PREFACE 

In the name of Allah, the All m Merciful, with His Divine g Grace and Blessings, this

initiative a book on Batik has been successfully completed. “Batik Merbok” is a handicraft,

which is based on the contemporary batik art concept that innovatively innovatively utilizes

the traditional elements and local heritage. This is in accordance with UiTM’s top

management vision to promote research and consultation in various fields among its staff.

Thus, researchers from UiTM Kedah have taken the initiative to utilisze all available

facilities, expertise, services on consultation and research services, trainings and workshops

available to assist in upgrading the local society’s socio-economy via batik handicraft.

This book illustrates elucidates the original classification of the motifs used in Batik Merbok

motifs, examples of its design development, attire display, logo creation and corporate image,

including and the services of the Batik Merbok Design Centre as the consultant. Various

domestic local researches have been conducted by recording attractive visuals that highlight

have historical, geographical and cultural significance. Every aspect of the motif research

which is subject to the influence of its locality and relevant cultural traits is thoroughly

researched before being incorporated into Batik Merbok Production. is analysed zed in

detail, which are subject to the influence of its locality and certain based on

relevantcertain factors and the influence of locality that leads led to the development of

the Batik Merbok icon.

It is hoped that this book canwill provide some vital input to add to the knowledge, skills and

interest of scholars, ethnologists (experts on culture experts), historians, educationists,

students and art lovers. May Hopefully this small contribution deeply can give a big impact to

the publicsociety’s awareness on the local batik art.

 

MESSAGE

Vice- Chancellor, UiTM Malaysia

Assalamualaikum warahmatullahi wabarakatuh

I take great pleasure in extending my heartiest congratulations to UiTM Kedah for their

accomplishment in the effort accomplished to producinge this e book on Batik Merbok book.

To To me, this e book is instrumental in bringing excellence to our this organization. The

vision of UiTM’s vision is to be the best university that can contribute positively to society in

terms of expertise, personal potential and knowledge. The culture of doing research,

consultation, social services and documentation should should be intensified as to act as be

the catalyst towards achieving the excellence and eminence of a university.

I believe that the Department of Arts and d Design with its expertise in the discipline arts

field will allow be able to help UiTM Kedah build a professional network linkage with

various any parties y. This will be the best foundation to create open up opportunities,

generate interest and inspire the appreciation towards more art projects and art heritage,

which appreciation that can be undertaken through joint ventures. I was privileged to be able

to attend the Batik Merbok press conference and was very impressed with the Batik Merbok

sneak preview at Angkasapuri as well as and the Batik Merbok launching ceremony held at

Cinta Sayang Hotel in Sungai. Petani, Kedah in 2007. They wereIt was indeed a very

commendable praiseworthy effort. made.

Initiatives such as these is part of This kind of effort is an expansion action, where the two-

way programmes are offered to shape attitudes, values and operational practices in an

organization to upgrade cooperation, innovation and quality of skills, exposure and

knowledge. Through the Batik Merbok publication book, the definition of arts and culture

can be examined and understood. Thus, every research, activity, and documentation should

be compiled, sketched or recorded to enable them it to be appreciated by the coming

generation. I am optimistic that this two-way approach will is able to open up more

opportunities towards the ensconce and consolidation in terms of the programme, work force,

and and thus, fostering values and or work ethics that are is more professional.

Again I would like to give credit to the effort made and may by UiTM Kedah and wish them

succeess d in their future undertakings.

Best of Luck!

Dato’ Seri Prof. Ibrahim Abu Shah

Vice-Chancellor of UiTM Malaysia

CONTENTS

Batik Merbok Poem         i

Copyright Contents         ii

Preface           iii

Contents          iv

Introduction          1

Objectives of the Establishment of Batik Merbok Establishment Objectives and its Batik

Merbok Culture   4

The Batik Merbok Logo         5

Rationale Behind the Logo        6

Batik History: An Introduction       7

Batik Motif          11

Function of Batik         12

Synopsis of Merbok History: Focus on the Historical Remnants of Lembah  

Bujang (Bujang Valley) and the Factors Influencing the Batik Merbok

Identity          14

Kuala Muda District Map        16

The History of Merbok and Bujang Valley History       17

Kedah Tua (Bujang Valley), according to based on External Sources    18

Hinduism-Buddhism Influence in Bujang Valley     22

Islamic Influence         24

Historical Events along Sungai g. Merbok (Merbok River), Kedah   25

Pengkalan Kakap Mosque        26

The Tomb of Sultan Al-Mudzaffar Shah I Mausoleum      27

Pulau Tiga Palace         28

Lubuk Pusing Palace         29

Factors that influencing Batik Merbok Motifs      30

Batik Merbok Design         32

Flora Motif          33

Paddy

Paddy Motif          35

Paddy Illustration by BIRDA, FSSR UiTM Malaysia    36

Paddy Motif by BIRDA, FSSR UiTM Malaysia     37

Paddy Motif 2nd Series by UiTM Kedah      38 - 47

Mangrove Root

Mangrove Motif         49

Mangrove Illustration by BIRDA, FSSR UiTM Malaysia    51

Mangrove Motif 2nd Series by UiTM Kedah      53 – 57

Fauna Motif: Merbok

Merbok Bird Motif         59

Fauna (Merbok) Iillustration by BIRDA, FSSR UiTM Malaysia   61

Merbok Bird Motif by BIRDA, FSSR UiTM Malaysia    62

Merbok Illustration 3rd Series by UiTM Kedah     63 – 66

Historical Artefact / Still Life Motif       67

Historical Artefact (Brick)      

Historical Artefact Motif / Brick       69

Historical Artefact Illustration (Brick) by BIRDA, FSSR UiTM Malaysia  71

Historical Artefact Motif / Brick by  BIRDA, FSSR UiTM Malaysia  72

Historical Artefact Illustration 3rd Series by UiTM Kedah    73 – 74

Historical Artefact Motif (Brick) by  BIRDA, FSSR UiTM Malaysia  75

Historical Artefact Image (Sanskrit)       76

Historical Artefact (Sanskrit Writing) (page???, if any)

Historical Artefact Illustration (Sanskrit) by BIRDA, FSSR UiTM Malaysia 79

Historical Artefact Motif (Sanskrit) by BIRDA, FSSR UiTM Malaysia  80

Historical Artefact Motif (Sanskrit) 3rd Series by UiTM Kedah   81

Historical Artefact Illustration (Sanskrit) 3rd Series by UiTM Kedah  82 – 83

Historical Artefact (Carving) (page ???, if any)

Carving Motif          85

Historical Artefact Illustration (Carving) by BIRDA, FSSR UiTM Malaysia 87

Historical Artefact Motif (Carving) by BIRDA, FSSR UiTM Malaysia  88

Historical Artefact Illustration (Carving) by UiTM Kedah    89 – 90

Conclusion          91

Bibliography          92

Pantun Batik Merbok Pantun(Quatrain)         94

Appendix 1          97

Batik Merbok Committee Members       104

Acknowledgments         105

 

Batik History: An Introduction

Many do not know or value batik. This might be due to various factors like such as

evolvement of time evolution, and changes in educational background, change in needs and

current demands. Batik is an expressive element with its own heritage value and it has been

around for that has existed for a long time. Some of the questions that arise: Why was is batik

created? or wWhat was is the purpose of it? batik is created and wWhy is it important to be

appreciated by the generation of today’s generation?

Many studies refer to the past attainments as cultural references. The meaning / definition of

culture in an ethnic context can be examined and understood through its art artefacts. Hence,

every conducted research conducted and their documentation must should be compiled in

writing, sketches d or recording ed as reference for the next generation as since every art

element is a catalyst, that is rich with various interpretations and cultural significance.

History shows that batik existed among the people in Java wa, Indonesia. It was Based on

Fay Anderson’s opinion that , the word batik came omes from the Javanese wa language i.e.

‘tritik’, denoting to which is the effect of wax dots (drops) that leaves white dots when

dipped in colour. The word ‘batik’ also is also closely related to a word in Bahasa Melayu (or

Malaysia?) i.e. titik that means to draw.

The combined meaning of drawing dots resulted in the coining of the word ‘batik’ being

coined (Jasman Ahmad and Siti Razmah Hj. Idris,1996). Dona Z. Meilech said that the batik

word means ‘wax writing’. This explains the process of using ‘canting’ to make a design on

the cloth surface.

The Resis technique is used to produce batik designs (Haziyah Hussin, 2006). It The Resis

technique is a method of preventing colour from seeping through the fabric surface using

several methods, such as like folding, sewing, tying or the usage of using certain preventive

substances. The earliest Resis technique is known as ‘Kain Pelangi’ or Rainbow Cloth. The

pattern on f ‘Kain Pelangi’ resembles depicts the colours of the rainbow and is produced

using the tie and dye tie-dye technique, that is similar to the Bhadana India cloth or China

Silk Rainbow technique. The batik produced in Peninsular Malaysia is divided into two: batik

that originating es from Indonesia that is categorized by white spots found on dyed and

patterned cloth. The other and another is batik is made by using a brush or dye with blocks or

moulds made from wood, copper or iron ( PPKM, 1987).

Since the use of the rainbow cloth technique, the ‘batik cop’ or batik block has been used

widely. Initially, the batik block was made from potatoes and yams. However, the use of

wooden blocks; an innovation by Hj. Che Su from Kelantan, has became ome popular since

since the 1940s. Later, the wooden block is was replaced by the copper and iron blocks to

produce quality, more intricate, detailed, quality and consistent patterns.

Batik manufacturing in Peninsular Malaysia began started as early as the 20th century as a

result of the trade relationship with Indonesia. The batik manufacturing business is was

owned by individuals who that ran un small scale industries. The surrounding areas where

the area near near their homes became omes the centre location of the manufacturing.

business and the f Family members and/or village community were as the workers. This

concept of unity and cooperation concept has has existed for many generations, such a long

time as . This can be seen witnessed since the early years of batik manufacturing in

Peninsular Malaysia in the 1920s, especially in Kelantan. The industry began which started

in Lorong Gajah Mati, Kota Baharu and was kickstarted . This business was started in 1921

by Allahyarham Hj. Che Su in 1921 with the help of his children (Siti Zainon Ismail, 1986).

Water is essential in the batik making process. It is required since it is needed to clean the

wax dip and to wash the dyed cloth. Thus, some batik manufacturing businesses are were

built near rivers. Most of the early batik manufacturing businesses were located along the

firstone to 14 square kilometers along of Sg. Kelantan (Kelantan River).

The batik screen print started to develop with the arrival of colour substances from Europe.

The is method is was the first step taken to further improve the quality of the motif design

and the batik screen print method technique. Batik screen was first introduced by a group of

batik makers from Kelantan. The is technique was brought in from Thailand in the 1900s.

The method of producing batik resembles the technique using saring silk, where stencil is

used to draw the design on the silk screen. Batik screen is popular considering since it is

much cheaper compared to than batik cop and batik pelangi.

Another attractive batik technique that is attractive is the hand-drawn batik or ‘batik tulis’or

batik canting. Canting is was being used to produce this type of batik design. It requires

gentleness and steady hands and gentleness to draw using with wax liquid on the base of the

cloth. The canting batik is very popular in Jawa Java. It was initially known as kraton batik,

that was used by the nobility group. This batik is high in demand as since it is exclusive and

elegant. Batik Merbok also uses the a similar method. The skills in of using canting and in

blending the patterns are a priority in making Batik Merbok. 

 

Batik Motif

Motif is the main element in a design. It is the triggering point in a ny creative inspiration. In

the art of batik, motif is of high importance since it is the onset where ideas are generated

based on the the creativity and instinct of an the artist or designer. Motif selection is of prime

importance in a design as since the value of the batik art depends on it.

The motif produced not only makes the textile attractive but also able to determines the

features and functions of a certain textile. The motif for textile consists of two styles: organic

and geometrical. The organic motif is based on nature, such as like flora, fauna, the cosmos,

and still life. On the other hand, the g Geometrical style uses lines or shapes like rectangular,

vertical and horizontal stripes. The repeated motif layout on the a textile can be categorized

placed into three main categories, namely slanted, horizontal, vertical and dispersed (Davis,

1969).

The surrounding environment normally usually influences the designer’s ideas. The ideas are

generated from their ability to evaluate, observe, filter, compose, examine and produce motif

that can form its own identity. Every motif should be rich in its aesthetic values apart from

being attractive, genuine and unique. Its philosophy is ideally should be able to be accepted

and shared with other people.

Function of Batik

As a the national heritage, batik is capable of illustrating the ideology of an individual or an

association. Batik is recognized as the symbol that represents Malaysia. ns. It is also a

popular souvenir among tourists due to its uniqueness. The Malaysian fashion industry has

made available an array of attires apparel based on batik. In reality, batik manufacturing is no

longer considered as a cottage industry but as a corporate endeavour industry that is capable

of generating the economy.

Batik manufacturing still has the potential to further grow and expand in Malaysia, even after

50 years of independence. This shows that batik is a heritage that has its own place glocally. 

The Introduction of Batik Merbok:  Objectives and Corporate Culture 

Batik is a traditional Malay handicraft that is unique in its motif, design techniques and

aesthetic values. This art form has been the love and passion of both local and international

art aficionados. Fashion industry is equally captivated by the functionality of batik in the

creation of a wide range of apparel, from traditional costumes to haute couture.  Most

importantly, being a significant part of the Malay heritage, Batik, which is rich in its motif

resources and aesthetic values, captures and preserves the very essence of our national art and

culture. 

Batik Merbok was is the brainchild of YB Datuk Seri Zainuddin Maidin, the former

Malaysian Minister of Malaysian Information Minister and the ex-ADUN (Member of State

Legislatives Assembly) of the Merbok Parliamentary.  The initial idea of setting up an

industry for Batik Merbok was nobly conceived with the aim to help single mothers, the poor

and the disabled to venture into batik cottage industry.  It was to be is part of our the

organisation’s contribution to the society in promoting economic growth, social vitality,

cultural and heritage conservation, and proliferation. This was is also in line with the need to

develop human capital among the rural communities in the effort to escalate their socio-

economic mobility.  Besides that, the The setting up of Batik Merbok was also aimed at

providing facilities, training, guidance and expert advice on batik making and production.

The is project has been was planned and carried out in stages comprehensively and in stages,

with the aim of serving the community.

In realizing the Batik Merbok project, UiTM Kedah was appointed as the Batik Merbok

Design Consultant in collaboration with the Merbok Parliamentary Service Centre and

BIRDA from the Faculty of Arts and Design, UiTM Shah Alam. Since then, the Department

of Arts and Design of UiTM Kedah has been directly involved in the Batik Merbok project,

mobilizing all activities through a series of discussions, strategic planning, research, design

ing, exhibitions and documentation.  

Since its appointment as the consultant of Batik Merbok in early 2008, UiTM Kedah has been

most vigilant in monitoring every latest style and collection, design motif, manufacturing

technique and the production of Batik Merbok production so that they are in sync with the

latest trends and contemporary demands; and most importantly that Batik Merbok meets and

exceeds the requirements for the marketable quality of batik. Detailed and comprehensive

documentation of Batik Merbok is also done diligently and regularly to contribute to the

education and preservation of the Malay artistic heritage.

Objectives

To establish a research and development centre for Batik Merbok (known as Batik Merbok

Design Centre) that develops products and designs that are exclusive, creative, of high quality

and compatible with the commercial and glocal needs.

To assist the NCER project in escalating the income and the socio-economic status of the

rural communities; in particular single mothers, the poor and the disabled by getting them

involved in the commercial batik workshops managed by BMDC.

To capitalize on the acknowledgment of UiTM Kedah in the Merbok district as  the key

consultant that provides consultation to BMDC in ensuring the  collections, design motifs,

production techniques and manufacturing of Batik  Merbok remain stay unique with excellent

quality and meet the contemporary demands.

 

The Logo of Batik Merbok Logo 

The logo of Batik Merbok Design Centre (BMDC) was created to be a symbol, image and

concept to representing the is organisation.  BMDC is a research and development centre,

which works towards developing and producing creative, contemporary and exclusive

products and designs of Batik Merbok, patented under this symbol.  Evidently, t The logo of

‘Batik Merbok Design Centre’ was created as a formal symbol for consultation and research

activities of Batik Merbok.  The generation of an identity or icon based on the concept of

flora, fauna, and the ethnic identity of the Malay community in Merbok district has formed

the basis of every production of batik design.  This is to ensure the production of creative,

contemporary, innovative and quality batik designs. 

Burung Merbok or the Zebra Dove has been made the icon for the creation of the logo of

Batik Merbok.  It is believed that Merbok district derived its name from this bird.  The

movements of burung Merbok are likened to the hands and body gestures of a woman in who

is doing a fashion parade.  This symbolises the softness, perfection and purity of Batik

Merbok, which is also contemporary, exclusive, and of excellent quality, and make a

competitive impact in the domestic and global markets. 

Specification: Rationale behind the logo: Corporate Identity of Batik Merbok 

Brown

Carries the meaning of purity and perfection of Batik Merbok, which is distinctively unique

compared with other batik designs. 

Green

Symbolises the harmony and vitality fortified with aesthetic values. 

Mangrove Roots

Signifies the unity with elements of nature. 

Image of Selendang (Traditional Malay shawl)

Represents the value of self-pride, which forms the basis of the unique Malay personality. 

The History of Merbok. 

Archaeological findings studies over a hundred years suggest that Kedah is the oldest

civilization in Peninsular Malaysia. Kedah spreads over 9,426 nine thousand four hundred

and twenty six acres of fertile Bujang Valley soil. It is strategically located on at the northern

portion of Peninsular Malaysia, which is in between the border of Perlis and Thailand in the

north; and the border of Penang and Perak in the south. Kedah bears boasts beautiful

mountains such as Mount Jerai, Mount Bintang, Mount Raya, Mount Keriang and Bukit

Perak (hill). It alsoThe state is also comprised of has ninety islands and as well as several big

main rivers, namely Sungai Kedah, Sala, Merbok, Muda and Krian (Mohd. Isa Othman,

2001). 

The history of Kedah began started with the Bujang Valley civilization, dating back to which

began in the early centuries to the early 13th century A.D. Bujang Valley or Lembah Bujang is

a sprawling historical site and has covers an area of approximately 224 square kilometers er.

It is situated near Merbok, between Mount Jerai in the north and Muda River in the south.  

Bujang Valley was the center for maritime traders and the main port was at River Mas River,

River Muda Valley River and River Terus River. It was also the center for the spread of

Hindu-Buddhist religion and culture. and religion.  

At present, Bujang Valley is located in the constituency of Kuala Muda, forming which has

16 divisions all together and under the Parliamentary of Merbok. The district of Kuala Muda

is also located under the Parlimentary of Sungai Petani, Merbok and Jerai. 

 

The History of Merbok and Bujang Valley History. 

Merbok derives its from a name of from a small sized bird named Merbok ( Kamus Dewan,

4th edition, 2005). The Its scientific name is g Geopelia s Striata, which belonging s to the

family of c Columbidae. Due to its beautiful and unique ‘singing’ voice sound, the Merbok

ranks as the most favoured bird during the timeperiod. Thus, according to stories of the old,

Merbok, derived its from the name from of this very bird. 

The name of Lembah Bujang or Bujang Valley has been used since the 1970s. The

Department of Museum zeum and Antiquity has bounded the area of Choras Hill and Mount

Jerai, and to its west is the Malacca Straits and south Muda River, covering the area of 144

square feet. (Adi Haji Taha,1991). The name Bujang is a Sanskrit word, Bhujangga, which

brings the meaning of defined as snake or dragon, is strongly related to the symbol of

prosperity. According to a reliable source, Bhujangga also means intelligent. These names

may contribute to the prosperity and richness of Bujang Valley, which is from its fertile soil,

business and trade as well as the remnants of candi. These also may also indicate the

existence of a civilization in the northern part of Peninsular Malaysia, dating ed from the 5th 

to 13th century A.D.(Mohd Supian Sabtu, 2002). 

 

 

Kedah Tua - Bujang Valley (According to the External Sources) 

Research indicates that the Bujang Valley or Ancient Wonder of Kedah was the earliest port

of settlement, trade, culture and religion in Peninsular Malaysia. It was also the center for

maritime trade between Asia, China, West Asia and India. Artefacts ifacts and relics found at

various sites of Bujang Valley showed prominently displayed the influence of these countries

such as stone caskets and tablets, metal tools and ornaments, ceramics, pottery, beads, Hindu

icons and Ming Dynasty ceramics wares.  

Geographically, the location of Bujang Valley became the stopping centre for traders from

the East and West who used the magnificent of Gunung Jerai summit as a point for of

navigationdirection. This strongly contributed to the spread of business and trade as since

Bujang Valley was the entrepot epot for the traders. The rivers played important roles in

facilitating the trading process. to help the traders in trading. Among the most important

rivers are River the Muda River, River Merbok Kecil River and River Bujang River. 

Based on the studies conducted by Alastair Lamb, Bujang Valley was once has been the

entrepot in Southeast Asia. This is was proven by the findings of remains of artefacts from

the Sung and Yuan Dynasty found at Bujang Valley, and also other finds remains such as

glass and bottles from the Middle East (Syria & and Arab countries), glass beads made glass,

agate and terracotta as well as ceramics from Asian countries such as Thailand and Indonesia.

Bujang Valley also goes by many names. A source from India also reported that Bujang

Valley was also known as Kataha or Katahanagara in Sanskrit (Nik Hassan and Othman

Mohd. Yatim,1990). In Urdu language, it was is known as Kidaram or , Kadaram, which

means meaning a big wok, and Kalagam, which means the colour black colour. (Zakiah

Hanum,1988). 

From the source of Arabic history, in the 8th century, there was a trade center known as Kalah

or Kalah-bar situated at in the northern of Peninsular Malaysia in the 8th century. Kalah-bar

means a government or beach. It was reported that Kalah-bar was ruled under the empire

empayar of al- Zabaj or Srivijaya. Kalah was also a stop for the trader for the traders to get

fresh water supply.

Sources from the West quoted; an English captain, Sherard Osburn, wrote that Kedah was

known as Quedah and according to Hollander Jansonius, a geologist,  Quedah was situated at

a starting point of a river. 

Kataha, Kidaram, Kadaram, Kalagam or Kalah could be named as a government of fame

with its great culture and heritage known as a port for traders from all over the places. Kalah

was a majestic kingdom which provided settlement, water resources, town and entertainment

for its growing population.  

Historical records evidences on about Bujang Valley, evidentlyshowed that it was evidently

a major port great place for foreign businessmen and traders during its glory was as during its

glory years. Bujang Valley had s its own uniqueness and advantages with its deep, and large

rivers of Bujang, Merbok and Muda, making which are it suitable as docklands for the

foreign boats and ships from the east and the west.  

The Influences of Hindu-Buddhist in Bujang Valley 

The archaeological remains indicate that there may have been a Hindu-Buddhist polity in

Bujang Valley. The area consisted s of ruins that may date back to more than1,500 years old.

At present To date, more than 41 ancient tomb temples, called candi, have been unearthed

and identified  in the area of Bujang Valley. Only 8 candis have been recorded; which are

Site 8 (Bukit Batu Pahat/ Sungai Merbok Kecil), Site 16 (Kampung Pendiat/Sungai Bujang),

Site 50 (Kampung Bendang/Sungai b Bujang), Site 21 (Kampung Pengkalan Bujang/Sungai

Bujang) Site 11/3 (Ladang Sungai Batu/ Sungai Bujang), Site 5 (Estet Sungai Batu/Sungai

Bujang), Site 19 (Kampung Pengkalan Bujang/ Sungai Bujang) and Site 31 (Kampung

Permatang Pasir/Sungai Muda).

The basic materials used in structuring the candi were are bricks, river rocks stone, laterite

and granite. Thus, these archaeological y evidences , proves d the influence of Hindu-

Buddhist in Bujang Valley. 

 

 

Trailing the History Along the Route of Merbok River 

Today, Merbok area is a treasure trove of architectural and cultural relics from Bujang Valley

civilization. It lays claim which prove to the existence of many historical events along the

route of Merbok and Semeling rivers. There are four significant historical remains worthy of

mention found; Masjid Pengkalan Kakap, the tomb of Sultan Mudzaffar Shah I, Istana Pulau

Tiga and Istana Lubok Pusing. 

 

Masjid Pengkalan Kakap 

This is the oldest mosque in the area of Merbok, Tanjung Dawai, Semeling and Bedong. It

was built in 1880 during the reign of Sultan Zainal Rashid Mu’adzam Shah II, the 25th Sultan

of Kedah who ruled Kedah from 1879-1881. Tok Man was the person who built theis mosque

under the supervision of the head of the village, Haji Md. Salleh, the head of the village.

Masjid Pengkalan Kakap is located near the bank of Merbok river bank, which is within the

area of Simpang Tiga, Pekan Merbok and Sungai Merbok. 

The Tomb of Sultan Al Muzaffar Shah I 

Bujang Valley is also famed for being “home” to the royal tomb of Kedah’s first monarch,

Sultan Mudzaffar Shah, who ruled from 1136A.D. until his e death died in 1179A.D. . Before

he converted to Islam, the sultan was known as Maharaja Berbar Raja I. He converted to

Islam in 1136 A.D. with the help of a preacher from Yaman Yemen, Sheikh Abdullah. The

sultan’s tomb is located at Kampung Langgar,  Bujang, Merbok, 500 metres away er from

Merbok river. 

 

Istana Pulau Tiga 

In the early 1820s, Istana Pulau Tiga was built, near Merbok river, not far from the bridge

that connects Semeling and Sungai Layar. It was built by Sultan Ahmad Tajuddin Halim

Shah 11, also known as ‘Marhum Melaka’.  In the year 1821 – 1841, the sultan was the

source of envy to the Siamese government as well as his relatives. Siam invaded Kuala

Kedah Fort (Kota Kuala Kedah) and burnt Istana Pulau Tiga, (note: to check. Otherwise, the

sentence is hanging) the royal home of Sultan Ahmad Tajuddin Halim Shah II until 1920.

Istana Lubuk Pusing 

Istana Lubuk Pusing, also known as Lubuk Bayu or Teluk Bayu is situated on the left bank of

Merbok r River, not far from Tanjung Dawai. A town and settlement was fully developed in

this area. It was a famous town decorated with gasoline lights, a mosque, castles, rest house

and traders’ port. This is the best place selected by Sultan Abdul Hamid chose the area as it

was best suited for his hunting activities. At the time, H hunting was collaboratively

exercised by enjoyed by the royal family together with the British officers and residences of

Penang and Perak. Frank Swettenham was among the Perak residences who had experienced

hunting in this area. 

 

Factors that Influenced Batik Merbok Motifs      

Formation of Motifs

Contributing factors to the formation of motifs of Batik Merbok

Introduction

The Batik Merbok Design Project began with field work to find out more about the elements

that could that were to be used to form the identity of Batik Merbok, in addition to besides

the literature-based research.  The first step was to carry out As a first move, a series of

researches was carried out to determine and classify a few selected motifs that could help

build the identity of Batik Merbok.  The prime focus of the research was based on the

geographical aspect, specifically the surrounding areas of Merbok district. It that enabled the

selection and formation of suitable elements as the icon of Batik Merbok.  It was also deemed

necessary to relate the identification and collection of these elements to the historical and

geographical values in view of the archeologically-significant Merbok district, which has

been linked to the C Civilisation of Bujang Valley and the Kataha Empire or the Ancient

Kedah Empire.  The impact of these influences is vital as it has long become the iconography

that is ingrained in the culture of the local communities.

The selected unique features of Batik Merbok lie in the motifs that have been selected were

based on research on the elements of flora, fauna and the products of history found in and

around the Merbok district.  With the name Merbok deriving from the Zebra Dove or burung

Merbok as known by the locals, the Merbok district is also endowed with scenic mangrove

forests, paddy fields and archaeological arteifacts that dated from the early civilisation of the

Ancient Kedah.  Each of these has its own significance towards the formation of the attractive

motifs and product.

The basic of every Batik Merbok product is always closely related to ethnic Malays in

Merbok conceptualise flora and fauna around them.  This is to ensure the production of

creative, contemporary, innovative and quality batik designs. 

Every Each creation of Batik Merbok motifs is conceptualised on:

prosperity

harmony

divinity

love

aesthetic

 

The selection of motifs for the Batik Merbok designs depends on the research from the

aspects of faith, heritage, function and aesthetic.  Inadvertently, this is relates d to the history

of the development of the Malay community then people.  Therefore, it is obvious that the

research on these motifs has the meaning, message or philosophy that the researchers and or

the artists of Batik Merbok intended to highlight. 

 

 

 

 

The Flora Motif

Paddy

Bakau (Mangrove) Trees

 

Generally, flora is seen as a very important source of batik motif creation because it has its

own distinction and significance.  The strong relationship the Malays people share with the

plants and their life experience with the is creation of nature have influenced their thinking

and world view about nature, which subsequently became omes the metaphor of life. 

The Paddy Motif

The district of Merbok has been famously known for its beautiful landscape especially the

paddy fields, a that have been the major source of economy to the local communities. 

Therefore, paddy and its niche areas have been are carefully protected and nurtured with

great effort and labour as a form of love and sheer hard work while also grounded based on

the concepts of profit and cooperation. 

The Malay community people ventured into the agriculture from the time since they learnt

and mastered the cultivation of paddy.  Their mastery in agriculture signifies the paradigm

shift in the lifestyle of the Malays people due to the beginning of the cultural development

based on paddy.  The scientific name of paddy is ‘Oryza Sativa.’  Majority of Malay villages

were built on fertile lands, such as those near to rivers and suitable for the cultivation of

paddy.  Paddy needs great care and to growing this staple food paddy requirerequires a

systematic method.  Otherwise, the paddy fields will not yield a good harvest and so will the

paddy lose its spirit.

Apart from contributing to the economy, the ‘gotong royong’ or communal activities, helping

one another and the unification of labour are also the important social values that were can be

instilled among the farmers.  This tradition had s long been a become their common practice,

that strengthening s the unity, profit-sharing and social equity of its people. 

As the state of Kedah State (where Merbok district is located) is known widely known as the

‘Rice Bowl’ of Malaysia, the paddy motif was has been chosen as one of the motifs of Batik

Merbok.  The arrangements and movements of rice grains have become a series of alluring

designs.  The colours green and yellow of the paddy symbolise fertility and luxury.  Hence

the paddy motif was selected because as a whole, it represents the abundance of livelihood

and prosperity. 

The Bakau (or mangrove) Motif 

The existence of high quality bakau, or mangrove trees along the river of this district have

their own attraction especially in tourism.  Beauty and tranquillity exude from the mangrove

forests, serving as they serve as a sanctuary for migratory birds as well as home to various

species of local birds.  The mangrove forests do not only benefit the ecosystem of their

surrounding, such as reducing pollution or shielding erosion of soil from sea waves, but they

also bring many advantages to mankind.  For example, the mangrove swamps can also be

used as a breeding ground for fish, coral reefs and other marine lives. Based on these, the

bakau motif was selected as the flora motif of Batik Merbok, which has exudes its own

distinct beauty and attraction. 

Traditionally, mangrove forests have always been a source of food, medicine, firewood and

building materials.  The tranquility of mangrove forests also acts as a sanctuary is also

favoured by for migratory birds in winter that find them sanctuaries during winter and

simultaneously, they are also home to various species of local birds.  The bakau tree has a

unique root system that of the bakau trees has multiple functions.  The roots that grow from

branches and stems provide support to bakau trees.  The small pores on the roots enable the

trees to live in salt y water that is a hundred times more salty than the water that other plants

live on in.  The mangrove forests do not only benefit the ecosystem of their surroundings but

are also excellent shields for i oncoming waves.  It is therefore a symbol of aesthetism c and

divinity. 

The Burung Merbok (Zebra Dove) Motif 

Animal or fauna motif is also welcomed by the Malay society, especially before the arrival of

Islam.  However, after the arrival of Islam, this tradition persisted, albeit i on a smaller scale. 

The arrival of Islam readjusted the concept and structure of Malay society, prior to which,

before this were highly influenced by the beliefs in Animisme and Hinduisme.  Therefore it

became the site where the process of formation, adaptation and fine-tuning in line with the

concept of Islam took place, in which it also involved involving the Malay aesthetic and

arts.   Normally the animals that frequently were the source of inspiration for become the

batik motifs were are the ones those that live closely among the Malays people such as

burung Merbok (or the Zebra Dove) and those such animals were commonly modelled on

their whose natural characteristics. are commonly modeled on (Rahmah Bujang and Nor

Azlin Hamidon, 2002).  Thus Burung Merbok was chosen as for its own unique

characteristics. 

This bird has small greyish-blue head and long, straight beak with a sharp tip.  The beak is

also greyish-blue.  It has excellent eye-sight with the beautiful round eyes on the left and

right sides of its head.  The tail of this bird is brown with a touch of white underneath its

sides.  Its legs are dark brown, complete d with long, sharp nails.  The most valued feature

however is the ‘singing voice’ of burung Merbok.  Its sweet and unique vocals ice is said to

be able to relieve stress, refresh minds and to a few, become a source of livelihood.  Certain

types of burung Merbok are believed to be able to bring in happiness.  Nevertheless, t The

blend and hybrid of these motifs are based on approaches like denaturalisation, styling and

abstract. 

The Historical Artefacts ifacts/Natural Relics Motifs

b Bricks (historical relics)

Writing

Carving

 

The Historical Artefacts ifacts on Motif/Bricks 

In reality, art can highlight the value of a nation.  As a proof, world history has recorded the

glory of certain civilisations during through the ir height of its artistic achievement, which

consequently has became ome the symbol of greatness of its for certain nations.  Therefore, it

is essential to appreciate and preserve the value of an artistic heritage so that it endures the

test of time and prospers indefinitely. 

The history of the Bujang can be traced from the abundance of archaeological relics found at

its architectural sites architecture and artefacts ifacts left by foreign traders especially from

China, India and Arab.  As for the motif of natural relics, bricks from ancient buildings also

feature have their own attraction from the perspectives of history and cultural significance. 

The historical and cultural evidence from Bujang Valley civilisation is largely found in and

around the Merbok district.  For example, Istana Pulau Tiga, Masjid Pengkalan Kakap and

Istana Lubuk Pusing.  Besides that t There is also an ancient site that houses the structural

remains and artefacts of a shrine.  The appreciation of a place in the context of history

enables us to gain a deeper understanding of f the gist of a particular culture. 

In general, historical materials can be classified into two categories - , physical and aesthetic. 

As part of the remains of these ancient buildings, bricks have become the source of

inspiration in the batik Merbok motifs.  Elements like fissures, fractures, or fragments of an

ancient object are able to produce certain attractive composition and pattern, in addition to

besides creating certain ‘moods’ or ‘atmosphere’ effects in an invention.  These artefacts

ifacts obviously refer to the history of the flourishing of the State of Kedah and also the glory

that was once enjoyed achieved in Bujang Valley. which is rich in highly valuable historical

values.  The appreciation of its history engenders deep sensitivity and love specifically

towards the national artistic and cultural heritage. 

The Sanskrit Writing 

The history of Malay language began with the oldest inscription dating ed 682AD.  The early

written texts were found in Sumatera, Bangka, Java wa and the Philippines in the 7th century

AD and they were the link between the ancient Malay language and Sanskrit – a sacred

language in India.  The ontography or inscription of the Malay spelling system was adapted

from an Indian script from Pallava.  Most of the early inscriptions were written in Sanskrit. 

The increased integration of elements of Sanskrit into the Malay language was significant in

the formal language used in Malay royal courts. 

It is difficult hard to determine the extent of the influence in of its spoken form. 

Nevertheless, there are countless related Sanskrit terms that still exist and are widely used in

the context of contemporary Malay language.  After 1,300 years, there have been changes to

the meaning of these words but semantically speaking, the original meanings are still

discernible.  The practice of word-loaning i was not confined to naming religious concepts

ceremonies such as karma, dosa (‘sin’), and mantera (‘mantra’) but also nouns and verbs

related to feelings such as curang (‘deceitful’), berjaya (‘succeed’), kesentosaan (‘peace’), as

well as conjunctions like such as bila (‘when’), sementara (‘while’) and juga (‘and’) are still

being used. 

The majority of Sanskrit writing was found on tablets, and engraved or carved inscriptions. 

As a non-representational decorative element, the existence of its art is undeniable due to its

fineness, organisation and the appreciation of its meaning.  From the aspect of art, Sanskrit

writing has attractive line patterns that evoke primitive characteristics.  Transformation

becomes more pronounced when it is matched with the combination of colour contrast to

maximise the impact of blending writing and its art. 

The Historical Artefacts ifact Motif/Carving 

The art of wood carving is a form of hand carpentry skill that has long existed in the Malay

society.  It can be said that almost every Malay household has some attractive decorative

elements including the Malay homes houses in the Merbok area.  Interestingly, these

elements do not only serve as a form of decoration but have other functions that are

integrated into the building.  Apart from that, these carvings create attractive patterns when

seen from outside or inside the building.   If one were to study closely, the motifs used in

these patterns carry a few interpretations and are related to spiritual aspects.  After the arrival

of Islam to the Malay archipelagoArchipelago, the motifs of carving leant towards the

appreciation of art based on Islamic principles.  Only motifs with the characteristics of plants,

geometry and calligraphy were used extensively as the basic elements in the art of carving. 

Wherever the art of carving is used, the artistic concept and philosophy in the Malay culture

remain the same.  The art of carving is actually an expression of love for aesthetics.   Such art

pieces can only be produced s through perseverance and hard work.  The natural

surroundings are boundless sources of inspiration for the art of carving.  The ingredients from

the natural surroundings can be used as an important source of inspiration.  For the Malay

society, the selection of natural relic motif like wood carvings is based on its aesthetic value

and also the fact that certain objects can bring about benefits, grace, profit or even

protection. 

Conclusion 

Batik Merbok has great prospects and potential to be developed into a successful cottage

village industry.  Batik is also one of the crafts that can be easily learnt and mastered,

especially among the women.  It relies heavily on interest, hard work, creativity and skill. 

Obviously, Batik Merbok has special values based on its uniqueness, aesthetics, and the

richness from the angle of its historical elements. It that can be appreciated not only for its

domestic demands but has limitless potential to be expanded to the global level arena. 

In reality, art can highlight the value of a nation.  As a proof, world history has recorded the

glorious past y of a few certain civilisations through the ir height of artistic values, which

consequently has become the symbol of greatness for certain nations.  Therefore, it is

essential to appreciate and preserve the value of an artistic heritage so that it endures the test

of time and lives on forever, and even prospers indefinitely. 

With proper and continuous planning, assistance, motivation, advice and guidance, Batik

Merbok will be able to create a new dimension in the world of Malaysian handicraft,

especially specifically in the district of Merbok, Kedah Darul Aman.