Figure 3.10 Kudin from Kelabit ethnic
Kudin is a pot from Kelabit ethnic. The shape of Kudin look like a big pot or
a jar (diameter around 6cm-28cm) due to its function to store tuak. the geometrical
pattern was applied on the surface of the pot and most of the pot were brownish
color. This is due to the color of the soil.
42
3.4 Contemporary pottery
Besides the traditional pottery, the other type of pottery which also known as
wheel-thrown Chinese pottery has develop from utility ware to souvenier items.
There are several factors that contributes to the evolution of these pottery such as
cheaper price and ideal size that enough to place into a travelling bag. As far as
manufacturing process are concern, the changes of method of making pots from
hand-moulded to casting production also influence the evolution of Sarawak pottery
nowadays.
Figure 3.11 Sarawak Pottery by the Chinese from Swattow
Based on the jar in figure 3.11, the surface design has indicate the evolution
of design in Sarawak pottery. The basic patterns on surface design which can be
found on the traditional motif of Sarawak is being applied on the jar such as the fern
motif with curvy lines. The color of the jar is in the shade brownish to associate it
with nature color. Geometric pattern being applied on the neck and bottom of the
jars. To enhance the visual effect of the jar, the potters paint the jars with bright
colors.
43
Figure 3.12: Sarawak pottery
Figure 3.12 is one of the contemporary potteries that available in most
Kuching Craft Outlet. Most of the jars in Sarawak are decorated with images of the
lifestyle of the ethnics in Sarawak. The images of the jar as in Figure 3.12 is
decorated by Gawai Day ceremonial with figures of warrior holding a shield and
dancing and the women playing the musical instruments. Most of the Sarawak craft
outlets sell contemporary Sarawak pottery jars that were decorated with the ethnic’s
lifestyle.
3.5 Conclusion
Based from the facts, the traditional pottery are still available in some
of the long houses. The uplands still used the pots when cooking, but only several of
them, while the contemporary potteries are everywhere in Sarawak. Here, we can see
how Sarawak pottery changed from the traditional to Chinese pottery.
44
CHAPTER 4
SURFACE DESIGN IN SARAWAK
4.1 Introduction
The unique crafts in Sarawak are very famous in Malaysia even international
level. The detailing in each craft portrays the delicates of the craftmans. In Sarawak
communitu, there are well-known craft such as pua kumbu, colorful mat, shields
even pottery been designed to symbolized the uniqueness of Sarawak culture.
In each of the surface design of the craft carry different meanings, the shields
were designed to represent the braveness of the warrior as well as the pua kumbu are
purposely made for spiritual events for the Ian ethnics. This chapter will explain
more on the surface design in ethnic community of Sarawak.
45
4.2 Motif and pattern in carving
In Sarawak community especially the Iban ethnics explained that each of the
‘Ukiran’ in Sarawak been carved full with meanings and expression and guided with
the traditional elements. Actually, what is the usage of carving among the ethnics? Is
it to protect themselves from enemies only? Is it for prevent themselves from disease
and illness?
Based from the myth, dewa-dewa such as Dewa Keling Nading Bujang,
Dewa Berani Kempang is some of the legends behind carving history. In carving, the
ethnics believed only selected people can carved and for those who are poor
extremely prohibited to carve their room, otherwise the enemies will attack them.
Variety of materials been used in carving and most of the materials came
from the jungles such as woods, rattan, and ‘mengkuang’ due to their surrounding
that live in the jungles. Each of the ethnics has their own style and personality in
designing products and most of them were inspired by the flora and fauna motif. The
Ibanese are very familiar with animal motif such as dear, dog, monkey and bear.
Figure 4.1 and Figure 4.2 show design that been inspired from prawn and crab.
Figure 4.1: Design inspired by crab
46
Figure 4.2: Design inspired by prawn
4.2.1 Tree Of Life
Tree of Life is the principle that been apply mostly in each Sarawak’s
design especially in ‘Ukiran Salur Paut’. The uplands people believe that Tree of
Life is a potent symbol, which closely connected to the well-being, indeed the origins
of humankind. In their rainforest, jungle worldview an upper world creeper
impregnates an underworld tree and this delivers up the first human beings, man and
woman.
Thus, the form of the tree with a proper trunk and at the same time outwardly
and upwardly spiralling tendrils. As a symbol of life, the hornbill ( the Burung
Kenyalang) is always at its crown, signifying and pointing to the Celestial
Upperworld. (This symbolism has been adopted by Christian Catholic communities
in these tribal areas although not without controversy.)
47
Figure 4.3: Tree of Life at the Museum Sarawak’s entrance
Figure 4.4: Tree of Life 2
48
Figure 4.5: Tree of Life 3
4.2.2 Types Of ‘Kelok’
Figure 4.6 : Types of “kelok”
49
4.2.3 ‘Daun Ukir’
‘Daun ukir’ is part of motif in Sarawak’s carving. below are the types of ‘daun ukir’.
Figure 4.7 : Types of ‘Daun Ikir’
50
a. Kelok lemiding b. Kelok kepala biola c. Kelok cula
kenyalang
d. Kelok terus e. Kelok dan runcing
ke atas
f. Kelok ke bawah
g. Kelok tunduk h. Kelok tunduk
bertakik dua
i. Kelok berkait
j. berkelok keatas
dan bertakik tiga
k. berkelok tunduk
terus
l. kelok hulu parang
jempul
m. kelok paku kelindu n. kelok paku kebok o. kelok paku resam
p. daun sirih liar q. kuku beruang r. kelok bercula
s. Kelok taji t. semunjing u. Kelok tunduk
melingkung ke
atas
v. Kelok
menggenggam
w. Bentuk sejenis
bunga liar
x. Kelok kubuk
tunduk terus
y. Ikat-ikatan
(tumbuhan liar)
z. Lembing udang aa. Kelok melentik ke
atas melentik tiga
Table 4.1: Types of ‘Daun Ukir’
51
4.3.4 Pattern
After knowing the ‘daun ukir’ motif, there are some techniques to use it.
There are some techniques
Figure 4.8 : Patterns
4.3.5 ‘Cunggit’
‘Cunggit’ is one more type of motif that is small but useful. There are 7 types
of ‘cunggit’. Usually ‘cunggit’ are use as additional when carving.
Tajam
Mata lembing
Buah semunjing
Lidah rama
Hujung kayu yang
tugal
Sesungut udang
Setengah bulatan
Figure 4.9; Types of ‘Cunggit
52
’4.3.6 ‘Mata’
In carving, the shape of an ‘eye’ is so essential as the ‘eye’ shape itself can
form can beautiful of carving based on legend. Based on ‘Asas Ukiran Iban’,
Dayak’s people believe that the ‘eye’ shape is essential in their carving because most
of their carving inspired from the fauna such as dragon and ‘hasil laut’.
Other than that, the ‘eye’ shape look very simple for those who don’t know
carving, but when the carver choose the wrong ‘eye’ shape, the appearance of the
‘ukiran’ will give different impression. Below are some types of the ‘eye’ that
derived from human’s eye, monster’s eye, dragon’s eye and animal’s eye. In fact, as
what I’ve observed, the ‘eye’ shape itself present attractive appearance to the
products.
Figure 4.10 : Type of ‘Mata’
4
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4.11: Type: B
4.12: Type: U
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5
For the
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53
54
4.3.8 Parts in carving
There are four important parts in carving, which are ‘pohon’, ‘batang’,
‘pucuk’ and ‘daun. Overall, all the parts are ‘Bunga Ukir’. In carving, all types of
flora and fauna like birds, human, dragon and else can be carve. Figure below shows
the part of carving.
Figure 4.13: Parts in carving
55
4.4 The usage of carving
In Sarawak communities, the art of carving already be a nature for them and
based from the story, initially, carving technique only van be used by the rich people.
Those who are rich will carved each area in the long house. The ethnics usually
caved the pillars, the shield, the head of ‘perahu’, the styling even the stairs in the
long houses.
Each of the products they carved will apply the entire basis in Sarawak
carving for an example, the shield used by the warrior. The purposes of the shield are
to protect them and to scare enemies when they see it. Each of the shields has their
own story behind it.
Other than that, most of the ethnics believe in tattooing. Each of the tattoos
have different meanings because it’ll depends with the person on how they want to
be represent. For the women in Kenyah ethnics, only those who are rich and
‘berdarjat’ allow for tattoing. While for the Kelabit and Kayan, they preferred to
tattoing on the legs area. Most of the tattoo’s design looks less complex with the
shield and they always applied fauna’s motif as the inspiration.
Pottery is one of the famed craft in Sarawak as its also most sought craft
when visiting Sarawak. There are some changes in Sarawak pottery as stated in
chapters before such as the revolution of traditional pottery to Chinese from Swattow
pottery.
56
Sarawak pottery as we can see now, still have the elements that are a sign of
Sarawak but, the elements of basic patterns (in traditional pottery) slowly faded. In
fact, most of the tourist will search for the pottery that have the elements of Sarawak
like those that also have in other products such as the shields and the ‘perahu’. Most
of the potters will applied the entire basis in Sarawak carving on their pottery.
Figure 4.14: Sarawak pottery
From figure 4.11, all of the pottery applied the basis of Sarawak carving that
been invented by the Chinese potters. Based from The Encyclopedia of Malaysia,
volume 14, Crafts and the Visual Arts, much of today’s pottery is decorated with
friezes of Sarawak natives design or what passes for such. Others are painted with
picturesque renditions of Sarawak scenery or native lifestyle. Thousands of tourist
comments that they bought crafts that represent Sarawak as price are the main
factors.
57
Figure 4.15: Shield
Based from Figure 4.11, the artisan applied the ‘bulat’ eyes at the center of
the shield that also act as the center of the view. Other than that, the shield look
balanced and used several patterns such as ‘bertimpa’ and ‘berbelit’.
Pattern ‘bertimpa’
‘bulat’
‘Tajam’ cunggit
Daun Ukir ‘kelok and runcing ke
atas’
58
Figure 4.16: The Ibanese with variety of tattoos design
Figure 4.17: Sarawak pottery
Pattern ‘bertimpa’
‘lingkaran bulat’ eyes
‘kelok tunduk’
Cunggit ‘tajam’
59
4.5 Conclusion
The basis in Sarawak carving plays important roles in designing certain
products. As a designer, the fundamental in designing must strong and others is
depends on how creative you are in the way to express yourself towards the products.
We also have to pay attention on our traditional value because we do not want it
faded away.
Other than that, decorating techniques are crucial in order to create impacts
on the pottery. Each of the technique will form different beautifulness of the pottery
and it also depends on the potters how they want it to be.
60
CHAPTER 5
PRODUCTION PROCESS
5.1 Introduction
In making pottery, there are variety of methods that been practiced over
years, for an example, hand-building method that are practice by cottage industry.
The ethnics in Sarawak are still practiced their traditional methods however
technology has improved. As for the manufacturer (mass producer) adopted to the
more advance method to meet the demand of customers nowadays.
In this chapter, it will discuss on the production process of pottery in Sarawak
from the traditional methods to new technologies been introduced.
5
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61
he
62
5.2.1 Essential tools
Before start making pottery, there are several tools need to be prepared.
i. One or more smooth roundish stones
Figure 5.1: A roundish stone
ii. A piece of rattan bent and tied into the shape of a ring called
(“simpai”) which is big enough to allow the potter’s hand to slip
through easily.
Figure 5.2: A piece of rattan
iii. One or more wooden beaters sometimes called penimba. The beaters
are about 13” long of which 7-8” are made up of a blade(carved
motif) about ½” thick and 1 ½ “ wide. The beaters are usually carved
63
by men; the only occasion when men are involved in the pottery
process – which is otherwise entirely a woman’s task.
Figure 5.3: The beaters
5.2.2 Clay
The first step in making pottery is to choose the right choice of clay. Clay is
abundant in Sarawak but the best choice of clay is the grey clay that comes from a
river bank along Tanah Puteh, Kuching. The excavated clay clay is then dried in
small lumps, once dried it will then pounded to the consistency of powder form in
the large wooden mortar at other times used for husking padi. The powder is then put
through a fine rattan sieve to separate it with coarser parts such as the stones and
pebbles.
The sieving process which is sometimes repeated several times until the clay
form a consistent malleable mixture. This mixture is then pounded thoroughly for
about 15 minutes with a heavy pestle (“alu”) on a large flat boulder or in a big
wooden trough until the clay has the right plasticity. The pounding will also remove
all remaining air bubbles which might otherwise cause breakage in the firing.
64
5.2.3 Forming Process
Once the preparation of the clay has completed, the next process is forming
process. The clay is then shaped into a cylinder form to the size of an average
cooking pot which is Usually, for the average cooking pot about 3 ½” – 5” high and
2”3” in diameter (Figure 5.3)
Figure 5.4: Clay
The cylinder is put in an upright position by the Rurin and at the top side of
the cylinder will be beat repeatedly with the smooth side of the beater until the size
of it is almost the twice as wide as the bottom. A moisten rattan ring, about ½”
smaller in diameter than beaten cylinder top is buried into it and then the Rurin will
roll-in the outer of the beaten cylinder over it. This part will be the top or neck of the
pot. The rattan ring determines the size of the neck of the pot and will prevent the
clay from tearing open during the beating.
65
Figure 5.5: A moist rattan ring on the top of cylinder
A baton called ‘pemaluk’ are use to make a hole in day by gently pressing the
cylinder from the middle and plunging one of the smooth round stones into the centre
until the hole is big enough to hold a stone inside comfortably. Later, the clay are left
to dry for ten minutes for the beating process. (Figure 5.6)
Figure 5.6: Making hole
Figure 5.6 illustrate the Rurin is holding a smooth rounded stone inside (refer
Figure 5.2) inside the pot with her left hand while the right hand she held the beater.
The Rurin will create the pattern on the pot by beating it with the patterned side of
the beater starting from the bottom of the pot, about 4 strokes upwards which all
slightly overlapping – not including the neck of the pot where the rattan ring was
buried.
66
Figure 5.7: Flatten the clay
The pattern impressed by the beater will clearly appeared on the part of the
pot that are beaten. The Rurin will ensure that the area are only beaten once at each
round thus keeping an even thickness of the wall of the pot. The Rurin then turned
the beater and repeated the process; by using the smooth side of the beater for the
second round, the raised relief pattern was hammered flat again; this made the wall
thinner and at the same time enlarged the pot.
The neck of the pot now being clearly recognisable. The Rurin beat the walls
of the pot alternately with the smooth and the carved side of the beater until the pot
had the desired shape and the walls were thin enough. The Rurin beat the walls of the
pot alternately with the smooth and the carved side of the beater until the pot had the
desired shape and the walls were thin enough. After that, the Rurin beat the pot one
more time all around with the smooth side of the beater, checking and correcting any
imperfections at the same time.
67
Figure 5.8 : Form the neck of the pot
5.2.4 Decorating process
One the Rurin are satisfied with the overall shape of the pot, in this case
‘Nuan’, next step is decorating process. A patterned paddles are use in these
decorating process (figure 5.9). The rurin will prepared several paddles with variety
of pattern carved on it as shown in figure 5.10.
Figure 5.9: The wooden beaters
68
Figure 5.10: The patterns
Figure 5.11 illustrate the beating process by the rurin. This will enhanced the
shape and appearance of the pot and made it easier to handle for later use. The whole
of the pot is now almost having the even thickness : about 1/8”. Figure 5.12 show a
finished ‘Nuan’.
69
Figure 5.11 : Beating the pot
Figure 5.12: The Iban ethnic pottery called Nuan
70
5.2.5 Resin process
Resin process is very important by creating a layer or coating of a
vitreous substance which are fired to fuse it color, decorate, strengthen or waterproof
the pots. For the uplands people in Sarawak, the pots were covered with dammar
powder (resin) during the firing process the dammar will melt and infiltrate into the
porous clay, which will sealed and hardened the surface of the pots. The rurin use the
dammar to avoid leakage in their pots when the pots are use for cooking or storing
purpose.
5.2.6 Firing Process
In the firing process, the Rurin will selected a sheltered clearing area
near the long house and gathered a pile of dry firewood-sticks of about 3’ in length
and 2”-3” thickness. The rurin will erect 4 strong branches into a rectangle frame
(2feet x 3feet) onto the dry ground. This frame was held piled sticks parallel to the
long branches and on top of the frame, the rurin then placed glowing cinder sticks,
which she/he had brought with her/his from the fire place.
After that, Rurin quickly built up the pile, cross-cross, layer by layer, until the
pile was about two feet high. She supported this pile by putting up four strong sticks
vertically, one at each corner of it. These supports were not destroyed by the fire.
Then Rurin put the pots on and built a cage around them with interlocking sticks.
This cage and the pots were covered with more sticks. By that time, quite a lot of
smoke had developed and a few minutes later, Rurin fanned it now and again to
ensure that the fire kept going evenly.
71
After about thirty minutes, the fire burned down and the pots could be seen
lying in the ashes. Rurin took the pots one by one with a stick out of the still glowing
ashes and dipped them into ‘samak’ (liquid obtained by first soaking and boiling
pounded mangrove bark chips in water and then squeezing them out). This caused a
lot of steam and sizzling as the pots are still very hot.
Rurin then put the pots back into the wood ashes and turned them around
several times. This, Rurin explained, made them water proof, but it also added to
their beauty. While before, the pots were light brown in colour and showed dark
patches caused by flames, they now had an even dark brown bronze-like colour
which looked more attractive after the pots had been used for a while.
Figure 5.13 : Firing the pots using traditional method
72
5.2.5 Finishing
After done with the firing, the pots are ready to use. The rurin will enhance
the appearance of the pot by adding carriers to act as the supports for carrying and
cooking. The pot, being rounded at the base, needs a stand or holder when it is not in
use. This pot stand is usually made of unsplit rotan about 9’ long 1/8’ thick.
Figure 5.14: Pot with the rattan carrier
73
5.3 Sarawak Pottery
As the technology developed, the method of produce pottery in Sarawak have
shown some improvement in several aspects especially in the forming process. Other
than that, the decorative patterns on the pottery also develop with variety of
techniques and glazing methods. These development happened because of the
demand from the tourist and also been influenced by the changes of technology.
5.3.1 Production Process
Chart 5.2: production process
preparation of clay
forming process( potter's wheel and slip casting)
decorating process
firing process
( kiln)
finishing
74
5.3.2 Preparation of clay
The traditional methods of making Nuan, Rurin have to collect the clay
manually using their own hands. As the technology improve, the clay now is dogged
up using machine and gathered in a big container. After that, the clay will be
transferred to the factory for mixing process.
Figure 5.15: The electric mixing machine
5.3.3 Forming process
5.3.3.1 Potter’s Wheel
Potter’s wheel is a machine used in the shaping of pottery. For the first step,
the potters will place a piece of clay at the center of a turntable while the potters
rotate the turntable with a stick or with paddle.
s
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Figure 5.19
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sed mold tha
e piece moul
re can save ti
ce Mould
mould slip c
mould slip c
1
2.cu
3
g the clay is
of pottery, es
at made from
ld and two-p
imes and lab
casting 1
casting
. Pour t
. Wait uut the unneces
3. Afterclay (
4.
5. Finadeco
slip casting
specially not
m plaster of P
piece mould.
bor
the clay whenis ready
until the clay ssary clay ar
r that, pour th(at the center
ally, the clay iorating proces
. Slip casting
easily achie
Paris. There a
The advanta
n the one piecy
freezed round the mo
he unnecessaryof the mould
'Terbalik'
is ready for thss
7
g is a
eve on a
are two type
ages of slip
ce mould
and uld
y d).
he
76
es
77
5.3.3.2.2 Two-Pieces Mould
Figure 5.20 : Two pieces mould
Figure 5.21 : The clays
Figure 5. 22: The clays poured in the moulds
Two‐pieces moulds are ready
The clays
Before start pouring the clay, the moulds have to be tight with the rubber to make sure no leaking while waiting it freeze.
78
Figure 5.23: The thickness were formed
Figure 5.24: The clay were shaped
After that, throw the clay at the center because want to have the thickness of the pottery.
Finally, the clays are formed and ready for the next process.
5
d
w
t
t
p
5.3.4 Tech
The a
design of it.
while want t
In de
technique, m
technique. A
perforating a
hniques in d
art of carvin
Pottery is on
to convey th
ecorating the
marking tech
As Sarawak p
and painting
decorating
ng is crucial a
ne of media
e techniques
e pottery, the
hnique, perfo
pottery is co
g technique.
Chart
as the purpo
for the artis
s that they us
ere are sever
orating techn
ncern, most
5.3: Decora
decoratin
car
perfo
pai
ose to attract
t or potters t
sed.
ral technique
nique, carvin
of the potter
ating techniqu
ng technique
rving
orating
inting
people to ap
to express th
es such as tra
ng technique,
rs practiced
ues
7
ppreciate the
heir feeling
acing
, and paintin
carving,
79
e
ng
80
5.3.4.1 Carving technique
Carving technique is the most popular technique been practiced by the
potters. They will sketch the design on paper and construct it on the pottery. The
tools they used are art knives, pencils and papers.
At first, when the design was ready, the potters will do parting lines and
follow all the design on the paper. After that, they used art knives to start carving.
Figure 4.11 showed how the potters carved the pottery.
Figure 5.25: Carving technique
Figure 5.26: Sarawak pottery : Carving technique
81
5.3.4.2 Perforating technique
Other than carving technique, perforating technique also used by the potters
in Sarawak. If we observed it, this technique can create different impacts and is a
new technique compare with the beating technique (traditional technique).
Using this technique, the potters should aware with the surface of the pottery
while perforating because to avoid some crack. Most of the potters will perforate the
pottery using art knives. This technique usually took longer time to finish it compare
with others technique.
Figure 5.27: Perforating technique
Figure 5.28: Sarawak pottery: Perforating technique
82
5.3.4.3 Painting technique
Painting technique is one of technique been used by the potters during
decoration process. This technique look similar with carving technique because the
potters will sketch the design on the paper and draw it back on the pottery’s surface.
After done with the design, the potters will start painting and usually the
colors been used will represent Sarawak itself for examples nature color (brownish
and yellowish) and colorful colors.
Figure 5.29: Painting technique
Figure 5.30: Sarawak pottery: Painting technique
83
5.3.5 Firing process
Previously, the ethnics fired the pottery using traditional method.
Now, as technology improves, there are several methods on firing pottery for an
example-using kiln. Kilns are thermally insulated chambers or ovens, which
controlled temperature regimes, are produces. The function of kiln is used to harden,
burn or dry material.
In addition, kiln plays an important role in manufacturing of all ceramics.
Manufactures in Kuching used two type of kiln, which is electric kiln and gas kiln.
When using these new technologies during firing process, the manufacturer can
produce hundreds of pottery in a short period and avoid dust during the firing.
Chart 5.4: Firing process
firing process
electric kiln gas kiln
84
Figure5.29 : gas kiln in Kraftangan center, Kuching.
Figure 5.30: elctric kiln used by the manufacturers in Kuching
85
5.3.6 Finishing
The final process in producing pottery is the finishing process. Most of the
manufacturers use glazing technique to enhance the pottery appearance more
outstanding. The glaze, a mixture of ground glass, coloring materials and water, is
applied to the bisque pot by spraying, pouring, brushing, sponging or some
combination of the techniques. After that, the pots are then placed on the glaze racks
and wait until it dry.
Figure 5.31 : Some of the glazes used by the Kraftangan Sarawak
5.4 Conclusion
In conclusion, there are major improvements in making pottery in Sarawak.
Start with the beating technique till variety of techniques been introduced in order to
create differents outlook yet still represents Sarawak. These will be the next steps to
expend the Sarawak potetry globaly.
86
Chapter 6
CONCLUSION
6.1 Introduction
This chapter will conclude the whole research from the traditional
pottery until the contemporary pottery that are also known as “Swattow” pottery.
Based from the research, the developments on Sarawak pottery are based from few
factors such as the production processes, usage and design of the pottery.
In addition, this chapter will elaborate more on how to develop and improve
Sarawak pottery for the future and also the suggestions on how to inculcate interest
in pottery. It is crucial for younger generations to have the understanding and
appreciation of the traditional elements yet think globally towards improving the
pottery industry.
6
f
6.2 Deve
Char
from the trad
C
DECORTECHN
FORMSHA
SURFAC
elopment in
rt 6.2 describ
ditional pott
Chart 6.1: Th
RATING NIQUES
M AND APES
E DESIGN
n design
bes the flow
ery to contem
he developm
TRAD
basic pa
utilitry wpo
beating
of developm
mporary pot
ment of Saraw
SARA
DITIONAL
geometry atterns
ware = jars anots form
g technique
ment in desig
ttery.
wak Pottery (
AWAK POT
nd
C
* p
*
gn on Sarawa
(design aspe
TERY
CONTEMPO
Sarawak mopattern
tourist wareshapes esp
perforating t* carving tec* painting te
8
ak pottery
ect)
ORARY
otif and ns
e = any . vases
techniquechnique
echnique
87
88
6.3 Development in product usage
The usages of pots in the natives’ community are more of the utility ware. As
the Nuans (Figure 2.1) purposely made for the cooking while, the Kudins (Figure
2.6) were for storing water for the Kelabit ethnics. The changes on the potteries in
Sarawak occur since system barter between the Chinese trades happened.
The switch from utility ware to tourist ware took a few years. The pottery
made by the Chinese is the most sought after gift by the tourist. The main shapes are
jars, round container with or without lids, astray, plats. Drinking mugs also others
possible shapes.
Figure 6.1: The ashtrays with Sarawak motif
Figure 6.2: The vases with Sarawak motif
6
e
i
l
p
d
C
6.4 Deve
From
every day. T
improved sin
lot of improv
The c
production p
decorating p
cook
Chart 6.2: Th
elopment in
m one or 2 pi
The developm
nce the new
vement as fo
charts on the
process start
process, firin
king
he developm
n production
ieces of pots
ment on prod
technologie
or the formin
e following p
from the pre
ng process an
USAGE
traditio
storing w
ment of Saraw
n processes
s per day unt
duction proc
es we introdu
ng process, f
pages will ex
eparation of
nd finally fin
IN SARAW
nal
water
wak pottery
til hundreds
cess in Saraw
uced. The ne
finishing pro
xplained the
f material, fo
nishing proce
WAK POTTE
spiritual purpose
(usage aspec
of pottery ca
wak pottery i
ew machines
ocess even fi
e developmen
orming proce
ess.
ERY
co
8
ct)
an be produc
industry
s contribute a
iring process
nt in
ess,
ontemporary
decorative items
89
ce
a
s.
y
6
c
c
t
6.4.1 Prep
Chart
In pr
collect the c
clay and pla
the pottery m
1234
paration of m
6.3: The dev
reparation of
lays while fo
ced it in a bi
maker’s work
tradi
. dry the clay
. pounded
. sieving
. ready
material
velopment o
f materials, t
or the contem
ig container.
k faster and
prep
itional
y
of Sarawak P
the ethnics u
mporary pot
. The improv
reduce labo
aration of m
1234
Pottery (prep
used hands an
ttery, they us
vements in c
r cost.
material
conte
. dry the cla2. sieve. mix in mix
4. ready
paration of m
nd wooden s
sed machine
collecting the
emporary
y
xing machine
9
material)
scoop to
to collect th
e clay help
e
90
he
6
m
c
6.4.2 Form
Ch
The p
mould to usi
casting make
trad
1. formedcylinder 2. pressin
ming proces
hart 6.4: the
process of fo
ing machine
e the work o
ditional
d into shapesng method
ss
developmen
orming the c
s. The techn
of forming th
forming pr
potter
1. squand p
me(repe
nt of forming
clays has trem
niques such a
he clay easie
rocess
con
rs wheel
ueezing pulling ethod eated)
g process in S
mendously i
as using pott
er and save lo
ntemporary
one piecmould
Sarawak pot
improved fro
ters wheel an
ots of time.
slip casting
ce d
9
ttery
om hand
nd slip
g
two piece mould
91
6
a
f
v
d
6.4.3 Deco
Char
In de
as painting a
for the appea
valuable her
develop and
be
orating proc
rt 6.5 : The d
ecorating pro
and carving t
arance of the
ritage in Mal
d yet still mai
tradit
eating methowooden
cess
development
ocess, variety
techniques, w
e pots. To cr
laysia, some
intain the tra
d
tional
od with carvepaddles
t of decoratin
y of techniqu
while the na
reate interest
e changes in
aditional valu
decorating p
ed
ng process in
ues practiced
atives only u
t of the touri
decorating t
ue.
process
co
1. carving2. perforati3. painting
n Sarawak p
d by the pott
sed the beati
ist in appreci
techniques n
ntemporary
ingg
9
pottery
ters now suc
ing techniqu
iating one of
eed to be
y
92
ch
ue
f
6
p
f
6.4.4 Firin
C
Usin
preparation t
fire techniqu
tra
1. open f2. 'salai'
ng process
hart 6.6: The
ng electric ki
to fire the po
ue by the eth
aditional
firetechnique
e developme
ln and gas k
ottery using
hnics.
firing
ent of firing
kiln can save
kiln consum
process
electric ki
process of S
time and co
me less time c
contemp
iln
Sarawak pott
ost because th
compare wit
porary
ga
9
tery
he
th the open
as kiln
93
6
6.4.5 Finis
Cha
tr
1. resin (2. add ra
shing proce
art 6.7: The
raditional
(damar)attan for carr
ess
developmen
finishi
rier
nt of finishin
ing process
1. glazing t- sprayi- pourin- brushi- spong- or com
ng process in
contem
echniquesingnginging
mbination of
n Sarawak po
mporary
f techniques
9
ottery
94
6
D
n
g
W
o
t
p
m
c
p
6.5 Conc
Chart 6
Base
Developmen
not complete
gift for the r
With all the
outstanding.
In ter
traditional p
production p
machines red
cost. Howev
pottery indu
product u
clusion
6.8: The fact
ed from char
nt of Sarawa
e for a touris
relatives and
unique moti
.
rm of usage,
ottery that p
process creat
duce the ski
ver, the new
ustries have a
usage
tors that influ
rt 6.8, there a
ak pottery; pr
st when visit
d friends that
if and pattern
, the pottery
purposely ma
te a big impa
lls and arts i
technology m
a bright futur
desi*forms an
* motif and
uenced the D
are three mai
roduct usage
ting Sarawak
t increase the
ns plus with
are more fo
ade for utility
act to the tra
in making po
makes the pr
re.
ignnd shapesd patterns
Developmen
in factors tha
e, design and
k without bu
e demand tow
h the shapes a
or on souveni
y ware. The
aditional pott
ottery eventh
rocesses eas
prodpro
nt of Sarawak
at influenced
d production
uying Sarawa
wards Saraw
and forms th
ir items com
improvemen
ters. The exi
hough it save
sier and faste
duction ocess
9
k pottery
d the
n process. It i
ak pottery as
wak pottery.
hat looks
mpare with th
nts in
istances of
e time and
er, so the
DevelopmOf Sara
Potter
95
is
s
he
ment awak ry
96
REFERENCES
1. Augustine Anggat Ganjing, Asas Ukiran Iban, Dewan Bahasa dan Pustaka, 1991
2. Tom Harrison, Ceramics Penetrating Central Borneo, The Museum Sarawak
Journal, Vol. V1 , Museum, Kuching, Sarawak, December 1955
3. Datuk Syed Ahmad Jamal, Pottery and Earthenware, Sarawak pottery, Craft
and Visual Arts, Volume 14
4. Sarawak Museum Occasional Paper No.5, Iban pottery
5. Syed Ahamd Jamal, Rupa dan Jiwa, Penerbit Dewan Bahasa dan Pustaka.
6. Mohd. Shahrim Senik & Mohd Zainuddin Abdullah, Tembikar dari Warisan
ke Wawasan, Lembaga Muzium Selangaor, 2001
7. Tembikar Tradisional. Perbadanan Kemajuan Kraftangan Malaysia, 2005
