Terrapuri – An Architecture of a Lost Kingdom (Part 2)

TERRAPURI - AN ARCHITECTURE OF A LOST KINGDOM (PART 2)

Pintu Gerbang

"Gunungan" or “Mountain” representing Mount Meru,the adobe of the gods situated at the centre of the iniverse in Hindu-Buddhist mythology.

"Gunungan" also denotes status and power, which is why "gunungan" was found at the entrance of the palace

It also has a sense of welcome and a grand arrival. It is interesting to know that the line or gentle curve at the lower bottom of this style, in Langkasuka design principle interplay of convex and concave lines meeting at the notch to symbolize male and female elements, and denoting unity and harmony in life.

Overall, the design and the curve of Langkasuka "Gunungan" are elegant and proportionate, the master craft and intricate of this design shows the harmony, splendor and sense of welcoming.

Terengganu Classic House

The villa / houses posts raise about 8 feet high of the ground to avoid from flood during monsoon season. 

Traditional Stairs to the Verandah

The Villa

Each villa is named after the places where the houses were purchased and collected by the owner of Terrapuri, Mr Alex Lee. 

Each villa also has its own unique feature such as fishing boats underneath, Chinese Peranakan interior,  various wood carving with floral motifs and patterns  influenced by functions, environments and socio-cultural aspects of Malay society.

The Motifs : Itik Pulang Petang (literally means The Ducks Return in the Evening)

The Motifs : Bunga Jari Buaya (literally means The Flower of Crocodile's Nails)

The Motifs : Pagar Musang (literally means Fox's Fences)

The origin of motif in Malay woodcarving in the Malay Archipelago may date back from the days of the pre-Islamic era that when the Malays were practising Hinduism and Buddhism. The motifs are Kala Makara, Gunungan, Stupa, Garuda and Naga. 

With the arrival of Islam, these motifs were altered in accordance with the requirements of Islam with the arrival of Islam at the end 13th Century. Most of the carvings representing motifs of Kala and Makara were transformed into floral elements. The transformations were also influenced by the craftsman's skill, natural elements, and religious belief and thought.