Malaysian art

The TerengganuanpinasNaga Pelangisailing butterfly.

A swan-shaped Malaysiancongkakdisplayed in theMuzium Negara.

One ofGeorge Town, Penang's wrought-iron caricatures.

TraditionalMalaysian artis primarily composed ofMalay artandBornean art,is very similar with the other styles from Southeast Asia, such asBruneian,IndonesianandSingaporean.Art has a long tradition in Malaysia, with Malay art that dating back to the Malay sultanates, has always been influenced byChinese,IndianandIslamicarts, and also present, due to large population ofChineseandIndianin today'sMalaysian demographics.

Colonialism also brought other art forms, such as Portuguese dances and music. During this era, influences fromPortuguese,Dutch,and theBritish,were also visible especially in terms of fashion and architecture in many colonial towns ofMalayaandBorneosuch asPenang,Malacca,Kuala Lumpur,KuchingandJesselton.Despite the influences of aboard, the indigenous art of Malaysia continues to survive among theOrang Asliof peninsular and numerous ethnic groups in Sarawak and Sabah.

Nowadays, given the globally influenced and advanced technology, the younger generation of Malaysian artists have moved from the traditional material such as wood, metals, and forest products, and becoming actively involved in different forms of arts, such as animation, photography, painting, sculpture, and street art. Many of them attaining international recognition for their artworks and exhibitions worldwide, combining styles from all over the world with the traditional Malaysian traditions.

Architecture

Main article:Architecture of Malaysia

Various cultural influences, notablyChinese,Indianand Europeans, played a major role in formingMalaysian architecture.Until recent time, wood was the principal material used for all Malaysian traditional buildings. However, numerous stone structures were also discovered particularly the religious complexes from the time of ancient Malay kingdoms. Throughout many decades, the traditional Malaysian architecture has been influenced byBugineseandJavanesefrom the south,Islamic,Siamese,andIndianfrom the north,Portuguese,Dutch,British,AcehneseandMinangkabaufrom the west andsouthern Chinesefrom the east.

Performing art

Malaysians have diverse kinds of music, dance, theatre, and martial arts which are fusions of different cultural influences. Typical genres range from traditional Malay folk dance dramas such asmak yongto the Arab-influencedzapindances. Choreographed movements also vary from simple steps and tunes indikir baratto the more complicated moves injoget gamelan.These different types of Malaysian performance art reflects the diverse cultural groups within Malaysia.

Music

Asapeplayer performing at theCentral Market,Kuala Lumpur.

Traditional Malaysian music is mostly percussion based. Various kinds ofgongsprovide the beat for many dances. There are also drums of various sizes, ranging from the large Kelantaneserebana ubi(bass drum) used to punctuate important events to the smalljingled-rebana(frame drum) used as an accompaniment to vocal recitations in religious ceremonies.

Nobatmusic has been a part of theroyal regaliaof Malay courts since the arrival of Islam in the 15th century and only performed in important court ceremonies. Its orchestra includes the sacred and highly revered instruments ofnehara(kettledrums),gendang(double-headed drums),nafiri(trumpet),serunai(oboe), and sometimes a knobbedgongand a pair ofcymbals.

Traditional Malaysian music also include; Johor with itsghazal Melayu;Malacca with itsdondang sayang;Negeri Sembilan with itsbongaiandtumbuk kalang;Kelantan with itsdikir baratandrebana ubi;Sabah with theirkulintangan,isun-isunandsompoton;Sarawak with theirbermukun,engkromongandsape;Perak with itsbelotahandrebana Perak;Penang with its uniqueboriaandghazal parti;Selangor with itscempulingandkeroncong;Terengganu with its middle-eastern inspiredrodatandkertuk ulu.

Dance

Malaysian dance is also tremendously diverse, as each ethnic group has its own dances. Among the ethnic Malay majority, there are several traditional dances performed widely at cultural festivals and other special occasions, such asjogetandzapin.In the royal courts, there are also a series of complex court dances developed throughout the centuries which require great skill. Some of the more widely known arejoget gamelan,inai,andasyikdances.

Other well-known Malaysian dances are;mak inangfrom Malacca;ulek mayangfrom Terengganu;canggungandlayang masfrom Perlis,ngajatfrom Sarawak;mangunatip,mongigolandsumazaufrom Sabah. While the Chinese communities retain their traditionallion danceanddragon dance,while Indian dances includebharata natyamandbhangra.

Theatre

Theatrical arts in Malaysia has its root in traditional rituals but also serves as entertainment. Notable Malaysian performing art include ritual dances, dance drama that retells ancient epics, legends, and stories; alsowayang kulit,a traditional shadow puppet show.

A Kelantanese stylewayang kulit(shadow play) that narrated the heroic tale ofHikayat Seri Rama.

Shadow Puppetry:Indian and Javanese influences are strong in the traditional Malaysianshadow playknown aswayang kulit.The stories from Indian epics ofRamayanaandMahabharata,as well as stories from the JavanesePanjitales formed the main repertoire of the play.

There are four distinctive types of shadow puppet theatre that can be found in Malaysia;wayang gedek,wayang purwa,wayang Melayuandwayang Siam.Nonetheless, the art and the storytelling ofwayang purwaandwayang Siamdenote a regional influence infused with the Javanese and Siamese respectively, whilewayang Melayuandwayang gedeknarrated a more indigenous Malay form and fashion.

Dance-drama:Dance, drama and traditional music in Malaysia are usually merged as a whole complete of performing art form. The traditional Malaysian dance drama art form includes;awang batilin Perlis;mak yong,menora,tok selampitin Kelantan;hamdolokin Johor;randaiandtukang kabain Negeri Sembilan;jikey,mek mulungin Kedah;bangsawanin Malacca and Penang.

Martial art

See also:SilatandSilat Melayu

Asilat Melayudemonstration.

Archaeological evidence reveals that, by the 6th century, formalised combat arts were being practised in Malaysia.The earliest forms ofsilatare believed to have been developed and used in the armed forces of the ancient Malay kingdoms ofLangkasuka(2nd century).

The influence of the Malay sultanates ofMalacca,Johor,PataniandBruneihas contributed to the spread of this martial art in the Malay archipelago. Through a complex maze of sea channels and river capillaries that facilitated exchange and trade throughout the region,silatwound its way into the dense rainforest and up into the mountains. Apart fromsilat,tomoiis also practised by Malays, mainly in the northern region of Malaysia. It is a variant ofIndochineseforms ofkickbo xingwhich is believed to have been spread in mainland Southeast Asia since the time of theKingdom of Funan(68 AD).

On the other hand, in Sarawak, the Ibans are known for theirkuntau,a martial art passed down by their ancestors and practised from generation and generation. Until today,kuntauremains guarded by secrecy, seldom shown to the public, and rarely taught outside the community. Though traditionally passed within the family, it has dwindled in popularity among the young.

Visual art

Several design elements of traditional Malaysian art are adapted to modern structures to reflect the Malaysian identity. The entrance to thePetronas Twin Towersis adorned with contemporary Malay motifs adapted from traditionalhandicrafts,includingsongketandtimber carvingsinspired by images of thetropical rainforests.

Metalwork

Thebunga masdisplayed inMuzium Negara.It was offered by the northern Malay states to the King ofAyutthaya(Siam) as a symbol of allegiance.

Malaysianmetalworksassumed a role more than a mere instrumental tool. It serves as a testament of culture, cultivated by artistic appreciation and religious symbols, moulded by a craftsman who possessed a talent to redefined the essence of nature in the most ornamental manner. Upon the turn of the 17th century,iron,gold,silver,andbrasshave all been perfectly moulded to become part and parcel to the Malay society.

Goldwork:The art of casting gold were predominantly done byrepousséandgranulationtechniques, in which the traditional methods can still be witnessed until today. There are also a number of other prominent items in the Malay regalia cast in gold, including ceremonial box,tepak sirih(a betel container) and parts ofkris(a peculiar Malay dagger). In the contemporary era, the Malay gold jewels are mainly found in the form of anklets, bracelets, rings, necklaces, pendants and earrings.

Silverwork:The works of silver are fairly known for its sophisticated and fine designs. It is usually crafted in the form ofrepoussé,filigreeandneillowork.Among the common traditional Malay items usually made of silver includes pillow ends, belt buckles, matt corners, stoppers for water vessels, kris sheaths, and tobacco boxes. Theawan larat(cloud patterns) andkerawang(vegetal motives) are among the popular designs for Malay decorative silver pillow ends and tobacco boxes.

Brasswork:The usage of brassware transcends a plethora of classical Malay social classes, being used by the members of nobility and commoners alike. The popularity of brassware is heavily contributed due to its durability, quality, and affordability to all. The brassware can be narrowed into two distinctions, yellow brass for functional items and white for decorative purposes. It is often meticulously hammered and craved with various decorative designs in religious and floral motives. The usage of brass, however, is also best known fortepak sirih,and for constructing certain musical instruments such asgongsfor the classicalMalay gamelanorchestra.

Pewterwork:Pewter is considered as relatively recent, with history only dated to the colonial era. Despite its recent history, Malaysia is very well known for its decorative pewter items and tableware. In fact, Malaysia was once the world's largest tin producer and currently the largest manufacturer of pewter, so it is common for tourists to buy Malaysian pewter products as souvenirs.

Weaponry

The krisTaming Sarias seen third from the left, among the rest of the Perak royal regalia, 1907.

Blowpipe:Ablowpipeis the simplest form of ranged weapon, consisting of a long narrow tube for shooting light projectiles such as darts. It is a traditional weapon for hunters of various indigenous tribes in both, west and east Malaysia, as well as a status symbol for many of them, similar to the kris to the Malays. In the past, craftsmen would take several months to make a blowpipe using traditional methods.

Kris:Krisis one of the most revered items of Malay weaponry. By the time ofMalaccain the 15th century, the evolution of the Malay kris was perfected and possession of a kris came to be regarded as part-and-parcel of Malay culture, becoming a philosophical symbol, juxtaposition in prestige, craftsmanship, masculinity, and honour.During this classical era, a Malay man was not seen without a kris outside of his house. The absence of a kris on a man was frowned upon, perceived as if he were parading naked to the public.

Other weaponry:There are also a plethora of other forms of weaponry in the Malay arsenal, all were nevertheless equally revered in a correlating manner as the kris. The Malays would classified the traditional weapons under seven different structures:Tuju( "Direct", the large and heavy artillery, including the Malay cannons ofmeriam,ekor lontong,lelaandrentaka),Bidik( "A gun", a weapon with metal tube propelled by an ammunition, with the Malay forms ofterakorandistingar),Setubuh( "A body", weapon in the similar dimension of a human body, referred to the Malay spears oftongkat panjangandlembing),Selengan( "An arm", a large saber from the length of the shoulders to the tips of the fingers, constituting the Malay saber ofpedangandsundang),Setangan( "A hand", a sword with the diameter measured from the elbow to the three fingers, includingbadik panjangandtekpi),Sepegang( "A hold", smaller than theSetangan,a dagger withkrisandbadikin the category) andSegenggam( "A grab", the smallest in the category, the hand-sized blade, includinglawi ayam,kerambit,kuku macanandkapak binjai).Other items in the traditional Malay weaponry includessumpit(blowpipe) andbusur dan panah(bow and arrow), which are distinct from the seven class of armaments. Additionally, the Malays also would deployzirah,a type ofbaju besi(armour) andperisai(shield) as defence mechanisms during thearmed conflict.

Wood

This art form is mainly attributed to the abundance of timber in the archipelago and also to the skillfulness of the woodcarvers that have allowed the Malays and other indigenous people to practice woodcarving as a craft. The natural tropical settings where flora, fauna, and cosmic forces are abundant have inspired the motives to be depicted in an abstract or styled form on the timber board.

A 19th century Iban carving of ahornbill.

Wood carving:Wood carving is a part of classical Malaysian arts. The Malay had traditionally adorned their monuments, boats, weapons, tombs, musical instruments, and utensils by motives of flora, calligraphy, geometry, and cosmic feature. The art is done by partially removing the wood using sharp tools and following specific patterns, compositions, and orders. The art form, known asukirin variousMalaysian languages,is hailed as an act of devotion of the craftsmen to the creator and a gift to his fellowmen. With the coming of Islam, geometric and Islamic calligraphy became dominant in Malay wood carving.

A typical Malay traditional house or mosque would have been adorned with more than 20 carved components. The carving on the walls and the panels allow the air breeze to circulate effectively in and out of the building and can let the sunlight to light the interior of the structure. At the same time, the shadow cast by the panels would also create a shadow based on the motives of adding beauty to the floor. Thus, the carved components are performed for both functional and aesthetic purposes.

On the other hand, traditional carvings of the Iban of Sarawak remain without outside influence. Theukirsuch as hornbill effigy carving, theterabai(shield), theengkeramba(ghost statue) are still being crafted. Another related category is engraving or drawing with paints on wooden planks, walls, or house posts by the Iban community. Even traditional coffins may be beautifully decorated using both carving andukir-painting.

Apayang,a traditional Malay boat displayed inMuzium Negara.

Boatbuilding:Terengganu is the centre of boat building in the Malay peninsula. The twoPerahu Besar(big boat) of Terengganu, thepinasand thebedarare the result of cultural interchange between seafaring and trading civilisations. These boats are made ofchengalwood, a heavy hardwood growing only on the Malay peninsula.Among well-known Malaysian traditional boats arepinasandpayangfrom Terengganu as well aslepafrom east coast of Sabah. Today, this tradition is on the brink of extinction, with very few able craftsmen still practising this rare old building technique.

A Mah Meri spider spirit mask.

Wood engraving:According toOrang Aslicustoms, deities take the form of carved wooden masks and idols. In a world rife with supernatural forces, these carved items also symbolise reverence to ancestral spirits. Various folk tales, myths, and legends of the olden days are transformed and passed down through these items. On special occasions, the dancers would wear masks to honour the spirits. Among hundreds of tribes in Malaysia, theMah Meriof Selangor is the most well known for their traditional wood carving skills.

Besides the indigenous ethnic groups, wood is also engraved by the Chinese community in Malaysia. Besides deities, traditional signboards, carved from fine wood and gilded, are adorned in many Chinese traditional houses and cultural buildings thought out the country.

Musical instrument:Producing traditional Malaysian instruments such asrebana ubi,gambusandsapetake high-quality wood and at least a few days of patience. Although it is mass-produced today, there are a few traditional instrument makers that are determined to hold onto this legacy. These instruments are often carved with local motifs, which also require a high level of craftsmanship.

Two unfinishedgasing.

Toy and game:Popular traditional Malaysian games such asgasingandcongkakare usually made from wood. A great skill of craftsmanship is required to produce the most competitivegasing(top), some of which spin for two hours at a time.On the other hand, the Malay variant ofmancalaboard game, locally known ascongkakis also made from wood. The most commoncongkakis shaped like an elongated boat, but some unusual shapes like a swan or mystical bird are also crafted in order to create a sense of authenticity to the craft.

Wooden furniture:The southern Malaysian city ofMuaris considered the furniture hub of Malaysia with around 800 factories that account for about 55–60% of Malaysia's furniture export. The woods used for these furnitures are typically from tropical hardwood species that are known to be durable and can resist the attacks of the fungi, power-boots beetles, and termites. Some Malaysian wooden furnitures may also include traditional Malay wood carving and other decorative items.

Charcoal making:The art of making charcoal was brought in by the Japanese duringoccupation of Malaya.This art might not be as popular as before but it is still being produced and used for cooking in a lot of traditional Malaysian cuisines. The art of making charcoal is mainly concentrated in Kuala Sepetang, Larut and Matang, Perak. Although charcoal is considered as a controversial issue these days due to climate change, Matang, however, is recognised as a good model for sustainable mangrove forestry and conservation.

Ceramic

The termceramicis derived fromGreek,and literally refers to all forms ofclay.However, the use of the modern term extends its use to include inorganic non-metallic materials including earthenware, stoneware and porcelain. Until the 1950s, the most important traditionally was clay, which was used as pottery, brick, tile, and the like, along with cement and glass. Historically, ceramic items were hard, porous, and fragile. Nowadays, the art of ceramic includes pottery, crystal, glass, and marble.

Alabu Sayong,a classic Malaysian gourd-shaped jar fromKuala Kangsar,Perak.

Pottery:Malaysian pottery and ceramics were an essential part of the trade between Malaysia and its neighbours during feudalistic times, throughout Asia. Under the Malaysian culture, pottery is not solely witnessed as a mere household utensil. It is perceived as a work of art, a paradigm of talent, embroidered with aesthetic, legacy, perseverance, and religious devotion. The Malay earthenwares are usually unglazed, with the ornamental designs were carved when the pottery is semi-dried during its construction process.

According to several studies, the native Malay pottery industry has developed indigenously from the period of great antiquity and has since encapsulated a high-level of cultural sophistication. It also has been noted that the design features of the Malay pottery suggested the absence of foreign influence prior to the 19th century, a paradox considering the vast cultural contact between the Malays and the outside world.

There are four main areas of earthenware production in Malaysia;mambongin Kampung Mambong, Kuala Krai, Kelantan,labu Sayongin Sayong, Kuala Kangsar, Perak,terenangin Kampung Pasir Durian, Hulu Tembeling, Pahang and several places in Sarawak. Sarawak pottery has a very distinct and exotic look.

An enamel porcelain tea tray with a traditional Peranakanfenghuang.

Porcelain:The Peranakans of Penang and Malacca are well known for their artisticporcelainware, also known as "Nyonyaware". Different sets were used for different occasions. These porcelain wares were originally commissioned and manufactured in China and exported for the wealthy Peranakan families in the British Straits Settlements. It is generally pastel base coloured than any other porcelain made in China such as bright yellow, green, pink, etc.

These porcelains are decorated in colourful overglaze Famille rose enamels, with motifs symbolising marital harmony and longevity. Due to its symbolic meaning in Peranakan culture, the phoenix and peony have a more prominent position in "Nyonyaware" more than that of other Chinese porcelain wares made for use in China itself.

There are four main designs for Malaysian porcelains; white with a pattern around the edges for everyday use, "Nyonya ware" for weddings or special occasions, "blue-and-white" for funeral occasions or serving the ancestors, and the street food dinnerware used inkopitiamand Chinese restaurants throughout the country.

Craft

Malaysia is fortunate to have natural resources that can contribute to the income and economy of the local communities. Forest products such aswood,bamboo,rattan,mengkuang,pandan,bemban,coconut shell andserdangleaves are used to create a variety of weaved and craft products. These skills and knowledge involving craftsmanship such as selecting materials and methods reflect the identities and socio-cultural development of these local communities.

Making of the traditionalwauJala Budi.The bamboo frame is covered with plain paper and then decorated with multiple layers of shaped paper and foil.

Basketry:Malaysia's main traditional craft is definitely the creation of various wicker handicrafts from the abundance of bamboo, rattan, andmengkuangin its forest. These wicker products were mainly weaved by women as a pastime hobby while the men were doing manual labour jobs like fishing, farming, or smithing. Examples includetudung saji(dish cover),tikar mengkuang(pandanus straw mat),ketapu(Iban woven hat) to rattan ball forsepak takraw,which continues to be popular not only as functional tools but also as ornaments to adorn houses with.

Kite is the most popular traditional Malaysian craft. Although bothwauandlayang-layangtranslated as kites in English,wauis specifically referring to the intricately designed Malaysian kite from the east coast of Malaysia.Wau-flying competitions take place across the country with judges awarding points for craftsmanship (waukites are beautiful, colourful floral motif craft set on bamboo frames), sound (waukites are designed to create a specific sound as they are buffeted about in the wind), and altitude (how high awaukite can be flown).

A Peranakantas manik(ceremonial purse) with velvet weave andPeranakan glass cut beads.

Beadwork:Borneo has long been associated with products made of beads.Rungusof northern Sabah is known for their distinct and elaborate beaded accessories, ranging from necklaces, earrings, belts, and bangles. Colourful and beautiful, the beads are used in many traditional costumes, rituals, dances, and highly popular as souvenir items. Other than Rungus, beads also play an important role among theOrang Ulutribes of Sarawak. The beads are made from various types of materials, namely wood, snail skin, stone, glass, bones, animal teeth and ceramics. Among the Orang Ulu tribes, the manufacturing techniques, colours and shapes differ with different amounts according to their respective beliefs and interpretations.

In the peninsula on the other hand,Nyonyawomen painstakingly stitch fine beads onto costumes, purses, handkerchiefs, and slippers creating high valuedNyonyabeadwork.Historically,Nyonyawomen used a specific type of bead known asPeranakan cut beads,which are faceted glass beads imported from Europe. These beads were used to make thekasut manik(Peranakan beaded slippers) and other Peranakan artefacts such as wedding veils, handbags, belts, tapestries, and pouches. For thekasut manik,both smooth and faceted beads were used to form the pattern. Nowadays, the bead size commonly in use for Peranakan beadworks is bigger.

Illumination of thePenang'sKek Lok Siwithlanternsand modern lights during the 30 nights followingChinese New Year.

Paper:For centuries, Chineselanternhas been a part of Malaysian art scenes. Made with transparent paper and bamboo frame, the vibrant lanterns would be lit up duringChinese New YearandLantern Festivalin the yard of many houses, shops, business centres, shopping malls and even offices. These lanterns are not just for decorations during festive seasons. It is also used on certain occasions to welcome guests, to announce births, deaths, or even as danger warnings. Nowadays, uniquely colourful Malaysia-themed lanterns such aswau,aladdinlamps, goldfish and durian are also available.

Another common practice among Malaysians that use crafted papers is the burning ofpaper modelsof material items for the deceased. Malaysian Chinese still very strongly following this tradition, especially among theTaoists.These items also include a variety of high quality crafted paper model of houses, cars, treasure chests, clothes, or even daily utensils. It is also believed that the burning of these paper models served as an effective educational tool for the livings about the sense of total relinquishment at death.

Unopened bunch of boiledketupat.

Leaf:Woven with leaves, the art of leaf origami is a heritage of various ethnic groups in Malaysia. Woven leaves are transformed intoattaproofing, cigarette, decorations and food wrappers. The only difference between the leaf origami and the modern Japaneseorigamiis the use of various shapes of local leaves instead of the customary four-sided paper. The leaf origami designs are more complex and time-consuming.

Ketupatis a prime example of a traditional Malay woven food wrapper. It made from rice that has been wrapped in a woven palm leaf pouch and boiled. Despite the common triangular or diamond shapes, it can come in a wide variety of intricately woven designs ranging from star-like to animal-shaped. Nevertheless,ketupatis regarded as the symbol of celebration by various indigenous ethnic groups in the country, from Perlis to Sabah.

Flower:Symbolising spirituality, prosperity, and honour, flower garlands are an important part of worship and are believed to ward off bad spirits. Other than for offerings, gifts, or souvenirs, flower garlands, also locally known asbunga malaiis draped around a person's neck to show respect or worn as hair ornaments in weddings among Malay, Thai and Indian communities in the country. These flower garlands are commonly being sold on the streets near temples especially by the Indian and Siamese communities.

Leather:Leatherworks are crafts made from animal raw hides and skins. The leathers are soaked in alkali solution, stretched and dried to prevent petrification as well as to soften them in order to make it more flexible. The material is commonly used for prop construction in traditional performing arts such as shadow puppet figures forwayang kulitas well as for traditional tribal costumes. Nowadays, leather is also used in making bags, wallets, clothes, shoes, etc.

Other

There are many other kinds of Malaysian art and crafts that cannot be classified in the aforementioned categories such as painting and calligraphy. These arts may also involve crafts made from various materials including banned materials.

A replica of theTerengganu Inscription Stoneat theMuzium NegarainKuala Lumpur.

Calligraphy:Calligraphyis an art that prevails in Malaysia for about 700 years ago as evidenced by the stone inscription encountered at Kuala Berang, Hulu Terengganu, Terengganu. The stone namedTerengganu Inscription Stonepossesses the firstjawicalligraphy carving found in Southeast Asia. Some common calligraphic styles in Malaysia are theIslamic,ChineseandIndian calligraphy.This artform is applied as building decorations such as interior ornamentations, decoration for mosques or temples, signages, books, currency and old manuscripts among others.

The drawing ofMalaysian batik.

Painting:Paintingas an art form is considered to be relatively new. It was only developed in the 20th century where it became the preferred artistic expression. Several design elements of traditional Malaysian paintings such as batik and tribal motifs are adapted to modern painting style to reflect the Malaysian identity. The most common paintings usually depictkampungand traditional life as well as the colonial landscape of many heritage sites in the country. Ivory:In the past,ivorywas the material of choice for making the handles of kris by the Malays. Elephant ivory is the most important source, but ivory fromhornbillsand other animals are used as well. Hornbill ivory is derived from thehelmeted hornbill,a species of hornbill endemic to the Malay peninsula and Borneo. Indigenous peoples in the hornbill's range, such as theKenyahandKelabitof Sarawak, have long carved the casques as precious ornaments. It is also believed that the hornbill-ivory rings would change colour when near poisonous food.

Perfumery:Bunga rampaiis a mixture of several types of selected flowers andpandanleaves that are finely sliced and mixed with perfume. It gives special therapy to the ceremony held and is very well placed in the bridal room as an important part of Malay customs and traditions. Besidesbunga rampai,the Malays also use flowers during the ritual bath known asmandi bunga.This practice is usually done either to perfume and refresh the body, enhance the complexion and beautify the skin. In fact, this ritual bath is synonymous with weddings or as an effort to attract the man's attention.

Kolam:Kolamis a form of drawing that is drawn by using rice flour, chalk, chalk powder, or rock powder, often using naturally or synthetically coloured powders. This colourful artwork is usually found during the month ofDeepavali,where it is displayed on the floors of shopping malls and public areas in Malaysia. It is considered to be the distinctive art form in celebration of this occasion and a symbol of the celebration of the Indian community in Malaysia.

Folk costume

Main article:Malaysian cultural outfits

Traditional Malaysian costumeand textile has been continuously morphed since the time of antiquity. Historically, the ancient Malays were chronicled to incorporate various natural materials as a vital source for fabrics, clothing, and attire. The common era, however, witnessing the early arrivals of the merchants from east and west to the harbours of the Malay archipelago, together they bought new luxurious items, including fine cotton and silks. The garments subsequently become a source of high Malay fashion and acquired a cultural role as the binding identity in the archipelago, especially in the peninsula, and the coastal areas of Borneo.

Murutof interior Sabah in traditional tribal costume.

Costume:Traditional Malaysian costume varies between the different regions, but the most profound traditional dress in modern-day arebaju kurungandbaju kebaya(for women) andbaju Melayu(for men), which both recognised as the national dress for Malaysia. Since Malaysia comprises hundreds of different ethnic groups, each culture has its own traditional and religious articles of clothing all of which are gender-specific and may be adapted to local influences and conditions. The clothing of different tribes also differs with different amounts, with tribes in close proximity having similar clothing.

Tunku Abdul Rahmanduring a state visit to theNetherlands(May 1960)

Headgear:Men's headgears in Malaysia can be categorized into three categories:tengkolok,which is a piece of cloth tied around the head;songkokorkopiah,a type of cap made from velvet worn by Muslims; andsemutarorserban,which resembles a turban and is a typical headdress in the Middle East. Different headgears are used on different occasions. This was especially so in the old days when different headgears were worn, which more often than not reflect the individual's stations in life, both for formal and informal occasions. Women, on the other hand, would sometimes weartudongorselendang.

Textile:In Malaysian culture, clothes and textiles are revered as symbols of beauty, power and status. The Malay handloom industry can be traced its origin since the 13th century when the eastern trade route flourished under Song dynasty. Mention of locally made textiles as well as the predominance of weaving in Malay peninsula was made in various Chinese and Arab accounts.There are four main areas of textiles production in Malaysia;songket,batik,limar,pelangi,andtenunin Kelantan, Terengganu and Pahang;telepok,tekat,andsulamin Perak, Selangor, Negeri Sembilan and Malacca;pua kumbu,songketandkeringkamin Sarawak; as well as various woven and non-woven tribal clothes in Sabah.

Kelabitwoman's tattoo, 1912.

Tattoo:The Dayaks of Borneo are known for theirtraditional method of tattooing,a hand tapping style method using two sticks. According to the Dayak culture, different motifs are used for different parts of the body, where the purpose of the tattoos is to protect the tattoo bearer or to signify certain events in their life. One of the most important motifs of Iban tattoo includesbungai terung(Bornean eggplant flower), which is the first tattoo an Iban individual would receive to mark the Iban tradition known asbejalai.Bejalaiis a journey of knowledge and wisdom, where an individual would leave their longhouse to experience the world.

Henna:Hennais a traditional temporary dye used to adorn the body, especially during weddings. In Malay culture, themalam berinaiwill be held the night before the wedding, where the bride will be adorned with elaborate henna patterns on her fingers and toes. This aesthetic art form is said to bring luck, beauty, and happiness to the bearer. The Malay wedding ceremony is considered to be "incomplete" if the bride does not adorn henna on her fingers. Even though the art originated from India, the use of henna on fingers and toes are considered a part of indigenous Malay culture.

A woodenterompahused in Malaysian households in the past.

Footwear:Terompah(wooden clogs) were a common sight in many Malaysian households in the past. Nowadays, there are only a handful of clog-makers left, mainly concentrated in cities like Penang and Malacca. Compared to theterompah,the colourfulNyonyakasut maniksare highly valued in Malaysia, and can cost thousands ofringgit.Kasut maniksare intricate and finely stitched, a testimony to the fine workmanship of yesteryears. The intricacy and fine workmanship of a pair of the beaded slipper is also a hallmark of highly accomplishedPeranakan Nyonyaas well as one of the requirements to get married in the past.

Jewellery:Traditional Malaysian pieces of jewellery stitched to traditional dresses reflect the rich symbolism and design of the local craftsmen. In the contemporary era, Malaysian jewellery are mainly used in the form of anklets, bracelets, rings, necklaces, pendants, and earrings. Traditionally, Malay craftsmen would mouldgold,silver,andbrassto create these beautiful accessories. While in East Malaysia, wood, snail skin, bones, animal teeth and leather were used to the same effect. With modern technology, materials like pearls and pewter are also being used.

Cuisine

Main article:Malaysian cuisine

Malaysian cuisine consists of cooking traditions and practices found in Malaysia and reflects the multi-ethnic makeup of its population. The vast majority of Malaysia's population can roughly be divided into three major ethnic groups: Malays, Chinese, and Indians. The remainder consists of the indigenous peoples of Sabah and Sarawak in Malaysian Borneo, the Orang Asli of Peninsular Malaysia, the Peranakan and Eurasian creole communities, as well as a significant number of foreign workers and expatriates.

Different Malaysian regions are known for their unique signature dishes— Terengganu and Kelantan for their east coastnasi dagang,nasi kerabuandkeropok lekor;Pahang and Perak for itsdurian-based cuisines, includinggulaiandpaistempoyak;Penang, Kedah and Perlis for their northern-styleasam laksa,char kway teow,androjak;Negeri Sembilan for itslemak-based dishes,rendangandlemang;Malaccafor theirperanakan cuisinesandEurasian cuisines;Selangor and Johor for itslontong,nasi ambeng,andbak kut teh;Sabahfor itshinava,latokandtiyula itum;Sarawakfor itsayam pansuh,laksa Sarawakandkek lapis Sarawak.

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  Nasi kerabuserved with various herbs, fish meat-stuffed pepper, salted egg, fried fish,keropokand marinated chicken.
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  A plate of traditional Kadazanswordfishhinavaserved withsandwich breadsas an appetizer.
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  A colourfulkek lapis Sarawakcontainingraisinsserved during special occasions in Sarawak.

Contemporary art

Nowadays, besides working with traditional material such as wood, ceramic and forest products, the younger generation of Malaysian artists have become very active in involving different forms of arts, such as animation, photography, paintings and street art with many of them attaining international recognition for their artworks and exhibitions worldwide.

AirAsia's airplane decorated withLat's creations as a tribute.

Animation:Animation in Malaysiahas origins in the puppetry style ofwayang kulit,wherein the characters are controlled by the puppeteer, locally known astok dalang.Since 2000, the Malaysian animation industry has gone far globally whenMultimedia Development Corporation(MDeC) was launched by the government a few years earlier in an effort to transition Malaysia from a manufacturing economy to one based more in information and knowledge. Since then, many Malaysian animation companies marketed their works globally. Their animation has succeeded in promoting Malaysia globally by creating content that was based on Malaysian culture but with universal values. Several Malaysian animation films and series that have hit global market areThe Kampung Boy,Upin & Ipin,BoBoiBoyandEjen Ali.Among these, it is said thatThe Kampung Boy,based on the characters of international-known cartoonist,Lat,is seen as the best animation that portrays Malaysian arts.

"Children on a Bicycle" atArmenian Street, George Town,Penang.

Street art:Given the various benefits and high return on investment, street art provides to local businesses, schools, neighbourhoods, and communities, the street art scene has blossomed in many parts of the country. In Penang, art exhibitions are held at the city's numerous cultural centres, such as theHin Bus Depotto celebrate and preserve the local arts, culture and heritage.Aside from wall art, several wrought iron caricatures, each depicting a unique aspect of George Town's history and culture, have been installed throughout the city.

In 2012, as part of the annualGeorge Town Festival,Lithuanian artistErnest Zachareviccreated a series of wall murals depicting local Malaysian culture, inhabitants and lifestyles.These murals now stand as celebrated cultural landmarks of the historicUNESCOWorld Heritage Site,withChildren on a Bicyclebecoming one of the most photographed spots in the city.Besides, artistic performance, such as dance, music and theatre, as well as animation, photography and painting, have also been included in the festival.

See also

• Culture of Malaysia
• Visual art of Singapore

Bibliography

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• Noor, Farish Ahmad; Khoo, Eddin (2003).Spirit of wood: the art of Malay woodcarving: works by master carvers from Kelantan, Terengganu, and Pattani.Singapore: Periplus Editions.ISBN978-0-7946-0103-4.
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Further reading

• Knowledge of Art in Malaysian Contemporary Visual Art
• Ten Important Artworks That Paints a Vivid Picture of the Malaysian Identity