The Master Craftman

Tengku Ibrahim Bin Tengku Wook

PengenalanDi dalam kerja kursus pendek ini, saya telah memilih seorang tokoh yang telah banyak berjasa untuk Negara ini. Beliau merupakan tokoh Kraf Negara iaitu Tengku Ibrahim bin Tengku Wook. Sumbangan beliau dapat kita lihat dengan jelas di negeri Terengganu. Tokoh Kraf Negara ialah penghormatan atau pengiktirafan tertinggi yang diberikan oleh Kerajaan Malaysia kepada seseorang tokoh atau dikenali sebagai master craftmen. Beliau berpengetahuan, berkemahiran dan mempunyai kepakaran yang tinggi dalam bidang kraf warisan yang mempunyai nilai estetika dan identiti bangsa Malaysia. Selain itu, beliau juga telah menunjukkan komitmen yang tinggi dalam usaha memulih, memelihara dan memartabat seni kraf warisan Negara dan secara tidak langsung banyak memainkan peranan penting dalam pembangunan dan perkembangan industri kraf negara. Disamping itu, beliau bersungguh-sungguh menurunkan kemahiran dan menjadi role model kepada kumpulan pelapis dan mempunyai ciri-ciri kepimpinan yang cemerlang dan mengambil berat mengenai keadaan masyarakat setempat. Hal ini merupakan sebab mengapa saya memilih beliau bagi tugasan kerja kursus pendek bagi subjek Sivik ini.

Kriteria pemilihan tokoh Tengku Ibrahim Tengku Wook

Beliau berpengetahuan, berkemahiran dan mempunyai kepakaran yang tinggi dalam bidang kraf warisan yang mempunyai nilai estetika dan identiti bangsa Malaysia.

Beliau telah menunjukkan komitmen yang tinggi dalam usaha memulih, memelihara dan memartabat seni kraf warisan Negara.

Hasil kerja tangan beliau banyak memainkan peranan penting dalam pembangunan dan perkembangan industri kraf negara.

Beliau bersungguh-sungguh menurunkan kemahiran dan menjadi role model kepada kumpulan pelapis .

Beliau mempunyai ciri-ciri kepimpinan yang cemerlang dan mengambil berat mengenai keadaan masyarakat setempat.

Latar belakang

Sejarah pendidikan awal

Tengku Ibrahim Tengku Wook

Sumbangan

Anugerah yang pernah diterima

Latar belakang

Nama penuh beliau ialah Encik Tengku Ibrahim Bin Tengku Wook

Beliau lahir pada tahun 1929 di Besut, Terengganu

Beliau telah berkahwin dan dikurniakan seramai 8 orang anak

Tahap pendidikan beliau cuma sampai tahap sekolah rendah sahaja

Meninggal dunia pada tahun 2000

Sejarah pendidikan awal

Mula melibatkan diri dalam bidang ukiran kayu ketika berusia 16 tahun. Berjinak-jinak hanya dengan mengukir bahan-bahan yang mudah dan kasar seperti tingkap rumah dan kepala katil.

Setelah berguru dengan lebih mendalam Tengku Ibrahim mula berjinak-jinak dengan mengukir barang-barang halus seperti ulu keris dan sarung keris. Ternyata hasil pertama beliau bermutu tinggi.

Selepas antara 2 dan 3 tahun mengukir secara kecil-kecilan Tengku Ibrahim membuka bengkel di belakang rumah bagi memenuhi permintaan yang kian meningkat.

Setelah perniagaan beliau meningkat maju Tengku Ibrahim berusaha pendekatan sendiri bagi mengukir dengan lebih halus dan berseni. Kreativiti, keunikan dan kesenian ukiran Tengku Ibrahim mula berkembang dan masyur sehingga menerima tempahan-tempahan pembesar negara dan kemajuan-kemajuan negeri.

Anugerah yang pernah diterima

1993

Beliau telah diiktiraf oleh Perbadanan Kemajuan Kraftangan Malaysia sebagai Tokoh Adiguru Kraf 1993.

1995

Beliau dilantik sebagai ADIGURU KRAF UKIRAN HALUS.

1998

Beliau diiktiraf sebagai Tokoh Negara.

Sumbangan

Sumbangan utama beliau adalah pendidikan yang diberikan kepada masyarakat. Pertamanya Tengku Ibrahim dengan rela hati mendidik anakanak muda dalam mendalami bidang ukiran.

Sumbangan The Master Craftman

Sumbangan lainnya ialah Tengku Ibrahim juga melibatkan diri dalam kajian dan penyelidikan yang dilakukan oleh penyelidikpenyelidik terutamanya mengembangkan peristilahan serta hasilan buku.

Lampiran

Off Walls Off Pedestals

My Father, Tengku Ibrahim Wook, the Master CraftsmanPosted in Uncategorized by tsabri on February 20, 2010

Recollections of His Personal Life. His children called him Ku. His nephews and nieces called him Ayah Su, literally means Youngest Uncle, and his grandchildren called him Tok Ku. His close friends called him Pak Ku whilst others called him Ayah Ku or Pak Engku. I was the eldest son of his from his second marriage. His first marriage had him a daughter. I have two brothers and three sisters from his marriage with my mother, Khatijah bte Othman. My mother was a widow when my father married her. She had two daughters from her earlier marriage. My father was born in Kampong Panji, a small village near Kota Bharu, Kelantan, sometime in1929. I was not informed on how they met but I recalled my mother used to tell that she visited Ku somewhere in a military prison in her early pregnancy of me. Apparently Ku was imprisoned for absence without leave from military duties! I dont know when exactly he moved to my mothers kampong, Kampong Gong Kemuntong, Jerteh, in Terengganu, a neighbor state of Kelantan and also that of where I and my other siblings were born. There were also my Tok (my grandmother, my mothers mother), two uncles and my two stepsisters. Mother passed away in 1989 leaving Ku, together with a brother and two sisters of mine living in Gong Kemuntong. During the time, me and other siblings are living in various places in the Klang Valley. About two years after my mothers death, Ku married another woman; Aminah bte Abdullah and together they had no children. On Ku being a military man, I was informed vaguely with many stories both from himself and my mother. He was a bright student in his class at a Sekolah Melayu then. After some examinations he was recommended to further studies in the English medium, the Special Malay Class. My grandfather had his hardest objection that my father will study the colonial British lessons that might make him a Christian! He then intended to send my father to theSekolah Pondok, studying the

traditional sciences and knowledge of Islam, which was significantly natural with the Malays during the time, Apparently, Ku, in his adventurous youth, didnt like the idea much as he narrated how he often went loitering in cinemas, coffee shops and other places in Kota Bharu. Upon discovering Ku went loitering around town, my grandfather arranged a marriage for him. Ku didnt like the idea and perceived it as a forced marriage as the bride was not his choice. Apparently at that time Ku was already in love with my mother who often visited her aunt, who was also living in Panji, Kota Bharu. My grandfather, whom I believed was a hot-tempered man, went bursting with anger as he already chose the bride who probably was a daughter of his friend or close relative. Ku eventually ran away from the house and took up the military service. I remember a scar somewhere at the bottom left of his back. According to Ku, it was from a communist bullet in a gunfight somewhere in Negeri Sembilan. He survived the fight and swam through a swamp with a badly injured friend. Im not that sure why he went absent without leave but my mother narrated how Ku shaved himself bald and was working in a Chinese vegetable farm when the military police found him. I vaguely remembered my mothers stories of visiting Ku in places like Kuala Kangsar in Perak, Port Dickson, in Negeri Sembilan and Pengkalan Chepa in Kelantan. I remember Ku worked with the then Public Works Department (now Jabatan Kerja Raya) as a coolie. This was in my very early life. I still can remember waving him goodbye, when the PWD lorry came and off he went in the back of the lorry with the other men. On payday, he brought home roti canai and murtabak. I saw square copper coins with King Georges image. I came to believe that Ku was working hard to make his ends met. Ku, at this time, already had a studio-workshop that he built adjacently to the main house. I remember that there was once a barbers chair in the workshop and there were his regulars. I believed somehow the barber of Ku was a short-lived enterprise, as I also remember he sold off the barbers chair. He was also a rubber-taper and a paddy-planter sometime in my early schooldays. We also had one or two cows and a few goats. Ku kept fighting-cocks for leisure, and we had a chicken coop. We never bought eggs and chickens. The Artist and His World. Ku was a quiet man. More of an introvert, I guess. He would only be alive with conversations on topics that were dear to him_ the arts. As far as I can remember, Ku would be always in his studio-workshop, even during nighttime and public holidays. The studioworkshop, in some ways, had become a sort of a holy place for him. Tepat kherjo ni peting sangak. Kalu tepak kherjo tak seleso, kherjo kito pun jadi tidok molek.(The working place is tremendously important. If its not conducive or comfortable, our works also may get affected.) Ku told me many times about this, especially when I was called to cleanup the studio-workshop. He was very particular about his ranges of tools. There were trays of small tools that he made himself, to tailor his fine carvings on hardwood, ivory and other materials. Other materials! There

was once an elephant tooth brought by his friend to make a keris hilt! There were at least five sets of chisels and gouges. There were all kind of saws and saw-blades, planes, hammers, clamps and etceteras. I had to oil the regular tools, swept the floor, and opened up the studio-workshop during my school holidays. I regretted that the studio-workshop was now gone. It eventually was turned into a storage area for all sorts of things. I often followed him for walks in a small forest nearby our rubber plantation. He would show me all sorts of vegetation and trees. We cut parts of fallen and uprooted trees for whatever things he wanted to do. He also sometimes set traps for quails. Ku kept a special small garden of herbs and foliages near the studio-workshop for his working references, He would spent hours tending and looking at his plants, which he would later developed and translated them into his carvings. Ku told me that my Tok Ku was also a craftsman, particularly in building houses and carpentry. Ku sometimes followed his father to work, helping to carry the tools and other things. Ku mentioned that Tok Ku was indeed a hot-tempered man and so did his brothers. Ku narrated how one of his uncles built his house single-handedly, simply either he couldnt work with others or others couldnt work with him! Ku actually learned his finer points of craftsmanship whilst in the military prison. He told me of his guru, a very fierce Siamese man who would rained his students with horrible swears if there were wrongs or inaccuracies in whatever designs or projects they were doing. Ku eventually became the Siamese favorite student for his discipline, hardworking, as well as his fine craftsmanship. Sometime in my early schooldays, Ku brought the family to Kuala Terengganu, leaving my two stepsisters, an uncle and me with grandmother in Jerteh. He was attached to some departments, probably with MARA if Im not mistaken, doing his art and crafts works. I was brought to Kuala Terengganu during the school holidays, and again I discovered a small studio or a workplace in the rented house. After some years in Kuala Terengganu Ku brought back the family to Jerteh. He later joined his friends, the brothers Abdul Rahman and Abdul Latiff Long, setting up their woodcarving studioworkshop in Kampong Raja, some eight miles from our house. Ku cycled to Kampong Raja and I used to be the pillion-rider on school holidays. Eventually their partnership broke-up and they all went setting up their own enterprises. Ku then worked in the studio-workshop at the house. Ku was very interested with traditional Malay weaponry, Apart from the tools, equipments and whatnot in the studio-workshop; there were also blades of the keris, badik, parang, golok and swords. He was known for his fine intricate carvings on the weapons hilts and scabbards. He was

like never out of work, there were always people coming to have their golok or parang properly made. There were also occasional visits from his friends like the two Long brothers, and their eldest brother whom I called Ayah Mat, Nik Rashideen and others, including a metal-smith who always came with new blades and other curiosities. The studio-workshop then would be alive with conversations about their arts and other stories. Sometime in the early 1980s, Ku was called to join a woodcarving project by the then Kementerian Kebudayaan, Belia & Sukan (KKBS) in Kuala Lumpur. The project was executed in a spacious studio-workshop in the then Jalan Pekeliling (now Jalan Tun Razak), the Bengkel Seni Hias. Ku eventually brought the family to live in one of the residence quarters at the Bengkel Seni Hias. There were also some twenty Indonesian woodcarvers working and living at the place, specially brought from Jepara, Indonesia for the project. Ku was excited that he came to know other motifs, styles and techniques of woodcarving. I had the opportunity to share his studio-workshop as a sculptor after I graduated sometime in late 1980s. I was working on some wood sculptures with themes derived from the traditional Malay arts. Ku helped me to better understand the aesthetics of the Malays arts. We would talked into the nights with him explaining the meanings underpinning the Malay arts, the woodcarvings in particular. He emphasized that good artists (carvers) must understand nature well as its where we should refer to_ to make the carvings designs better as well as there were lessons of life from nature. The saying, Tumbuh berpunca, punca penuh rahsia; Tajam tidak menunjak lawan; Tegak tidak memaut kawan; Tetapi melingkar dengan mesra (Literally translated by the author as, Growing, from a clandestine origin; Sharp, but not to jerk the enemies; Stand, but not to step on friends; But moving in with peace and tolerance.), which is commonly regarded by traditional Malay carvers as a guiding philosophy in practicing their art, was discussed in great length during the time. The clandestine of live, the secrets, are meant to be discovered, said Ku. Noorhaiza Nordin, who is now a successful woodcarver, some times joined our discussions, or rather the tutorials from Ku. Noorhaiza at the time was working at our studio-workshop. Carvers (artists) must get close to nature. Study how the seedlings grow, day by day, in search for light_ for life. We represented all these life challenges as well as excitements through our designs and of course, our craftsmanship. How we response to others, our friends and enemies, the edges and flows of the foliages should be moving, growing peacefully whilst sowing tolerance with others. Ku passed away in 2000. He was laid to rest at his kampong in Kelantan.

Tokoh Kraf Negara Dan Adiguru Kraf14Latar Belakang Penglibatan Tokoh Dalam Seni Ukiran HalusDitulis oleh : BAHAGIAN PEMULIHARAAN Kategori : Tengku Ibrahim Bin Tengku Wook

Tengku Ibrahim bin Tengku Wook merupakan salah seorang pencinta seni yang menjalankan aktiviti mengukir ukiran halus seperti hulu dan sarung keris, tongkat, katil, rumah dan barangan lainnya. Ukiran halus yang dihasilkan beliau sememangnya tinggi nilai seni mutunya. Sejak dari kecil lagi beliau telah didedahkan dengan teknik-teknik mengukir yang baik daripada ayahnya yang juga merupakan salah seorang pengukir yang masyhur.

Apabila usianya meningkat belasan tahun barulah beliau mula melibatkan diri dengan ukiran halus ini dan mula mendirikan bengkel di belakang rumahnya sendiri. Bengkel yang tidak seberapa ini, dilengkapi dengan peralatan yang baik. Kemampuan Tengku Ibrahim bukan sahaja dari segi pembuatan barangan kraf malah beliau juga mampu melahirkan ataupun mereka cipta peralatan mengukir dengan sendiri. Antara peralatan yang dibuat sendiri adalah seperti pahat, set penebuk lubang, semawar serta menajamkan pahat.

Ilmu yang terdapat pada beliau tidak dipendam begitu sahaja. Pada awal tahun 19701985 beliau mengajar penduduk-penduduk setempat mengukir dan terdapat para pengukir yang kini mahir di bawah bimbingan beliau di antaranya ialah Norhaiza. Selain daripada mengajar penduduk setempat, Tengku Ibrahim juga mengajar belia di bawah jagaan IRDA dan juga pelatih-pelatih di Perbadanan Kemajuan Kraftangan Malaysia.

Kehalusan dan mutu ukiran yang tinggi menjadikan barangan yang dihasilkan beliau meningkat harga dan mempunyai pasaran yang luas. Beliau pernah menghasilkan

ukiran halus untuk Yang Amat Berbahagia Tun Mahathir Mohamad (bekas Perdana Menteri Malaysia), Sultan Azlan Shah, Tuan Haji Haida serta beberapa orang kenamaan lainnya yang tidak dapat diingat oleh beliau.

Penghasilan ukiran beliau juga mendapat tempat daripada agensi-agensi kerajaan seperti Jabatan Perdana Menteri, Muzium Kelantan, Muzium Terengganu, Muzium Negeri Pahang dan kerajaan negara Brunei Darussalam.

Keistimewaan Tengku Ibrahim juga adalah dalam menghasilkan motif-motif menggunakan motif tersendiri dan bunga-bungaan tersendiri. Kejayaan beliau juga terserlah apabila Dato Seri Marina binti Mahathir menghasilkan buku bertajuk The Craft of Malaysia dan beliau adalah seorang tukang kraf yang menjadi pilihan kerana kehalusan produk ukiran yang dihasilkan.

Kemahirannya mengukir dengan cara manual adalah keistimewaan dalam dirinya. Selama penglibatan kira-kira 30 tahun banyak pengalaman yang ditimba menjadi panduan memahirkan lagi bakatnya. Sebagai pewaris kemahiran dari ayahnya, beliau amatlah berbesar hati dan berhasrat menjadikan bidang ukiran halus sebagai warisan generasinya. Beliau juga tidak keberatan mencurahkan ilmunya kepada mereka yang benar-benar berminat. Biasanya masa untuk mengajar secara teori dan cara-cara menghasilkan ukiran halus, diatur pada waktu-waktu tertentu. Beliau juga pernah berkhidmat dengan agensi kerajaan seperti MARA dan Pejabat Kebudayaan dalam bidang ukiran halus.

Pencapaian Tengku Ibrahim memang membanggakan. Berkat kesungguhan, ketelitian dan keinginan yang kuat, beliau kian popular di kalangan peminat-peminat seni ukiran Melayu khususnya dari golongan istana. Sesuailah dengan kebolehan nya itu, maka beliau telah diiktiraf oleh Perbadanan Kemajuan Kraftangan Malaysia sebagai Tokoh Adiguru Kraf 1993.

Allahyarham Tengku Ibrahim Tengku WookAdiguru Ukiran Halus (1995) Tokoh Kraf Negara Ukiran Halus (1998) Negeri : TerengganuAllahyarham Tengku Ibrahim dilahirkan pada tahun 1929 di Kampung Gong Kemuntong, Besut Terengganu. Mula mengukir seawal usia remaja dan mempelajari kemahiran ini dari ayahnya. Beliau yang lebih mesra dangan panggilan Ayah Ku merupakan antara tokoh yang tersohor kepakarannya dalam seni ukiran halus senjata tradisional khususnya kepala keris. Setiap ukiran yang dihasilkan dihiasi dengan motif dan reka corak yang diilhamkan terutamanya dari tumbuh-tumbuhan, awan larat dan bentuk-bentuk geometri. Ayah Ku menyimpul pelbagai falsafah dan firasat dalam setiap reka corak yang dihasilkan. Di samping itu juga, beliau mempunyai kemahiran mereka cipta peralatan mengukir seperti pahat, set penebuk lubang, semawar serta mesin menajamkan pahat. Tengku Ibrahim insan seni yang mempunyai personaliti yang baik dan berwibawa tinggi. Ilmu kemahiran yang diperolehi diperturunkan kepada anak-anak muda yang ingin mendalami bidang ukiran. Hasil ukiran beliau pernah dipersembahkan ke Bawah Duli Yang Di-Pertuan Agong Kesembilan Sultan Azlan Muhibbudin Shah serta mantan Perdana Menteri yang Berbahagia Tun Dr. Mahathir Mohamad. Beliau dilantik sebagai ADIGURU KRAF UKIRAN HALUS pada tahun 1995 dan diiktiraf sebagai Tokoh Negara pada tahun 1998.

Refleksi Saya Muhammad Aliff Bin Ali berasa bersyukur ke hadrat Illahi kerana dengan limpah kurnia-Nya dapat saya menyiapkan tugasan bagi subjek Pendidikan Sivik dan Kewarganegaraan yang diberikan ini dalam masa yang telah ditetapkan.

Saya telah memilih tokoh kraftangan Malaysia iaitu Tengku Ibrahim Bin Tengku Wook sebagai tokoh dalam menyempurnakan tugasan ini. Saya telah mencari artikel mengenai sumbangan Tengku Ibrahim dalam pembangunan negara di buku, akhbar, jurnal, artikel dan internet. Saya juga telah membuat ulasan dan peta minda mengenai sumbangan tokoh ini dalam pembangunan negara untuk tugasan secara individu. Banyak maklumat yang saya perolehi apabila membuat tugasan ini.

Untuk tugasan berkumpulan, saya dan ahli kumpulan berbincang serta bertukar idea mengenai tugasan kami iaitu berkaitan dengan Huraian Sukatan Pendidikan Sivik dan Kewarganegaraan untuk tema Hidup Bersama Di Sekolah Dan Masyarakat untuk pelajar tahun 5. Mula-mula, kami bersama-sama mencari dan mengumpul maklumat di buku, akhbar, jurnal, artikel dan internet mengenai topik integrasi dan perpaduan. Kami juga membuat aktiviti yang sesuai untuk topik yang dipilih. Selepas itu, kami membuat peta minda berkaitan dengan isi kandungan pelajaran yang kami lakukan.

Terdapat banyak manfaat yang saya perolehi apabila melakukan tugsasan ini. Saya dapat menambah ilmu pengetahuan serta dapat mempelajari pelbagai ilmu baru. Saya juga dapat mengaplikasikan ilmu yang saya pelajari di dalam subjek Pendidikan Sivik dan Kewarganegaraan sewaktu menyiapkan tugasan ini. Akhir kata, jutaan terima kasih saya ucapkan kepada pensyarah pembimbing kerana memberi peluang dan banyak membantu saya dan rakan-rakan dalam usaha menyiapkan tugasan yang diberikan. Saya juga ingin mengucapkan terima kasih kepada semua pihak yang terlibat dalam usaha saya menyiapkan tugasan ini.

Rujukan

Buku

1. Marwiyah Abu Kasim, Ana Suhana, Vishalace. (2010), Pendidikan Sivik dan Kewarganegaraan Tahun 5. Dewan Bahasa dan Pustaka

2. Syed Ahmad Jamal. (1992), Rupa dan Jiwa. Kuala Lumpur: Dewan Bahasa dan Pustaka

Internet

http://tokoh-adiguru.blogspot.com/2012/02/sumbangan-tengku-ibrahim-dalam-industri.html http://mdb.terengganu.gov.my/web/guest/desa_ukiran_kayu http://www.kraftangan.gov.my/craft_adiguru/details/25/?menuid=27