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THE TRADITIONAL MALAY ARCHITECTURE:

BETWEEN AESTHETICS AND SYMBOLISM.

1 2
Mohd Sabrizaa Abd Rashid  & Sufian Che Amat

1
Assoc. Professor, Center for Knowledge & Understanding of Tropical Architecture & Interior (KUTAI),
Universiti Teknologi MARA Perak, Malaysia
2
Dept. of Architecture, Faculty of Architecture, Planning & Surveying,
Universiti Teknologi MARA Perak, Malaysia
mohds637@perak.uitm.edu.my  

Abstract
The knowledge on aesthetics is very much related to the discussion on beauty of its related arts and crafts. To
understand a particular design or work of art from the viewpoint of function and related concept, one must first
approach it from the perspective of their aesthetical principles. Thus, the rhetorics behind them, the mood associated
with them are always linked to the work of splendour or beauty that creates the delightful feeling of joy and happiness.
In that respect with regard to the Malay world, it is essential in this aspect because the Malay culture, is rich in its
 beliefs and symbolic practices in the conduct of their day to day activities. The local spiritual beliefs on the mystical
 beings based on animism, Hindu-Buddha and the religion of Islam form a diverse mixture with the traditional thinking
which constantly generate questions on the actual message or meanings behind the construction process and its
elements. This paper discusses the seven aesthetical roof elements of the traditional Malay architecture and the
associated symbolism attached to them. The discusssion is aimed at the aspects of terminology, typology and
symbology related to the aesthetical elements. Findings of the study indicates uniqueness of the overall Malay house as
an important icon of the traditional Malay architecture in relation to design, philosophy, functions and meanings
connected with the cultural background of the local Malays.

Keywords : traditional Malay architecture, aesthetics, symbolism

Introduction
Abdul Aziz (2004:6) rationalised that to understand the symbols in any particular traditional culture, a
knowledge on their particular cultural practices, their  sawarjagat   or world view, their myths and religious
mindsets have to be thouroughly explored. In the architectural context, Rapoport (1982:106) too, reiterated that
the study of the built environment and its architecture must be preceeded with the specific study of the culture and
 practices of its intended users. In other word sufficient study must be undertaken from not only the physical but
also the metaphysical aspects of the creative works with man as the principal focus. Accordingly the word culture
is always an expression of belief either in the form of spoken words of daily practices that results from the soul or
roh of the locals that may or may not exist in the eye of the people as a form of manifesting their internal beliefs
into the reality of everyday lives (Jacob Sumardjo, 2003:337)
Thus, ‘architecture is the manisfestation of the society and their cultural practise. It reflects the society’s way of
life, their belief and philosophy; all encompassing; forms important components in the uniqueness of a culture.’
(Ezrin Arbi,1997). Traditional architecture despite being categorised as primitive, has always been the main
source of references in the social and cultural studies by architects and anthropologists. The architect Rudolfsky
(1964) were vocal in his promoting of the aesthetical elements of the traditional architecture in his book

titled ’Architecture
described traditionalwithout Architects’.
architecture Frank Lloyd
as something Wright,
that lives and famous
evolves for his idea to
in relation on the
’organic
needs architecture’
and natural
requirement of its surrounding, founded on the deeper inner belief. The strength of the traditional architecture has

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always been in the basic principles of materials used and its expression of the site, surrounding and the design of
its spaces.(Oliver, 2003:9-12). of the traditional Malay architecture thus, play a very important role in relation to
the historical facts. According to Waterson (1997) architecture plays a far deeper role in determining the social and
symbolic spaces that reflects the world view than merely a place to live; which is so true in the context of South
East Asia where most of the traditional buildings have some form of meanings and symbolism associated with
them.

The traditional Malay Architecture : an analysis of its asthetical roof elements

With reference to figure 1.0, the scope of this study refers to the seven aesthetical elements within a particular
traditional Malay architecture of the roof wihich are:
a. Tunjuk Langit  
 b. Sisik Naga 
c. Sulur Bayung  
d.  Kepala Cicak  
e.  Ande-Ande 
f.  Peles  TRADITIONAL M ALAY ARCHITECTURE

g.  Tiang Gantung

PHYSICAL  SPATIAL

 
  Anjung
 
 Serambi
 
 Kelek Anak
 
 Rumah Ibu
STRUCTURAL
NON-STRUCTURAL
 
 Pelantar  
 
 Selang  
  Belebas
  Dapur  



  Tetupai
  Jemuran 



   Alang Panjang
   Alang Pendek
  Gelegar
  Tunjuk Langit ARCHITECTURAL AESTHETICS  

  Gegulung
   Dinding    Tunjuk Langit
  Tiang Seri
   Tingkap    Sisik Naga
  Tiang Tongkat
   Pintu    Sulur Bayung
  Rasuk
   Bumbung    Kepala Cicak
  Kasau Lintang
   Tangga    Ande-ande
  Kasau Jantan
   Tebar Layar    Pemeleh
  Kasau Betina
   Tiang Gantung
  Bendul
   Lebah Bergantung
  Jenang
   Papan Cantik
   Kepala Tingkap
   Kepala Pintu
   Gerbang
   Sesiku Keluang
   Pagar Musang

  Kekisi

Fig. 1. Aesthetical elements as basis of study.

a. Tunju k Langit
Other names for tunjuk langit   are buah buton, buah guntung, buah bubun, tajuk rumah, selembayung, sulo
bayung, tanduk buang, silang gunting, mahkota atap, mustika, mastika, mustoko, keting belalang, puncak, coppo’,
 julang ngapak, gonjong.
In the architectural terminology of the Malay house, tunjuk langit  often refers to the two elements which are: i.
the internal structural timber member of the roof, fixed centrally to function as as support for the kayu tulang
bumbung  or alang lintang   (ridge) and kayu naga (‘dragon spine’ or king post) acting as support structures to the
kuda-kuda bumbung   or kasau jantan rumah ibu  (rafters). This arrangement is also refered to as nenaga  or
1
naga-naga; ii. at the tip of the roof or at the top of the buah buton . a timber piece or pointer (kayu tanda) is then

1
With reference to the Rumah Tradisional Negeri Sembilan  by Yaakub Idris (1996), p.176 and glossary in ‘Traditional Malay Wood
Carving’  by Halim Nasir (1987) p.136.

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attached. Based on the abovementioned use of lelangit   or melangit , tunjuk langit   can be elaborated further by
refering to the concept of macrocosmus (alam besar ) and microcosmos (alam kecil ) of the design of the Malay
house. Within the house, the sky (langit ) forms the top of the house (the ceiling and the roof) whilst the first piece
of tunjuk langit  (naga-naga) is often refered to, as pointing to the ‘sky’ internaly ( langit ); whilst the second piece
of tunjuk langit   as another architectural element on the outside tip of the roof pointing towards the real sky. The
typology of tunjuk langit  in general can be further divided into four types according to its shape and design which
are:
i. Jenis Batang  (rod)
This type of tunjuk langit   are formed using a piece of timber in an upright position at the tip of the gable end;
commonly used in houses and palaces in Peninsular Malaysia especially to the architecture of Malay houses in the
state of Perak (bumbung limas) or bumbung limas potong belanda. In general this type can be further categorised
into two basic types; i. hujung tajam (pointed tip), ii. hujung bulat  (round tip).

Fig. 2a
Three versions of
tunjuk langit jenis
batang hujung tajam
(pointed tip)

Fig. 2b
Three versions of
tunjuk langit jenis
batang  with round tip
eg. in Kelantan (left),
Besut middle) dan
Terengganu right)

Yaakub Idris (1996:166) indicated that the carving of a local flower bunga kantan, torch ginger (pheaomeria
imperialis), is used for this type of tunjuk langit . Observation made in Kelantan and Terengganu shows that most
of the traditional styles identified in the East Coast of the peninsular utilises this particular type (round tip) whilst
the pointed tip is more common in the West Coast of the Malay peninsula.

ii. Jenis Bu lat 

 (rounded)
It has been observed that the tunjuk langit jenis bulat , is commonly used on bumbung limas or perabung lima 
(hip) or pyramidal type of roofing called tumpang   that is positioned in the middle and top of the roof. Most are
made of carved timber solids but of late there has been practices found to have used the concrete mix similar to
the one used for the Malay gravestones. Commonly called buah buton  in Kelantan and buah gutung   in
Terengganu.

Fig. 3. Three versions of tunjuk langit jenis bulat   (rounded)

seen in Kelantan and Terengganu.

iii. Jenis Sil ang 

 (scissors cross)
Another type of tunjuk langit  is called the jenis silang  (scissors cross –  fig. 4) often used on bumbung panjang  
type of the Malay house. This type of tunjuk langit  is commonly seen as an extension of the papan layang  (fascia
 board) in a diagonal manner on the gable end of the roof tip. The tip would normally have some form of motifs or
sculpture on it. This type is found commonly in Riau in Sulawesi and also the on the Karo Batak house in
 Northern Sumatera. In Java it is known as atap julang ngapak . In Malaysia its use can be seen at the old mosque
of Tua Langgar in Kota Bahru, Kelantan (1886), at the Balai Besar building in Alor Setar (1904) and also at the
 National Museum in the capital Kuala Lumpur. This type of tunjuk langit  can also be seen in few villages in Sabah

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and Sarawak. In Negeri Sembilan it is also called silang gunting  (Iiterally mean scissor cross) whilst in Sumatera
its called atap lembayung  or selembayung dua kemuncak  as similarly found in Riau, Indonesia.

Figure 4. Tunjuk langit jenis silang.

In the architecture of the Malay house, the diagonal shape is thought to derive from the shape of the buffalo
horn, to the extent that some examples were seen literally with the head of the buffalo stuck to the tip of the roof.
This has been recorded in the North East of India in Northen Thailand, in Batak Karo and Mandaling in Sumatera,
in Pulau Roti and Manggarai in West Flores, Poso in Sulawesi and also in the Bajau villages in Borneo. Waterson
(1997:7-12) noted that the use of the buffalo head or horn as a motif for the tunjuk langit  is closely related to the
animal as part of the culture and belief of the inhabitants of the areas.

Figure 5. Design variations of the tunjuk langit jenis

 silang  commonly found in South East Asia. 
Source : Roxana Waterson,.(1997:11).

iv. Jenis Bunga (floral). 

It is worth noting that similar shape can also be seen on the Shinto house in Ise and Izumo and also on the
imperial palace in Japan. Similar with the rounded tunjuk langit , the floral type is more commonly found on the
bumbung limas or bumbung perabung lima (hip roof) or multi-tiered type of hip roof. Some of the examples seen
are made either of ceramic, engraved corals or copper. This type can be seen in old mosque around Melaka,
2
 Negeri Sembilan in Malaysia and also on the island of Java . Other names for the type are mahkota atap; in
Indonesia it is also called mustika or mustoko or mustoka.
3
Historical findings indicate this type of tunjuk langit   has its root from the mainland China ; hence, some
examples have been found to use the local lotus flower bunga teratai (Nelumbo Nucifera) which also adorns the
top of the pagodas. This statement is further supported by Abdullah Bin Mohamed (1978:35) in his discussion on
the domes of mosques in Melaka where he reiterated that the dome is originally thought of as a flower bud that is
later adapted and shaped into various permutations. It is further divided into two types (see fig. 6) which are the
 pasu kubah (bottom) and the tingkat-tingkat kubah (multi-tiered top).
As a the common flower vessel it consists of the base or the main portion of the vessel (kubah) then comes the
stems together with the branches that ends with the flower itself. This kind of symbolism is also reflected in the
multi tiered domes that are differentiated echoing the location of the tier; as in three, five or six level. Other

2
  See the mosque architecture of Masjid Tengkera, Masjid Kampung Hulu in Melaka, Masjid Lama Nilai in Negeri Sembilan and
Masjid
3
  MasjidAgung Demak,
Kampung Masjid
Hulu, Agung
Melaka Jogjakarta,
is one Masjid
of the oldest Gerisik
mosque diby
built Indonesia.
Chinese muslim as they migrated from China to Melaka,
famous during its time as an anchorage point for merchants during 15 th and 16th century. See Traditional Muslim Architecture in
 Malaysia, Monograph KALAM, UTM. pp.11.

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examples are on the mosques seen in Makassar, Sulawesi where this kind of ornamentation is called coppo  or
 puncak ; as in the pineapple fruit which carries meaning of fertility, wealth and nobility within the Bugis culture of
Gowa in Makassar (Syakir, 1999:234)

Fig. 6. Three variations of the floral tunjuk langit .

b. Sisik Naga.
Other names are kemuncak, naga-naga, puncak rabung . Sisik naga refers to the decorative carvings along the
ridge of a roof ( perabung  and rabung atap).

Fig. 7. Sisik Naga  as

seen on the ridge
( perabung ) of Istana
Jahar, Kota Bharu,
Kelantan.
Source: Case studies. 

Sisik naga
architecture, (literallyand
residential means dragon
religious fin) arein decorative
buildings Indochina, architectural elementsand
Malaysia, Thailand can be foundFindings
Indonesia. in palace
of
images on stone carvings in the twelve century on the walls of temple of Bayon in Angkor Thom near Angkor Wat
in Cambodia and also the temple of Borobodur in Java highlight the importance of  sisik naga as a style in the
architectural language of the region (figure 8.) The design of the temples in China and Indonesia also shows the
use of the mythical dragon motifs along the ridge of the roof ( perabung ). In the context of the traditional Malay
architecture, most of the palaces of the Malay rulers used sisik naga as decorative elements on its roof and called
 puncak rabung  by the writer Halim Nasir (1987:125). The Misa Melayu text by Raja Chulan ibni Almarhum Raja
Abdul Hamid clearly mentioned the use of  sisik naga as one of the important decorative architectural element
used on the palaces of Istana Sultan Mansur Syah, Melaka (1455) and Istana Sultan Iskandar Zulkarnain, Sultan
Perak (1756 to 1770). Other examples can also be found on the design of Istana Kuning (the yellow palace) in
Perak, Istana Balai Besar in Kedah and also Istana Jahar in Kelantan.
There are several reasons for the name  sisik naga. On closer observation however the physical design of the
 sisik naga maybe coincidental; but the shape or design by itself led to the belief that it is an evolution of earlier
designs observed elsewhere in the region such as the temple buildings in China, Indochina and Thailand; for they
denotes strength, power, magical (kesaktian) and supremacy. The Malay culture believes that the mythical dragon
(naga) symbolizes power and might; which explain the fact that the head of the naga (dragon) can also be seen on
the design of the traditional yatch ( perahu) and also the keris  (personal weapon). The arrival of Islam and the
influencing role it plays on the rulers and its population however, forbid this form of figurative elements which is
associated with khurafat  (misplaced thinking on the religion of Islam). This led to the decline in use of the  sisik
naga over the years.

Fig. 8. Image of house as seen on

wall decoration in Bayon, Angkor
Thom in Cambodia in 12th century
BC depicts the sisik  naga and
 pemeleh at the top of the roof.
Source: Kilmann,W. et.al.(1994)

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c. Sulu r Bayung   
Other names are sulo bayung, sayap layang-layang, sayap layangan, ekor Itik, anjong balla’, som. The Kamus
 Dewan defines the word sulur  as: i. the branch of a locally found creeping plants e.g. carang   and julia; ii. the root
that grows from the main trunk of a tree e.g. beringin, ara 3. shoots of a plant e.g. onion 4. a piece of metal wire
4
e.g. a metal spring. Sulur bayung  on the other hands refer to a decorative elements on the roof .
Sulur  means the shoots of an ivy like plant, whereas bayung  is termed as a kind of decoration representing the
5
long beans type of plant . Hence, the term sulur bayung  which means a type of carving that’s cr eeps on the corner
of the roof (the hip). The carvings found on the four corners of a hip roof that look similar to  selembayung   is
called layang-layang  or sayap layangan in the traditional Malay architecture of Riau. Sometimes seen to be made
of ceramic or cement plaster. In the traditional architecture of Bugis Makasar it is also called anjung balla, that
means a decoration on the corner of a roof representing the creeping plants. (Syakir:1999)
Abdullah Mohamed (1978:43-45) suggested, this type of decoration in the traditional Malay architecture,
takes the image of the dragon (naga). Though with the coming of Islam and until recently this form of decoration
has taken a less than obvious shape; but the evolution from the imagery shape of the naga can still be seen on
many architectural elements of the Malay culture. On mosques in Kelantan, Melaka and Java sisik naga and sulur
bayung   adorning the four corners of the roof are called  som. He further reiterates that the  som on the Kampung
Laut mosque in Melaka has the simplest design identified as ekor itik   (ducks tail) compare to  soms  on other
 buildings elsewhere.
The figurative type of  sulur bayung   often takes the form of the head of the mythical dragon ( kepala
naga  or makara) clearly indicates influence of China and Hindu-Buddha. It is believed that such figurative
symbols act as guardians against the evil forces and create fear on the enemies. Abdullah Mohamed (1978:43-45)
added that the signs of the mythical dragon or naga as a powerful being also function as a prevention againts the
act of arrogance (takabbur ) of the builders by the constant reminder of its presence.

Fig. 9. Five designs of the som as seen on mosques (masjid );

from left - Masjid Kampung Laut, Masjid Besar Serkam Tengah,
Masjid Peringgit, Masjid Besar Tengkera dan Masjid
Pengkala Rama.
Source : Abdulah Mohamed

Based on observation there are three typological styles of sulur bayung  that can be classified as (figure 10):

Figure 10 (left to right) Sulur bayung jenis melingkar  as used

on Masjid Wadi Hussein, Teluk Manok, Patani, Thailand; 
 jenis melentik  also called ekor itik  (duck tails) used on Istana
Jahar, Kota Bharu, Kelantan; jenis figura used on a house
(wakaf ) in Tumpat, Kelantan. 

d. Kepala Cicak 
 
There are no other specific names found to date, for this aesthetical element. However, according to Halim
 Nasir (1986:141) defines kepala cicak  as a form of carving symbolizing the head of the common house lizard that

4
 Kamus Dewan (4th.Ed.),  Dewan Bahasa dan Pustaka : Kuala Lumpur. pp. 1539
5
  ibid. pp. 142.

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are fixed to the corner of a bendul, kaki tebar layar, kaki para buang   and the meeting point of tutup atap,
commonly found on traditional Malay houses in Sumatera, Indonesia and Pattani in Thailand. Zulkifli Hanafi
(2000:10) also identified kepala cicak  as a type of end decoration to tumpu kasau or papan meleh. Studies on the
traditional houses of Kerala, India by Indah Widiastuti (2005) also found similar use of kepala cicak  as decorative
6
elements .
Carvings of kepala cicak  are commonly used on houses in the West Coast of Peninsular Malaysia especially in
Kedah, Penang and Perak. There are two types of kepala cicak   which are the ‘L’ type with the end timber pieces
 positioned abutting to one another at corners of the roof eaves (bucu atap) and the ‘I’ type with a single end timber
 piece positioned on chamfered corners of roof eaves (bucu atap) (figure 11a and 11b).

Fig. 11a.
Examples of
kepala cicak  
type‘L’  

Figure 11b
Examples of
kepala cicak  
type ‘I’  

e. Ande-ande.
Other names ande-ande are papan meleh, papan pator, papan cucuran atap, papan kaki atap, kening, papan
tumpu kasau, papan cantik .  Ande-ande is the horizontal decorative timber roof eaves covering the timber rafters
(kayu kasau) Abdullah Mohamed (1985:88) defines ande-ande used on the East coast of Peninsular Malaysia such
as in Kelantan and Pattani in Thailand originated from the word andam-andam  which means a form of
embellishment. There are at least two types of ande-ande which are the  jenis  sekeping papan (single piece type)
with carvings on a single long timber piece and jenis kepingan papan bersusun (multiple pieces) with carvings on
multiple timber pieces arranged side by side.

Fig. 12. Ande-ande jenis papan sekeping  (left) and jenis kepingan

 papan bersusun (right) 

f. Kayu pemeleh  .
Other names for kayu pemeleh are  peles, pemeles, papan layan.Kayu pemeleh  is actually a pair of timber
 pieces located on two fascia ends of a gable roof (tebar layar ). The ones covering kasau lintang  or kasau jantan is
called peles or pemeleh in Kelantan and Terengganu but called papan layang  elsewhere. Kayu pemeleh or peles is
shaped slightly curving and sharpens towards the top as a sign of strength in the design language of houses in

6
 see discussion in Traditional Vernacular Architecture of Kerala in the  Proceeding International Seminar Malay Architecture as
 Lingua Franca at Muzium Nasional Indonesia, Jakarta on 22 –  23 Jun, 2005.

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Kelantan, Terengganu on the East coast and also in Cambodia and Pattani in Thailand. It is said to represent the
heron birds as seen on the local fishermens boats. The bird signify shelter and protection to the seagoings sailors
as well as to the houses.
This notion is also supported by Raja Bahrin (1988:18) in which he adds that comparable motifs are also
found in the mythical characters of the local puppets play; where many curved elements are used similar to the
ones found on the fishermens boats. Abdullah Mohamed (1985:54-61) further argues that kayu pemeleh  is
associated with: i. part of the human body such as the head and the arm and ii. as a symbol of the greatness of god;
also according to him, kayu pemeleh can be described as a piece of kelewang  or parang  (sword), naga and makara 
denoting strength and might. (fig.13)

Fig. 13. Three types of kayu pemeleh; similarly called the

kelewang, ular naga or makara associated with strength and the
might of god. - Abdullah Mohamed (Nakula).
Source: Warisan Kelantan IV. (2001:59)

g. Tiang Gantung.
Other names for tiang gantung   are lebah bergantung, saka bentung, tiang guntung, tiang sotoh.Yaakub Idris
(1996:176) defines tiang gantung   as hanging column (tak jejak bumi) Halim Nasir (1988:10) uses another name;
lebah bergantung   (hanging bees) to describe it in his narration of Kutai houses in Perak; as a style of hanging
column at the end of alang panjang , rumah ibu, that is constructed as a set (left and right) on the bottom of the
gable end of the roof (tebar layar ). It is round in shape the size of the local water vessel ( labu air ) looking very
similar to the bees’ nest. 

Fig. 14. Three types of tiang gantung  : Masjid Wadi Hussein , Patani
(bottom left), Masjid Kampung Laut, Kelantan (middle bottom) dan
rumah di Kuala Terengganu (bottom right).
Source: Case studies and site observations.

On houses in Negeri Sembilan it looks like a small carved hanging column positioned at the tip of the alang
that is supporting the main kasau jantan  serambi  and is called tiang guntung . Also called  saka bentung   in the
traditional Javanese architecture (Yaakub Idris 1996:176). Zambri Hussain (1997) in his writings on the houses of
 Negeri Sembilan terms it as tiang sutoh.
Halim Nasir (1988:10) refers to it as a symbol of power and might of the house and its owner. It is commonly
 believed that if this form of decoration falls, it indicates bad omen to the occupant of the house. Thus to avoid the
 bad omen a gathering or a special ceremony would be held to repositioned the fallen tiang gantung  to its original
 place. It is also believed that the function of the tiang gantung  is to strengthen and act as a lock (kunci) the whole
structure of the house.

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3. Symbolism of the Aesthetical Elements

a. As a status of symbol (darjat )
7
Recent studies on the traditional Malay houses in Perak    established that many houses that that employ the
tunjuk langit   as motifs for decoration are actually owned by wealthy or noble Malays such as orang berada,
orang-orang kaya, penghulu  or representatives of the Sultan. Further study by Evan in Waterson (1997:8)
confirms the original findings that the more elaborate the tunjuk langit   used, the more wealthier or noble the
owner is in the society. In Japan similar decorations (tunjuk langit jenis silang ) are only found or allowed to be
used on religious buildings (Waterson, 1997:11).

b. As a symbol of a warrior (kepahlawanan

pendekar  ).
The used of the spear (tombak   or mata lembing ) as the tunjuk langit   is more widespread in the traditional
Malay house since tombak  is an important weapon that represent strength and might of the user. Traditionally the
tombak   or lembing   is used as the primary standoff weapon by the palace guards other the the keris  (personal
weapon).

c. As a symbol of the existence of a higher being of the spiritual world.

Tunjuk langit   is shaped based of the triangle; and in the Malay world the triangle is believed to embody the
symbol of the mountain ( gunung  Mahameru). This is similar to motifs found on batik  and songket  designs such as
the pucuk rebung  (bamboo shoots), the bodi leaves or the beringin tree as seen in the wayang kulit  (puppet show).
The tunjuk langit  is based on the basic shape of the triangle that is divided according to the size e.g. biggest/lowest,
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smallest/highest reflecting the cosmological belief of the Malays.  

Fig. 15. Basic triangular shape of tunjuk langit.

Abdullah Mohamed (1985:49) further relates, the tunjuk langit jenis bunga  with the heirachical nature
 between the spiritual and the real world; as a flower (bunga teratai) that transform into various shapes; every
levels reflect specific meanings and that the overall design contains spiritual secrets that are hidden from the
normal human being. Others believed that the buah buton (tunjuk langit jenis bulat ) reflect the shape of the stupas
in Buddhism; as if looking at a sitting Buddha meditating as emphasized by the use of the  pelapik   bunga teratai 
shaped like visvapadmasana, often used as a symbol for Buddha. In another text recital of the Riau’s Malay
 selembayung  is referred to as tangga dewa; believed by the local Malays as the steps taken by the dewa, mambang ,
akuan, soko, roh orang sakti (supernatural beings).

d. As a symbol of the protector (penjaga) of the house.

To the Malays the use of tunjuk langit   (buah buton), can prevent the interference from the evil of the
supernatural beings that may affect household members from being disturbed by pelesit (ghost), langsuir  
(poltergeist) from approaching the roof of the house (Ismail Hamid in Afandi Yahya (1995:81) and Najib Dawa
(2007:16).

e. As a symbol of beauty (penyeri ).

Since the location of the tunjuk langit  is at the pinnacle of the roof of the Malay house, it is also considered as
a crown jewel in the belief that it manifests beauty and splendour, of love and affection as recited in the culture of
Malays of Riau. Also as a symbol of pasak atap (confidence) and tahu diri (humbleness).

7
  The study involves 60 houses around Kampung Aji, Bota, Perak. See  Kajian Gaya Kesenibinaan Kg Aji,  Bota, Perak (2003) by
Mohd Sabrizaa Abd Rashid, Ramlah Awi dan Ruzana Kadir, IRDC, UiTM Perak., Seri Iskandar, Perak Darul Ridzuan.
8
  (Abdullah Mohamed, 1978:39-43; see discussions on the triangular shape and its relationships to the mountain in chapter 1.5.4).

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f. As a symbol of fertility.
Agus S. Ekomadyo (2005) implies that the atap  selembayung   in the traditional houses of Riau are based on
motifs of plants that indicate fertility whilst the tunjuk langit  jenis batang which has similarity with a type of plant
that is also called tunjuk langit  or tukod langit  (in Tagalog) Helminthostachys zeylanica often used as a traditional
9
aphrodisiac in Malay society .

4. Conclusion 
This analysis on the aesthetical elements of the traditional Malay architecture establish the use and the
 positioning of the various elements and images are in accordance with findings of Wessing (1978), Eringgton
(1979), Waterson (1990:93), Abd.Rahman Al Ahmadi (2000:81), Sumardjo (2003) and Abd.Aziz Said (2004);
relating to the cosmological idea of the house. It has also been found that most of the Malays believe that the
house as a place to live is a reflectiong of the cosmic order. Most of the population of the Malay achipelago shares
the same belief on the three levels of the cosmological world, alam which are: i. alam atas (top) ii. alam tengah 
(middle) iii. alam bawah (bottom). Alam atas refers to the mystical cosmic world, pure and unadulterated; a place
for the divine being (dewa).  Alam tengah  refers to the place occupies by the common man, whereas the alam
bawah refers to the place where filth and waste occupies only suited for the breeding of animals.
In the Malay world the house is more than just a place to live. Its architecture is often associated with
symbolisms, methaphor, myths and long held beliefs. The siting of the house itself entails elaborate tradition that
includes time, the calculation of months, topography, type of timber species or materials used, orientation,
location of the main entrance and various others as explained in details in the book Tajul Muluk and also in the
manuscripts MSS 741, MSS 1415, MSS 1521, MSS 1849, MSS 2001 of the National Museum of Malaysia. The
manuscript MSS 1521 specifically talks about the doa to be recited during the building of the house. The book
Kitab Abu Ma’syar al Falaki, pp.13 even explains t he calculation method in determining the suitability of the
house in relation to its owner.
The Malays’ traditional practice of beliefs on the  semangat   or aura of the house takes priority over the
questions of merely functionality and building technology. Furthermore the building process involves the physical
and metaphysical worlds where both must exist in harmony for the house to be in a state of unity. Failure to abide
 by the set conditions and practices led the local to believe in the failure of the whole exercise which could
eventually lead to misfortune. This mystical fenomena associated with the ritual and supernatural characteristics is
seen as a requirement and form part of the overall package in the process of construction in the Malay world.
Certain practices related to the above have also been noted specifically by researchers of the Malay cultures and
 practices such as the clasic book Taj-ul-Mulk, Skeat (1967), Halim Nasir (1985), Gibbs (1987), Waterson (1993),
Zulkifli Hanafi (1996), Yaakob Idris (1996) and Abd. Rahman Al-Ahmadi (2000).
According to Abdullah bin Mohamed (1985:55) the house or man in the Malay culture symbolises alam kecil  
(microcosmus) whilst the mosque is seen to represent alam besar   (macrocosmus); in other word, the house
represents the man or tuan rumah (owner). The house is seen as an expression of the owner’s belief or lubuk batin 
(inner soul); manisfested in the the form of the crafted elements; the man as the soul whilst the house as the body
( jasad ). These aesthetical elements such as the intricate timber carvings adorning the Malay house are considered
the ultimate expression of god’s knowledge subsisting in the subconscious mind of the Malay society. Based on
the above understanding the traditional Malay house can be compared to the human body as follows:

Fig. 16.  Comparative study of the house and the human

 body by Abdullah Mohamed. Source: Warisan Kelantan IV

9
  See Zabidi Nawawi (1998), Perubatan Nabawi dan Perubatan Tabi’ie, Pustaka Muda:K.Lumpur.pp. 88.

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The overall construction process of the traditional Malay house reflect a clear manisfestation in the way of life
and understanding of the Malays themselves in relation to man and the natural environment, the spriritual world
and their fellow mankind. The sensitivity of the Malays towards the above highlights the fact that their mental,
 physical and emotional needs can co-exist harmorniously in their daily lives. It is worth noting that all the
decorations in the traditional Malay house are not merely objects of beauty but also as a means to create an
environment of peace and tranquility; and this uniqueness has been clearly observed in the functions and
meanings of the symbolisms attached to the traditional Malay culture and practices.
Thus, culture or way of life very much relates to the soul or roh of the locals that carry symbolic meanings,
often manifested through the everyday practices and expressed in the local built environment as exemplified by
the traditional Malay architecture and their traditional houses. This study proves that the aesthetical elements of
the traditional Malay house do play an important role not only in disseminating the symbolic meanings of its art,
design and construction but most importantly as the foremost elements representing history, cosmological and
religious beliefs of the local Malays; as aesthetical icons and as symbolism of the Malay world.

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