Edge decorative motif (Kok): Kelingkan embroidery of Kelantan

Norhasliyana Hazlin Zainal Amri, Azwady Mustapha, Hanisa Hassan, Hamdzun Haron
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Abstract

Kelingkan is an art of embroidery using metal ribbon threads coated with gold, silver embroidered on a soft fabric surface. Kelingkan requires high precision and uses the expertise of embroiders. Recall this is the handcraft led by Malay women for a long time in nature, namely Malays in Sarawak, Kelantan and Selangor. Each of these states has a different design motif identity and reflects its own state and identity through the use of flora and fauna motifs. In Kelantan, the art of embroidery is still done on a small scale although it is less well known Sarawak and Selangor but the market demand still continues due to the uniqueness of the edge decoration (kok) different between the states that are active in Kelingkan embroidery. The question is what is the origin of Kelantan embroidery and how is the decorative motif (kok) depicted in Kelantan embroidery? To answer this question, a qualitative study was conducted through field study methods, Such as observation of dry embroidery artifacts and interviews with embroidery markers. The study found that a history of embroidery kelingkan in Malaysia evolved since the existence of the trading system in Malaya. Only three states Sarawak, Selangor and Kelantan still have embroiders that are actively conducing it. The development of kelingkan embroidery in Malaysia started in the palace and developed through hereditary family relationships and incubator program while there are two side decorative motifs (kok) depicted in Kelantan kelingkan embroidery, namely 3 points and 5 points or also known as etok is shell. In conclusion, the results of this study should be seen as a continuing source for the Malay community art treasures to be preserved and maintained at the younger generation so that no time wasted. Through this study, kelingkan embroidery can also explain the variety of kelingkan available in Malaysia, Kelantan, Selangor and Sarawak which are still actively doing this embroidery in textile and clothing.
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边缘装饰图案(角):吉兰丹的克林坎刺绣
克林坎是一种刺绣艺术,用金属带线在柔软的织物表面绣上金、银。克林坎要求高精度,并使用绣工的专业知识。回想一下,这是长期以来由马来人妇女领导的手工,即砂拉越,吉兰丹和雪兰莪的马来人。每一种状态都有不同的设计主题身份,并通过使用动植物主题来反映自己的状态和身份。在吉兰丹,刺绣艺术仍然在小规模进行,虽然它不太为人所知的沙捞越和雪兰莪,但由于在活跃的吉兰丹刺绣州之间的边缘装饰(角)的独特性,市场需求仍然存在。问题是吉兰丹刺绣的起源是什么,吉兰丹刺绣的装饰图案(角)是如何描绘的?为了回答这个问题,本研究通过实地考察的方法进行了定性研究,如观察干绣文物和采访刺绣标记。研究发现,马来西亚刺绣克林坎的历史自马来亚贸易体系存在以来就不断发展。只有沙捞越、雪兰莪和吉兰丹三个州的刺绣师仍然在积极地进行刺绣。马来西亚的克林坎绣的发展始于宫廷,并通过世袭的家庭关系和孵化器计划而发展起来,而吉兰丹克林坎绣有两个侧面装饰图案(角),即3点和5点,也被称为etok是贝壳。总之,这项研究的结果应该被视为马来社区艺术宝藏的持续来源,以保存和维护年轻一代,以免浪费时间。通过这项研究,克林坎刺绣也可以解释在马来西亚,吉兰丹,雪兰莪和沙捞越仍然活跃地在纺织品和服装中刺绣克林坎的种类。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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