MCG Events -
Jan 2003
MCG Events - Jan 2003
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EXPLORER'S GROUP: YAYASAN RESTU - 13th January
For some of us, the visit to Yayasan Restu at Sungei Buloh the second time around was more meaningful and enjoyable. We had the lovely Puan Noraini, the project director of Yayasan explain to us its humble origins and the objectives for the setting up of the organization. It started in 1997 by both Noraini and her husband Zainuddin in Penang with the headquarters in Kuala Lumpur, with its first big project being the creation of a handwritten Quran with Islamic calligraphy/designs. A handwritten Quran was found some 200 years ago in this country, which is being kept in the Malacca Museum, the other Quran was found in Trengganu. We therefore do not have the tradition of creating our own handwritten Malaysian Quran, and with this gap in our culture and history, it was decided that being a Muslim country we should endeavour to create a handwritten Quran, which is illuminated with all things Malaysian.
Such an endeavour is never easy, as it is both tedious and time consuming, and also because it is seen as part of the religious obligation, hence the heavier responsibility of doing a good job. It was decided that they would recruit a group of young people fresh from school, preferably from the religious stream that would be trained in the art of calligraphy by foreign experts. Since the young people had basic Islamic training, it would be easier to train them in calligraphy. We are told that this could be the only place in the world that actually takes in young people for this sort of activity. The Quran that was being created has 630 pages and they all had to be handwritten. It took some 4 to 5 years to complete the whole work, and was done by about 5 people. The other unusual aspect of the creation is the illumination or designs that go along with the Quranic verses, and a lot of research had to be carried out to reflect the unique Malaysianess of the Quran. Noraini explained the designs were drawn from carvings or motifs found in old mosques, Malay houses or palaces. Traditional Malaysian flowers or plants were copied, as well as designs found on a Sultan's buckle and costumes from Princess Hang Li Po of Malacca. An important element was that each State of Malaysia would be represented in the Quran, either in the form of flowers found in that State or something unique historically that represents it. We were shown the various steps in the process, including the calligraphy work, colouring and application of the gold leaf. For purposes of writing the script, the tool used was quite fascinating, it was a simple local fern known as the "resam" or the "handam". After much experimentation this was found to be the best writing tool.
We then observed the more technical and commercial aspects of the process, which enabled the printing of the Quran into book form. This is where modern technology is being used extensively, so that the Quran could be printed for commercial sale. For the discerning collectors, Yayasan has a gilt-edged copy as well as leather-bound ones available at a higher price.
The Yayasan is currently working on two other projects, one called the Al-Quran Mushaf Noor Fatimah and the other the creation of a Collector's Illuminated Quran, priced at RM35, 000. The latter will be much sought after by collectors and institutions and will be made of very high quality German paper envisaged to last some 500 years. The Noor Fatimah project is unique, as an all ladies team will do the work. Fatimah was the daughter of the Prophet; much revered by Muslims and the project is named in her honour. The project is for the creation of a book of handwritten Quranic verses making specific references to women, that will be written and decorated by young Malay women, the first such project in the world. The young ladies will undertake every aspect of the work ranging from the concept, design, copying and colouring. An exhibition was done in Iran recently to showcase part of the work. The designs for the illumination are taken from all the regions of the world and this has been subdivided into 8 parts including Europe, Americas, Middle East and South East Asia. The motifs will be based on leaves, plants and flowers, including medicinal flowers. In terms of colours, they intend to use natural and subtler colours.
Because of the recognition given to the work of Yayasan, and its activities, they will be given bigger space in Shah Alam in the next few months and it is hoped that with bigger area, they can showcase the original manuscripts, and their other work which they do, such as Islamic art and crafts, which can be appreciated by a bigger audience. They also plan to hold more calligraphy classes for young children. At the end of the visit, we all had the opportunity to buy copies of some of the lovely work, but before that we were shown some very nice Malaysian hospitality! This place is recommended as a must see!
- Azizah Mohd Noor
HARI RAYA LUNCH & COOKING DEMONSTRATION- 15 January
Twenty-six members visited the lovely home and garden of Rohani Jelani in Sungei Penchala, to learn how to cook some of the typical Hari Raya fare and to try our hand at weaving ketupat. Despite painstaking repeated demonstrations of the weaving of these innocuous little rice holders, most of us failed dismally at getting any semblance of a rice-tight container! The simpler version of folded palm fronds into triangular packets (ketupat palas) was about all we could manage.
We then learnt how to stuff rice and coconut milk into bamboo stalks cut in the correct manner and placed near the embers of a fire to cook slowly (nasi lemang).
A copper fenestrated container to pour the batter for making roti jala proved a challenge and a lot of fun to get the right speed and circular movement to create the desired lacy pancakes. We kept returning for one last try to achieve the perfect result, not as easy as it looked!
Then came a demonstration of the slow-cooked classic- rendang daging, utilising amongst other things freshly grated coconut milk, galangal and turmeric root, assam keping and kaffir lime leaves, ingredients unfamiliar to many of us.
Rohani also provided us with sample Malay sweets served during Hari Raya as an appetiser and we got to eat the delicious food she taught us how to prepare, in addition to chicken and vegetarian curries, all washed down with a delightfully fragrant lemon-grass tea.
For those who missed out on our event, and whose appetites have been whet to try Kampung or provincial cooking, Rohani has published a set of three cookbooks on Malay food available at local bookstores.
- Suzanne Davey
THAIPUSAM FESTIVAL - 18
January
Thaipusam is well worth a late
night; it's the most colourful Hindu festival in Malaysia and will be one of the most fascinating
festivals you'll witness here. Angie Ng, who has led many
MCG events for us, will take us by coach to Batu Caves,
the site of the most elaborate ceremonies in KL.
The festival honours Lord Subramaniam, son of Siva (also
known as Lord Muruga), and you will see many Hindus
carrying decorated kavadis and other offerings up the 272
steps to the shrine in the caves. The atmosphere is one
of devotion mingled with carnival.
Be prepared for very large crowds; wear comfortable shoes
and clothing (nothing skimpy), and leave valuable
jewellery at home. Just bring a small amount of cash for
a drink or snacks. Don't forget your camera!
MALAYSIAN NAMES AND TITLES -
22 January
Some 65+ members of the MCG presented themselves at the Sobraine Cinema at Café Citron to listen to Colette Hassan's presentation on Malaysian Names and Titles.
Colette briefly explained to the group that she had been in the country for many years, had worked in the Swiss Embassy for 27 years and is married to a Malaysian . In the Embassy she was involved with protocol and fully understands why the majority of us are a little confused with names and titles.
In one hour, Colette managed to explain how to interpret Malay, Chinese, Indian and Portuguese names. She also outlined the basic structure of the Royal families and explained how to decode their names and titles. Furthermore she briefly outlined the three levels of government and the honorific titles associated with the positions, and believe it or not - she very clearly explained the meanings of the titles bestowed by the King and Heads of State.
From the talk I learned that at any one stage there are only 50 Tun titles held. Similarly there are only 75 Tan Sri and 120 Tan titles. Each year the King, and each Head of State on their respective birthdays, present citizens within their jurisdiction with awards. The Sultan of Perak recently presented just over 1000 titles on his birthday. Many of his citizens received the title of Datuk or Dato'. Titles are much esteemed in Malaysia. We were amused to hear that although only the man receiving a title and his wife/wives can use it, offspring, wishing to impress, will incorporate the title into their name eg Mohammad bin Datuk Daud.
Colette stressed that although the whole area of names and titles is complex we should listen to how the individuals are introduced and be prepared for a different variation next meeting. She added that if you get it wrong not to worry, at least you tried. The various Federal and State protocol departments are happy to assist with enquiries. Colette recommended a book titled Malaysian Protocol 3rd edition by Abdullah Ali.
We were all very impressed with Colette's smooth presentation and her competent handling of the Q & A session. Many heads were swimming with a new insight into Malaysian life and we left the cinema eager to decipher the names in the daily press.
Thank you Colette for a very informative session.
- Bridget Tesch
VISIT TO ILSE NOOR'S STUDIO - 30 January
One fine Thursday morning, about 30 members and friends formed a ragged convoy heading out of KL towards Rawang on a mission for Art. The excursion certainly gave the phrase "come up and see my etchings" a totally different geographical dimension.
Lembah Beringin is a small residential area (if you blink you'd miss it), that was originally devised as a satellite town and leisure centre for the technicians working at nearby Proton City. To that effect, an 18-hole golf course open to the public has already been built, although development on the swimming and shopping complexes has stalled due in part to the post-1997 economic slowdown. The other reason for the near abandonment stems from the fact that KLIA, which was supposed to be built in the vicinity, was moved south to Seremban instead.
This thwarted development, however, has been to the advantage of German-born Ilse Noor, etcher-sketcher extraordinaire.
Ilse, resident in Malaysia for almost 30 years, has just built a beautiful home-cum-studio overlooking the golf course and a meandering stream. The house, named Kunang Kunang after the fireflies that light up the area, is a labour of love that has taken a year to be constructed. It combines traditional Malaysian architectural features with modern amenities.
Wherever possible Ilse has made use of local building materials, including the use of Merbau amongst other types of wood for shutters and door jambs. Members were also delighted by the jade-green Chinese tiles that perforate the walls and the panels of Malaccan openwork woodcarving that top each portal. These are not only decorative but functional, acting as air vents so that the entire house makes do without air-conditioners or fans - the only modern convenience Ilse does without. There are also no ceilings, so we could see the roof's wooden beams and struts that were all built in the traditional way without metal brackets.
The layout of the house is open plan and the vestibule leads to a small courtyard with rooms on either side. Straight across the courtyard is a verandah open to the elements - the perfect vantage point to literally shoot the breeze. Just a few short steps to the side is Ilse's studio, a compact two-storey building.
After the quick tour, Ilse led us down to the studio workshop where the offset press takes up most of a back room. Here she gave us a dummies-guide and demonstration to intaglio printmaking.*
Etching is actually a very old European artform, dating over 500 years. In fact, the design and mechanics of the offset press Ilse uses has been virtually unchanged over the entire history of etching!
Most people do not understand the techniques in etching and confuse it with lithography or other forms of printing. However, the painstaking process in etching that include preparing the plate with wax, etching, and acid treatments, means that prints from each plate are limited. We also learned that skill and infinite patience are definite prerequisites. Ilse places great emphasis on the artisanal aspects of etching and without the proper skills, good work is impossible.
The copper plates Ilse uses have limited lifespans while each artwork itself requires at least a few prints to perfect. Ilse cited the perfectionist, Rembrandt, who although famous for his oils, was in his lifetime known more for his accomplished etchings. It is said that Rembrandt would only be happy after at least 16 tries.
As another indication, Ilse told us that she took two years to prepare for her Petronas commission, while the Shell calendar, another commission, also took two years.
She is very strict about reproductions and 'cancels' each plate after the series has finished to ensure the integrity of each artistic commission. So for potential buyers, beware of etchings that purport to be part of any series more than 30!
Inspiration for her incredibly detailed, dreamlike works is drawn from nature and its bounty: from the morning mist to glistening dewdrops on spiderwebs like jewelled necklaces, and of course the art subjects themselves, which are mainly marine in theme. For example, fierce warrior prawns and Guggenheim conch shells. Ilse has also been inspired by keroncong music which sounds soothingly like the sea.
Apart from Ilse, there are other Malaysian artists who have produced etchings, like Latiff Mohidin, but as it is a time-consuming artform, it is not as popular as other printing techniques. That said, art schools are beginning to teach students this technique and we can only hope that this tradition will live on, in exciting and innovative ways.
The studio space upstairs reminds us of the rumah ibu areas in traditional kampung houses. The impression was helped by the carpets that Ilse had spread so we could sit and enjoy the idyllic view while we had a very tasty local lunch.
For an artist who seems to love the sea, being so far away from it must be trying, although Kunang Kunang's bucolic surroundings with Fraser's hill, Genting highlands and on a very clear day, even the Cameronian hills framing the distance, is some compensation. Yet, Lembah Beringin is slowly being revived.
In an effort to save some of the wild plants from the bulldozers, Ilse has replanted a few wild orchids and pitcher plants in the garden of her driveway. Wild orchids are abundant here and with the help of the local orang asli, Ilse even found out which are edible!
We hope for her sake and especially ours that these delicate beauties, like Ilse's style of etching, survive and prosper.
Olivia Tay
* Interested members can refer to
http://www.artsurround.co.uk/articles/printing/intaglioprinting.htmor
http://www.crownpoint.com/printmaking/process1.html for detailed information on intaglio printing techniques.
MORE INFO: For the budding etcher, Ilse has a few tips:
- Instead of importing expensive copper plates, source locally, but make sure to polish the plates to remove any scratches.
- As a source of asphaltum for setting rosin in aquatinta, try using bitumen.
- If a plate is thick enough, to save money, it is OK to use the underside. However, this will mean the original art on the first side will be ruined by the acid that eats through.
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Please note that all events, apart from the monthly
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