| Batik
Hindu
traders first brought batik to Malaysia eons ago, and the art of dying
fabric has been an established tradition for centuries. Designs are first
sketched out on cloth, then blocked off with wax outlines. They are then
painted and later sealed with TK.
Kite Making
Kites,
called waus, are painstakingly designed and crafted in vibrant colors and
patterns. Intricate floral cutouts are pasted on, building up the design
until the kite is ready for the bright paper tassels that complete its
decoration. Kite construction is an ancient art passed down from the nobles
of the Melakan court.
Pewter Making
Having
the world's largest reserves of tin, it seems appropriate enough that Malaysia
also produces what is widely regarded as the world's finest pewter. Most
of it is produced at the Royal Selangor Pewter Factory, which lies
just outside of Kuala Lumpur. The factory was founded in 1885 by Yoon Koon,
a Chinese artisan who crafted objects only for the aristocracy. Today Royal
Selangor is the largest single manufacturer of fine pewter in the world,
and and it is still run by Koon's third-generation descendants. The factory
gives a full tour of the production floor, and visitors to the gift shop
have the privilege of buying any of the items duty-free.
Weaving
The
jungle provides an abundance of ideal materials for Malaysia's many types
of weaving. The thorny vines of the rattan tree, for example, are worked
and woven into comfortable chairs and tables -- unique furniture that was
so popular with the English that it could be seen in the parlors of just
about every British resident. The strong and versatile fronds of the sago
palm are also superbly suited for crafting. In Borneo, the sago is dyed
and woven into beautiful and distinctly patterned jewelry, baskets, hats,
floor mats, and more.
Wood Carving
On both the
peninsula and in Borneo, wood carving reaches an astounding level of intricacy.
What is truly special about this art form in Malaysia is that all of her
cultures have perfected it. You see it everywhere: in the delightful porticos
of Malay houses, in the roofs and altars Chinese and Hindu temples, on
the prows of colorful fishing boats, and in the burial poles and masks
of Sarawak.
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The Art of Making Kris
A kris is can only be made by an empu, a revered artisan
who is also endowed with magical powers.
Once an empu selects a day to begin the task, he fasts and prays, warding
off evil spirits and wining the favors of the demit, or good
genies.
To forge a kris blade, the empu alternates one layer of steel with two
layers of special iron extracted from a meteorite. This is necessary for
the pamor, or silvery marbling of the blade. The layers are
forged together and flattened. To obtain a particular pamor, the empu twists
the two halves of the steel bar separately. This is repeated as many times
it takes to get the desired effect. The sequence of layering, bending,
beating and forging forms a number of layers. Generally, a good kris has
64 layers of iron and pamor. It is said that some have thousands.
The blade is forged into its final shape, straight or curved, then given
ribbing and tang. Using very fine files, grindstones, and chisels, the
ribbing is heightened, relief created on the blade, and the ricikan
(the characteristic teeth or projections on a kris) is chiseled. Finally,
the emput makes the ganja, or base, and tempers the blade by bringing it
to red hot and immersing it rapidly in coconut oil.
The entire process can take months, partly because the empu will only
work on days that he considers favorable. The blade is considered incomplete
until it is merged with the handle and the sheath, and the owner has made
offerings and contacted the spirit of the kris by dream.
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