house architectural setting as indication of social status of house patrons and their cultural backgrounds

At all degrees of craftsmanship, rumah tiang dua belas reflect social position, that can be understood only by taking account of the social and cultural contexts in which it exists. Similarly, the fabrication modes of the embellishments carved by the craftsmen are influenced by social and cultural considerations either on their technical or their visual aspects. These modes have been accepted and developed in the Malay dwellings which are occupied by Muslim dwellers. Embellishment within the prominent residences is a tangible customary culture of wealthy Malays in the 19th to 20th centuries. Their homes are not considered full-fledged, if there is a no existence of embellishment. Carved components with beautiful motif are as a representation of traditions, and their application is varied with the socioeconomic characteristics of the houses patrons. Muslim dwellers' status of wealth and social rank are the determinants on the modes of embellishment. Both social status of the house patrons and their cultural backgrounds were linked by the expressions of this particular mode of embellishment. This suggests the importance of aesthetics in their abodes that signify their status and wealth. For example, the components on the walls of Wan Embong’s house of 1800 signify the importance of matching ornament to the residence social status. Wan Embong was a sailor and a descendant of a reputable family due to wealth and deep religious knowledge. Several decades later, the character of the carving design has not changed as appeared in Tahir’s house of 1908.

Wan Embong's House

Tahir's house

Tok Ku Paloh's House 

The long-roofed houses in which the architectural form differs from the other Malay traditional houses give their distinctive distributions of ornate wood carvings especially on the upper section of convex walls. For example, the emplacements of carvings with flora motifs are distributed into distinctive setting position within the walls of Tok Ku Paloh’s house as illustrated in picture visual forms of the components are skillfully crafted and formatted by the craftsmen to fit the house architectural setting and synchronized with the pattern of the components distribution.

In short, the Malay social and cultural aspects are the converging values in architectural ornament and dwelling. Both aspects deal basically with the two laws; tradition and nature. The fabrication of the houses and their woodcarving as embellishment certainly reflects the richness of woodwork in the Malay culture in the past.