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Author: HangPC2

Pakaian/Aksesori/Senjata/Pengangkutan/Gaya Hidup Masyarakat Melayu Zaman Silam

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Post on 2-11-2009 12:56 PM |All posts
275# HangPC2

Dia jual tak benda ni?.Ramai yg berminat nak buat koleksi.
heloo cari
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Post on 9-11-2009 01:05 PM |All posts
Gambaran Tentang Kedatangan Duta Dinasti Yuan (Mongol) Ke Champa







Sources : Medieval Chinese Armies 1260-1520 (Osprey Publishing)



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Post on 23-11-2009 11:42 AM |All posts
Some Classical Malay Materials for the Study of the Chinese Novel Journey to the West



by Hoon Teik Toh


The objective of this study is to stimulate interest in looking further for a possible "missing link" between the two monkeys, Hanuman (the central figure in the Sundarakanda of Valmiki's Sanskrit epic Ramayana) and Sun Wukong (the hero in the Chinese novel Xiyouji "Journey to the West", hereafter XYJ), in Classical Malay literature. I refer the reader to Nakano and Mair for more thorough treatments of Sun Wukong's origins and the secondary literature thereon as I shall, in this paper, confine myself to supplying the reader, for the very first time, with a few excerpts of Classical Malay texts accompanied by an English translation in order to show that they contain elements traceable to a common origin shared by XYJ. In so doing, I do not pretend to offer an ultimate solution to the long-debated problem but merely suggest that the clues to a solution, as with many other things in life, may be found in unexpected places.

Before we embark on perusing the extracts, a few general remarks on the Malay romances may not be out of place here.

Many of the Malay popular romances (hikayat) were transmitted orally for centuries before they were recorded in Jawi script. It is easy to imagine that not every single story or all the variations of a similar story have come to survive in writing. It follows that the limited number of written stories that have been studied present to us a far from complete picture of the literary products that at one time were current in Nusantara (Malay Archipelago). Though handed down in writing after the Malay people had been converted to the Muhammadan religion (15th century), pre-Islamic (mainly Hindu) elements are still abundant in them. A mixture of Indian and Perso-Arabic elements are usually observable.

Most of the stories were told and retold to Malay audiences by their tale-tellers or, as they were called in Malay, penglipur lara "soother of the afflicted, soother of cares". In general, the language is prolix, repetitive and, at times, may appear to modern readers to be monotonous, more so in translation. While trying to be faithful to the original in my translation, I have occasionally compressed two or more sentences by inserting a relative pronoun such as "who", "which", "where" etc. wherever necessary. The words maka, hatta etc. used frequently to begin a sentence in Classical Malay have no English equivalents and have to be left out of the English translation.

There are a considerable number of Classical Malay manuscripts that have never been read and await critical studies. In this study, I have used only published texts which are not limited to HSR(B), HSR(M) (the Brunei and Malaysian versions of the Ramayana) and HSS (a Malay recension of the Mahabharata) in which Hanuman occurs, but also include other Malay romances that were inspired by the oral narration of the Ramayana and Mahabharata in the traditional Malay society and might have therefore preserved elements derived from a certain variant narrative of the epics that no longer exists.

Having kept in mind the basic facts mentioned above, let us now turn to read closely some passages culled from the Classical Malay texts. Attention is drawn to the parallels between XYJ and its Malay counterparts under "Remarks".


Sources : http://www.sino-platonic.org/abstracts/spp137_hanuman_monkey.html



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Post on 24-11-2009 08:44 PM |All posts
Ibu Negara Champa namanya Vijaya.
heloo cari
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Post on 24-11-2009 11:20 PM |All posts
279# sayapghaib

Ibu Kota Champa

Indrapura (875-978)

Vijaya (978-1485)

Panduranga (1485-1832)
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Post on 25-11-2009 08:34 AM |All posts
Benar Hang Pc.Serangan demi serangan dialami oleh kota kota tersebut.
heloo cari
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Post on 25-11-2009 11:39 AM |All posts
diserang dari pelbagai arah....

nasib kurang baik....
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Post on 9-12-2009 12:39 PM |All posts
Post Last Edit by HangPC2 at 9-12-2009 12:40

Tanjak Warisan Melayu



DENDAM Tak Sudah, Sarang Kerengga dan Kacang Dua Helai Daun. Pasti ramai beranggapan ini tajuk lagu atau album, tetapi hakikatnya inilah kebanggaan rakyat Negeri Sembilan yang merujuk kepada jenis tengkolok atau lebih dikenali sebagai destar.

Keunikan itu bukan saja terletak kepada namanya, tetapi juga perbezaan dan jenis lipatan tengkolok yang menjadikannya amat istimewa. Malah keistimewaannya terus bertahan sehingga membolehkan tanjak warisan itu terus menjadi simbol kebanggaan masyarakat Melayu sejak zaman berzaman.

Dendam Tak Sudah misalnya, adalah lipatan khas untuk yang di-Pertuan Agong pertama, Almarhum Tuanku Abdul Rahman dan Yang Dipertuan Besar Negeri Sembilan. Malah apabila baginda ditabalkan sebagai Yang di-Pertuan Agong, destar itu turut menjadi tanjak rasmi Yang Di Pertuan Agong sehingga ke hari ini.

Sudah pasti, rahsia keunikan destar atau tanjak ini terletak kepada pembuatnya yang bukan sekadar berlapikkan pengalaman, tetapi kemahiran, minat serta kreativiti.

Inilah keistimewaan dimiliki Md Isa Md Ali, 72, yang masih gigih meneruskan usaha menghasilkan pelbagai jenis destar tradisional baik bagi kegunaan kerabat diraja, barisan kenamaan dan orang kebanyakan serta butik pengantin sekitar Negeri Sembilan.

Namun, bagi Md Isa, antara pengalaman paling berharganya adalah menghasilkan destar bagi Almarhum Tuanku Abdul Rahman.

Pengalaman mengambil ukuran kepala Almarhum Tuanku Abdul Rahman bagi membuat destar baginda sememangnya kenangan yang tidak akan dilupakan sepanjang hayat saya. Saya berusia 16 tahun ketika itu dan berkhidmat di Istana Seri Menanti, Negeri Sembilan sebagai Boi (tukang angkat makanan Raja).

Saya dipanggil mengadap oleh Tuanku Abdul Rahman kerana baginda mahukan saya melipatkan destar Dendam Tak Sudah untuknya, katanya ketika ditemui di Kompleks Kraf, Jalan Conlay, Kuala Lumpur baru-baru ini.

Dendam Tak Sudah adalah lipatan khas untuk Tuanku Abdul Rahman dan Yang Dipertuan Besar Negeri Sembilan malah apabila baginda ditabalkan sebagai Yang di-Pertuan Agong Pertama, destar itu turut menjadi tanjak rasmi Yang Di Pertuan Agong sehingga ke hari ini

Bercerita pengalamannya ketika bergelar Boi untuk Tuanku Abdul Rahman yang dipanggil Ayah, Md Isa berkata, rapatnya hubungan dia dan Tuanku menyebabkan baginda tunduk menghulurkan kepala ketika mahu diukur Md Isa.

Ketika itu memang saya berasa sangat rendah diri dan malu kerana Ayah menundukkan kepalanya ke arah saya. Saya sempat tunduk sembah tapi baginda menyergah menyuruh saya cepat-cepat mengambil ukuran, katanya.

Almarhum juga, kata Md Isa, seorang Raja yang sederhana dan begitu merendah diri sehinggakan baginda akan masuk sendiri ke dapur mengambil makanan jika ingin santap di luar waktu makan.

Mengimbau pengalamannya, Md Isa berkata, dia mahir menghasilkan destar sejak berusia 14 tahun apabila dipanggil Datuk Gajah Mohd Raub supaya datang ke rumahnya di Kampung Sungai Layang, Seri Menanti, Negeri Sembilan.

Bimbangkan ilmu yang dimiliki tidak diperturunkan kepada sesiapa, Datuk Gajah memanggilnya untuk datang belajar teknik melipat destar Negeri Sembilan.

Datuk Gajah pernah berkhidmat dengan Yang Dipertuan Besar Negeri Sembilan, Almarhum Tuanku Muhammad ibni Almarhum Tuanku Antah di Istana Seri Menanti sebelum menjadi Tukang Payung kepada Tuanku Abdul Rahman.

Datuk Gajah juga tukang lipat destar kepada Tuanku Muhammad dan anakandanya, Tuanku Abdul Rahman malah dia antara yang mahir melipat destar di Seri Menanti ketika itu, katanya sambil leka memasukkan lidi ke dalam songket yang hampir siap membentuk destar.

Selama enam bulan berulang alik dari rumahnya di Bukit Tempurung, Md Isa diajar teknik melipat lima jenis ikatan destar Negeri Sembilan dinamakan Dendam Tak Sudah, Sarang Kerengga, Kacang Dua Helai Daun, Solok Timbo dan Olong Menyongsang Angin.

Menurut Md Isa, Sarang Kerengga dikatakan direka dan dilipat sendiri oleh Almarhum Tuanku Muhammad dan tiada orang lain yang boleh memakainya selain baginda.

Begitu juga dengan destar Kacang Dua Helai Daun yang menjadi tanjak rasmi bagi Yang Dipertuan Besar Negeri Sembilan selain Dendam Tak Sudah yang turut dikhaskan untuk upacara istiadat istana.

Solok Timbo dan Olong Menyonsang Angin pula adalah jenis tanjak untuk dipakai orang kebanyakan ketika itu, katanya.

Ketika ditanya sama ada kemahirannya diperturunkan kepada salah seorang daripada lima anaknya, Md Isa berkata, ada anak lelakinya yang boleh melipat tanjak.

Tapi dia tidak minat meneruskan kelangsungan warisan Melayu ini. Yang dia tahu hanyalah melipat, bila tiba bab memperkemaskan, dia malas, katanya sambil memberitahu, bahan yang diperlukan untuk menghasilkan destar hanyalah sepotong songket berbentuk empat segi tepat, jarum peniti, lidi dan benang.

Kebiasaannya, Md Isa akan mengambil masa selama setengah jam untuk melipat destar dan masa yang lebih lama diperlukan untuk memperkemaskan lipatan dengan jahitan tangan.

Lidi yang diselitkan di antara lipatan membuatkan kepala tanjak lebih cantik melambai berbanding penggunaan dawai besi yang keras dan mudah berkarat, katanya.

Menurut Md Isa, tanjak yang lebih dikenali sebagai destar bagi masyarakat Negeri Sembilan adalah sejenis hiasan kepala yang penting dan dipandang tinggi kerana fungsinya bukan sekadar penutup kepala tapi sebagai lambang dan simbol tertentu berdasarkan bentuk, corak serta jenis fabriknya.

Setiap destar harus disudahkan dengan sepuluh lipatan melambangkan pertemuan antara pasangan kekasih. Ia dimulakan dengan Langkah Bermula yang membawa maksud percintaan antara wanita dan lelaki, kemudian Risik Melangkah, Risik Bertemu dan Cincin Dikembang.

Apabila selesai peringkat perkenalan dan upacara merisik, lipatan diteruskan dengan Lambai Kasih yang melambangkan ucapan selamat tinggal anak perempuan kepada ibunya, Kasih Berjawab tanda si dara menerima risikan sang teruna, Kasih Bermula, Bertemu Kasih kemudian hubungan suami isteri bermula dengan Gelombang Kasih sebelum diakhiri dengan Lambaian Kasih tanda menyambut kedatangan cahaya mata.

Selain membawa maksud tertentu, bahagian Kasih Bermula adalah penanda dan perlu diletakkan selari dengan telinga. Jika kedudukannya betul, barulah cantik dan segak rupa pemakainya, katanya sebelum mengakhiri perbualan.




INFO: Bentuk ikatan/solek tanjak

- Dendam Tak Sudah
- Sarang Kerengga
- Kacang Dua Helai Daun
- Solok Timbo
- Olong Menyongsang Angin


Langkah melipat destar

- Langkah Bermula
- Risik Melangkah
- Risik Bertemu
- Cincin Dikembang
- Lambai Kasih
- Kasih Berjawab
- Kasih Bermula
- Bertemu Kasih
- Gelombang Kasih
- Lambaian Kasih





- Berita Harian -



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Post on 9-12-2009 12:53 PM |All posts
Big demand for mak andam



RACHAEL PHILIP


What brides and bridegrooms wear on their heads is an important part of a wedding. Every state seems to have its own style as do every ethnic race and the various denominations. At the recent Wedding Works at Kraftangan Malaysia, RACHAEL PHILIP catches up with mak andam Jamilah Hashim from Malacca and the royal tengkolok maker Mat Isa Mat Ali from Negeri Sembilan





Mat Isa








SHE has been doing this for almost half a century. For mak andam Jamilah Hashim, 64, it was a trade she was only too happy to learn.

I love make-up and fancy clothes. When we played pondok as children, I never wanted to be the bride. I was always the mak andam, says Jamilah as she puts finishing touches to her grand-daughters hair.

Dancing on springy hairpins, gold, silver and bronze flowers and butterflies flutter to life on Norlidas head. Her grandmother has fixed six layers, alternating the glittering heirloom pieces with paper flowers.

Jamilah from Duyung in Malacca was a participant at Kraftangan Malaysias recently-concluded Wedding Works promotion in Kuala Lumpur. She gave daily demonstrations on sanggul lintang, the headgear that originated from Malacca, and Norlida, 22, was her model.

The elaborate sanggul lintang can weigh between 8kg and 15kg, which probably explains the dainty downcast eyes of the brides and the slight tilt of their heads.

Jamilah inherited the hairpins and other accessories such as the shoulder cover (beta), necklaces and bangles as well as baju kurung from her stepmother.

Her stepmother helped the village girls prepare for their weddings and she used to bring Jamilah along from when she was 19 years old.

For years, I was not allowed to do anything. I just sat, watched and learned. I remember stepping in to help when I was 22 years old, she recalls.

Some of the pieces that she has inherited are almost 700 years old. One or two stones have fallen off some pieces of jewellery while a closer look at the shoulder cover reveals tiny snags.

I cant get them fixed. Nobody knows how to do it anymore, says Jamilah who keeps her treasured items in the bank when they are not being used.

To keep the shoulder piece stiff, newspapers were used in the old days. When the State museum authorities took a closer look at the layers of newspapers on the back of the shoulder piece, they were surprised to see that one carried the dateline of a German newspaper.

Brides who believe that history and tradition rites, rituals and attire have an important role to play in weddings, want to wear such gear on their special day.

Jamilah is busy with a wedding almost every other weekend. Her schedule is back-to-back, especially during school holidays and clients know they have to book her well in advance for her services.

Dressing up the bride usually starts in the evening of the akad nikah. According to Jamilah, its usually the mother of the groom who decides which type of sanggul the bride will wear.

During this time, if the bride is thirsty, she has to make do with tiny sips of water as its difficult to run to the bathroom when wearing so many accessories.

Shes strict about having family and friends in the room when shes working. Besides having to concentrate on the job nobody wants a lop-sided hairdo she needs space to place her containers of stuff as well as ample room to move around in.

First, the hair is divided into two halves. The top half is gathered at the top of the head like a ponytail. Jamilah then takes a bunch of tightly-rolled pandan leaves, about 15cm in length and three cm in diameter, and secures it on top of Norlidas head.

While banana stems and coconut husks can also be used, pandan is preferred because of its fragrance.

Lots of hair-spray is used. Before the 1960s, Jamilah used to make do with candle wax as hair-spray was not easily available.

Once the pandan is secured, she combs and arranges the bottom section of hair on the top and secures it with hairpins. Then she starts sticking the ornamental hairpins, one by one, into the pandan.

Long hair is good. Otherwise, I have to use fake hair and lots of hairpins, she says.

Each row of pins is alternated with a row of pink and yellow paper flowers already strung into a band.

The baju kurung must always be red or brick red. Some brides request for colours like blue but they never look as good.

Jamilah has travelled the length and breadth of the country with her brides and has even followed a few to Brunei and Pakistan to help get them ready for the akad nikah ceremony.

Although she is still in great demand, one part of her art is dying slowly. Besides being a traditional make-up artiste, the mak andam has an additional role to play.

Sambil cucuk-cucuk, Hajah bagi nasihat. She dishes out advice as she inserts her pins. Just doing the hair alone can take over an hour, so theres lots she tells the brides. But these days she only gives advice when asked.

I used to tell them about the first night. The brides were very young. They were afraid and used to run away as they had hardly seen the groom.

I used to tell them how to jaga suami (look after the husband). To remove his socks and wash his feet when he returns from work, to always be waiting for him in the bedroom and not the other way round.

These days she only does it when asked to by the brides mother.

Couples today are older. They know their future partners, says Jamilah who has a daughter and two sons. One of her daughters-in-law helps her with the business while her husband drives her around and helps to put up the pelamin.

She is amused to see her grand-children showing some creativity and skill in her line of work. Her grandson likes to work on the pelamin with his grandfather while one grand-daughter reminds her of herself when she was a child.

She likes to play with my make-up. I watch what shes doing. I never say anything but sometimes I give her stuff I dont use.



Royal symbols for bridegrooms

KING for a day. For bridegrooms, part of the image comes from sporting the royal symbol of power, the desta or the tengkolok, on their big day... with a little help from Mat Isa Mat Ali.

For bridegrooms, the choices range from the grand Dendam Tak Sudah, Kacang Dua Helai Daun or Olang Menyongsong Angin to the majestic Sarang Kerengga and the august Solok Timbo.
Steeped in tradition, each of the five styles has a story to tell, each fold of a destar carries meaning while every point on the headgear tells of a poignant stage leading to the wedding.
Its a record that starts with the grooms parents coming to ask for the brides hand (merisik) and ends when the bride conceives and the couple become parents.

Mat Isa, from Kuala Teriang, Jelebu, is also the royal desta maker for Istana Seri Menanti in Negeri Sembilan. He has been making the headgear for 60 years.
I learned the art from Abdul Raub, also known as Datuk Gajah. He was the umbrella bearer for Tuanku Abdul Rahman, says Mat Isa who has seven children and 16 grandchildren.

Tuanku Abdul Rahman was Malaysias first King. A picture of him appears on our currency notes.
Tuanku Abdul Rahman was Malaysias first King. An impression of his destar appears on back of our 10 card. It took him six months to learn to make the intricate folds of the various styles. Seated on the floor, he spreads out a piece of songket about half a metre in length and width. The fabric is taped with brown paper on the inside.
Mat Isa bends his leg at the knee and fashions the headgear around it, deftly folding the pleats and peaks. That takes him about 10 minutes.
Then he inserts thin, pliable lidi sticks into the folds to keep the destar neat and stiff. Finally he sews up the sides of the fabric. He charges RM100 for a destar which can take him up to two days to make.
Because the art of creating a destar requires the use of his legs, he sits in a locked room when he makes one for the Negeri Sembilan Ruler.
Mat Isa says he had never wanted to be Datuk Gajahs student but was forced to take up the art when he was 14. He had hoped to be a musician.
I enjoyed playing the violin. I liked to sing, he says, breaking out into a melodious Dondang Sayang song. But he gave up both when he became a religious teacher, teaching at the Sekolah Rendah Undang Jelebu for many years until he retired.
Just as he was not interested in learning the art when he was young, none of todays younger generation wants to pick it up either. He says: No ones interested. They tell me that I am still around to do it.


- NST -


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Post on 9-12-2009 01:01 PM |All posts
Mengabadikan keindahan destar



Oleh SALMAH ZAINAL ABIDIN


TENGKOLOK atau destar adalah salah satu busana pada bahagian kepala lelaki Melayu yang sering dikaitkan dengan istana, kepahlawanan dan sering juga diperagakan di pelbagai acara dalam adat istiadat bangsa kita.

Wan Yahaya Abdullah, seorang pendukung seni warisan Melayu telah mendokumentasikan destar dalam pelbagai aspek melalui bukunya berjudul Destar Warisan Malaysia : Koleksi Terpilih.

Selain sebagai pengarang buku ini, Wan Yahaya juga dikenali kerana kepandaiannya dalam seni mengerus dan seni telepuk. Mengerus ialah suatu kaedah mengilatkan kain songket menggunakan siput supaya benang emasnya sentiasa berseri. Telepuk pula kepandaian menghasilkan bunga-bungaan daripada perada emas yang dilakar di atas kain.

Satu lagi kepandaian beliau ialah mengikat dan menyimpulkan tengkolok dengan lebih seratus cara termasuk yang dipakaikan kepada raja-raja Melayu. Dengan kepandaian dan pengalamannya itu maka buku ini terhasil.

Buku ini membuka gelanggang dengan memperkenalkan maksud dan takrifan destar dan tengkolok serta tempat pemakaiannya. Penghuraian diperkukuh dengan mengutip penjelasan yang terdapat dalam beberapa buku dan kitab lama. Sambil itu beberapa gambar lama, klasik dan berharga dipaparkan sehingga menaikkan semangat dan keindahan tengkolok yang dipakai dengan penuh segak oleh sultan, raja dan hulubalang serta pahlawan Melayu zaman silam.

Wan Yahaya selanjutnya bergerak dengan langkah yang pantas dan tangkas dalam menjelaskan aspek reka bentuk destar. Hampir semua reka bentuk tradisi mempunyai motif, ukiran, pahatan, corak batik dan tenunan serta kelarai anyaman.


Keindahan

Cara membentuk dan mengikat destar pula berbagai-bagai menggambarkan tingginya daya penciptaan pereka bentuk Melayu tradisi. Keindahan dan kesenian reka bentuk destar masih terpelihara dengan baik dan utuh sungguhpun zaman silih berganti dan kepentingannya dalam masyarakat moden sudah berkurangan.

Corak berteraskan tumbuh-tumbuhan jelas pada nama beberapa destar seperti Mumbang Belah Dua, Sekelongsong Bunga, Cogan Daun Kopi. Pengaruh haiwan pula terpancar pada nama-nama seperti Balung Ayam, Ayam Patah Kepak, Pari Mudek, Lang Menyongsong Angin dan Lang Melayang.

Bak menonton seni silat Melayu, dengan gayanya yang mempesona buku ini merakamkan keindahan seni reka bentuk destar Melayu selain menyimpan sejumlah perbendaharaan lama dalam kalimat dan kata bahasa Melayu. Maksud lambang, warna dan corak yang tersirat dalam kesenian pembikinan destar juga dapat difahami dengan membaca buku ini.

Dalam majlis yang dihadiri raja dan sultan, hadirin hanya boleh memakai jenis dan warna destar tertentu sahaja. Pemilihan yang salah akan merosakkan majlis dan dianggap tidak beradab. Destar dipakaikan hiasan dengan tujuan tertentu mengikut kesesuaian jenis kain, warna tanah dan ragam hias yang dikenakan.

Satu lagi seni yang dipaparkan dalam buku ini ialah kaedah mengikat destar dan salah satu yang diberikan ialah cara-cara mengikat Destar Dendam Tak Sudah.

Pemakaian destar tidaklah dapat dilakukan dengan sewenang-wenangnya. Pemakainya mesti mematuhi beberapa peraturan sesuai dengan bentuknya agar dilihat kemas dan rapi. Maka Wan Yahaya memperturunkan serba sedikit peraturan dalam memakai destar yang betul.

Dalam bab Destar dan Pemakainya, buku ini memperlihatkan bagaimana destar atau tengkolok dikenakan oleh sultan dan raja di semua negeri di Malaysia selain yang dipakai juga di Sabah dan Sarawak sungguhpun negeri tersebut tidak beraja. Ditunjukkan juga destar sebagai pakaian persilatan Melayu. Dengan terbitnya buku ini, dapatlah kita menatap salah satu ketinggian seni bangsa kita zaman-berzaman.

Buku ini ditulis dalam dua bahasa, Melayu dan Inggeris serta dipaparkan gambar berwarna dan hitam putih yang indah dan amat penting sebagai memberi maklumat kepada pembaca khususnya generasi muda. Dalam bentuknya yang mewah dan berkulit keras buku ini tampak meyakinkan dan memang sarat dengan ilmu pengetahuan tentang destar atau tengkolok.

Sesungguhnya buku ini adalah satu-satunya tinggalan yang amat berharga daripada Allahyarham Wan Yahaya Abdullah untuk tatapan kita dan generasi akan datang. Buku ini kini menjadi sebuah dokumentasi yang baik untuk kita merujuk salah satu subjek yang semakin ditinggalkan dalam kehidupan masyarakat kita memandangkan kurangnya buku tentang destar dalam pasaran.


Tengkolok

Sebelum zaman Kesultanan Melayu Melaka tengkolok seperti yang terdapat pada masa sekarang belum lagi dicipta, tetapi memadailah jika seseorang itu menutup atau mengikat rambut yang panjang supaya kelihatan kemas. Ikatan kain ini semakin lama semakin cantik diolah dan diubahsuai mengikut taraf seseorang itu sehinggalah sekarang.

Orang Melayu Melaka telah menggunakan kebijaksanaan mereka untuk mengubah dan merekabentuk sehelai kain empat segi untuk dipakai sebagai penutup kepala. Kini pakaian tengkolok sering digunakan oleh pengantin lelaki semasa bertandang dan bersanding di atas pelamin pada hari pertama istiadat perkahwinan dilangsungkan. Semasa bersanding di atas pelamin mereka dianggap sebagai raja kerana mereka berpakaian lengkap seperti seorang raja yang bersemayam di atas takhta. Tengkolok yang dipakai oleh pengantin lelaki pada masa sekarang dihiasi dengan barang kemas untuk menambahkan seri dan kekacakan pengantin.

Apabila negara ini mencapai kemerdekaannya pada 31 Ogos 1957 dan melantik Duli Yang Maha Muliha Seri Paduka Baginda Yang di Pertuan Agong yang pertama, maka tengkolok pertama yang dipilih dan dipakai oleh baginda ialah jenis "Dendam Tak Sudah". Di bahagian hadapan tengkolok ini dihiasi dengan anak bulan dan bintang pecah sebelah yang diperbuat daripada emas putih yang bertatahkan 66 biji permata berlian dan di tengah-tengah bintang tersebut terletak lambang kerajaan Malaysia yang berwarna-warni.



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Post on 26-12-2009 02:17 PM |All posts
Busana Sulu





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Post on 28-12-2009 09:40 AM |All posts
286# HangPC2

Yang lelaki tu pakai But tinggi ke.
heloo cari
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Post on 29-12-2009 01:22 PM |All posts
Yups Boot Tinggi
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NGC Fight Master - Silat



Pedang Jenawi (Sundang) Training













Sources : http://narapatinantaboga.blogspot.com/

http://dcmilitary.com/stories/071609/trident_28201.shtml



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Post on 6-2-2010 12:42 PM |All posts
post hang pc 289 tu keris yg agung sellau selitkan pada pinggang dia kan? apa nama keris tu?
dak doh se
-kenangan ganu 09
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Post on 6-2-2010 05:02 PM |All posts
post hang pc 289 tu keris yg agung sellau selitkan pada pinggang dia kan? apa nama keris tu?
sekngucing Post at 6-2-2010 12:42



Keris Tajung
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Post on 16-3-2010 12:53 PM |All posts
Kota Bahru, Kelantan Malaya (1940)





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Pending Melayu (Malay Belt Buckle)

















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Pedang Jenawi







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Baju Melayu Di Modenkan (Abad Ke 19 dan Ke 20)


Muhammad Hassan bin Dato Kerani Muhammad Arshad (Pembesar Istana Kedah)





Tengku Ali @ Sultan Ali Iskandar Shah ibni Hussein Muazzam Shah (Sultan Muar)




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Post on 26-4-2010 10:15 AM |All posts
Aku Suka Figura Sultan Ali nampak Kool
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Sources  ...
HangPC2 Post at 6-2-2010 11:59



    yang pakai cermin mata gambar yg last sekali tu kalau tak silap, anak kepada Tan Sri SM Salim.Beliau pernah mengajar gayung di USA.
heloo cari
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