Visual Communication of the Traditional House in Negeri Sembilan

Abstract

Visual communication in architecture is a genuine aspiration in realizing the relationship between the Malays and other communities. The composition of the models in this communication is very well organized and will remain relevant to be developed from time to time. It is an observation on the symbols, types of motifs and design aspects of the carvings, also the structural elements in the Malay architecture of Negeri Sembilan.
 This also comprises the study of the chronology of the early history of the Malay architecture of Negeri Sembilan which has its linkages with the Islamic art. Emphasis is given to the diversity in the carving characteristics as a comparison regarding historical, cultural and environmental backgrounds. The delicacy of the craftsmanship among Malay carvers in Negeri Sembilan is reflected in their maturity and ability to fuse traditional elements and Islam. Symbols that have motifs in the carvings result from the carvers' observation and experience.
 The selection of these motifs is carefully made to ensure that they are the Islamic teachings and not deviating with the Islamic law. Carvings in the Malay architecture of Negeri Sembilan are also crafted with an aim to beautify a piece of architecture made of various motifs. Those carved parts are always assured to maintain the balance with the surrounding space. Floral motifs are often combined with cosmic or geometrical motifs. In many cases, plant-based motifs are also prevalence translated into carvings. This is a tribute from the Malay carvers to beauty, perfection, and harmony of nature.

Malay-Minangkabau Vernacular Ornamentation: The Concept of ‘Alam Takambang Jadi Guru’

“…Lanjong house's decorative ornaments are categorized into three types: similar to Minangkabau motifs, modified motifs, and motifs influenced by Islam, Riau, and others. The paper calls for a comprehensive future study on the 'Alam Takambang Jadi Guru' concept in Malay-Islamic architecture, emphasizing detailed analysis (Ariffin, 2000) and the incorporation of Negeri Sembilan's Adat Perpatih practices as suggested by Hashim et al(2018). This visual language integrates religious elements, blending traditional Minang syntax, Malay visual expression, and Islamic teachings for profound meaning.…”

“…The merantau process contributes to changes in architectural designs, distinguishing it from its Minangkabau roots (Bahauddin et al, 2012). Preserving traditional knowledge, rooted in Adat Perpatih and 'Alam Takambang Jadi Guru,' is crucial for cultural identity, amid concerns about conflicts with Islamic traditions (Hashim et al, 2018). The study advocates for a re-exploration of the complex and underexplored Minangkabau architectural elements in Negeri Sembilan.…”

Meanings Behind the Carving Motifs of Traditional Malay Houses

“…Peirce's book Selected Writings described semiosis as the relationship between a sign, an object, and a meaning (Buchler, 2014). Hashim et al (2018) explained symbols as messages conveyed through representation typically associated with something people recognize. Humans associate symbols with their daily experiences, as symbols and their meanings are closely connected.…”