Telepuk gold leaf textile art makes comeback
Though nearly forgotten for decades, a growing number of artisans and cultural advocates are breathing new life into this fragile heritage.
Mohd Azwarin Ahmed, 44, is one of the Telepuk crafters from Kuala Terengganu who holds a degree in textile studies from Universiti Teknologi Mara (UiTM).
According to Azwarin, Telepuk garments such as the tanjak and samping are traditionally used for ceremonial attire by royal families and were worn during weddings, coronations and sometimes for newborns.
"Telepuk was never meant for the masses; it was exclusively for palace rituals - uxurious, sacred and highly delicate," he said.
Telepuk's use sharply declined after World War II and was largely abandoned by the late 20th century. The last notable figure to preserve the craft before its recent resurgence was Mak Ngku Azhar Aziz, wife of Royal Professor Ungku Aziz.
Azwarin, a Kuala Terengganu native, explained that crafting Telepuk requires precision and sensitivity.
Gold leaf - which contains genuine gold - must be handled with care.
"The process is deeply dependent on mood, climate and body temperature. Even our breath can damage the gold leaf.
"You can't even switch on a fan during the process as it is very sensitive and crumbles easily. Once it crumbles, the gold leaf can't be used anymore," he said.
Meanwhile, the glue is tested on the skin, usually the arm, to ensure it has the right consistency before being applied to the fabric.
Production is costly due to its materials and labour-intensive nature.
"Some clients start with an RM200 budget, but when they see the mock-up, they often choose to upgrade. I base my design on what they can afford," he said.
Azwarin said that he once made a set of tanjak and samping that cost RM15,000.
The gold leaf is mostly imported from Thailand or Vietnam, as it is unavailable in Malaysia. In Buddhist cultures, it is commonly used for temple offerings and spiritual rituals, which makes it more accessible abroad.
Telepuk is fragile, high-cost and slow in production, major reasons it was overtaken by songket, which is more robust and quicker to produce.
"It is not durable, not washable and fades with friction. Because of that, songket became the preferred ceremonial wear," he added.
The craft is traditionally applied to batik, Bugis weave or imported textiles - never on songket, which already contains gold threads.
"We've never found any historical Telepuk on songket. Songket is made with gold threads, so it is pointless to put gold on top of gold," he said.
Certain motifs such as teluk berantai (locking chains) are markers of royal lineage.
"Only royalty could afford such patterns, which use large amounts of gold leaf. It's a signature of the palace," he said.
Azwarin only discovered Telepuk through a 2017 workshop led by the late National Craft icon Norhaiza Noordin.
"After that, I never looked back. Even without orders, I kept practising to refine my skills," he said.
While there is potential for modernisation, Azwarin insists on preserving traditional methods first.
"We're still in the introduction phase. Awareness must come before mass production; most people still do not know what Telepuk is.
"People have proposed using easier methods such as UV glue and rollers, but for now, we stay conventional," he said.
He believes Telepuk should remain a handcrafted art form, as its authenticity comes from the human touch and slight imperfections that machines cannot replicate.
Recent documentation efforts by Azwarin and his partners include the publication of one of Malaysia's few comprehensive books on the craft, which is available in Bahasa Melayu and English to spark interest locally and internationally.
"This book compiles our research, images and processes. It was used as a reference by the Textile Museum for its three-month Telepuk exhibition last year," he said.
Artefacts from museums in Kedah, Johor, Selangor and Terengganu were displayed, including royal garments and rare motifs, confirming Telepuk's noble heritage.
Azwarin continues to train others, both in-person and online, often supported by royal patrons. While he does not come from a lineage of artisans, his mentor's legacy lives on through him.
"Never say Telepuk is extinct again. It lives, as long as we pass it on, stay true to its spirit, and keep its story alive," he said.
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