Nilai reka corak motif ukiran kayu yang dihasilkan oleh pandai kraf Bajau Sama di Kota Belud merupakan satu keunikan yang terdapat pada rumpun Bajau di negeri Sabah. Kajian ini membincangkan nilai reka corak yang terdapat pada ukkil motif ukiran kayu Bajau yang bersubjekkan burung atau hidupan di udara sebagai sumber inspirasi. Subjek burung diapresiasikan sebagai reka corak motif ukiran kayu pada senjata tradisional Bajau Sama. Contohnya burung Pimping, ayam (manuk) dan naga. Kajian ini dapat memahami nilai apresiasi panday kahuy Bajau terhadap reka corak ukkil motif bersubjekkan burung dan hubung-kaitnya dengan nilai budaya masyarakat Bajau Sama di Kota Belud. Kajian ini melibatkan proses pengumpulan data primer dan data sekunder. Proses pengumpulan data primer melibatkan temubual bersama adiguru panday kahuy Bajau dan pemerhatian secara langsung terhadap motif ukiran yang dihasilkan. Manakala, pengumpulan data sekunder adalah melalui jurnal dan buku ilmiah berkaitan dengan seni ukiran di alam Melayu. Penulis merujuk teori prinsip seni kraf tradisional Melayu dan kaedah Semantic Differential sebagai proses membuat analisa terhadap motif ukiran kayu. Pemerhatian ini diharap dapat memberi satu pemahaman umum memandangkan kurangnya dokumentasi terhadap makna interpretasi seni ukiran kayu Bajau Sama terutamanya subjek burung.   The value of wood carving motifs design created by the Bajau Sama craftsmens in Kota Belud is one of the uniqueness inherited by the Bajau ethnic groups in Sabah. This study discusses the uniqueness of Bajau wood carving motifs design with a bird as its source of inspiration. The subject of birds is appreciated in the design of Bajau traditional weapons. Birds that are used include burung Pimping, roasters (manuk) and dragons (naga). This study interpretes the value of Bajau woodcarvers in the design of bird-based motifs and their relationship to the cultural value of the Bajau Sama community in Kota Belud. This study has applied the process of collecting primary and secondary data. The primary data involved interviews with Bajau woodcarvers and observation of the carved motifs. Meanwhile, secondary data were collected from rjournals and books related to the art of wood carving in Malay world. The authors apply the principles of traditional Malay art and craft and the Semantic Differential method in analyzing the wood carving motifs. This observation is expected to provide a general understanding in the effort to fill in the literature gap of documentation and interpretation of the Bajau Sama motifs design especially on the subject of bird.

The wood carving on the hilt and sheath (taguban) of parang (machete) created by the Bajau craftsmanship in Kota Belud is well-known for its uniqueness across Sabah. This study discusses the stylisation and value of appreciation from the philosophy of Bajau's craftsmanship and the influence of the wood carving motif designs. The subject of birds is interpreted as a pattern in wood carving on either on the hilt, the tagubantaguban (sheath) or bladed weapon. Among the examples of bird's subjects include hornbills, birds, manuk (rooster) and naga (dragons). This study aims to comprehend Bajau's parang weapons, addressing the bird's motif and its connection to mythical and cosmological values and why the study of the values expressed Bajau craftsmanship concerning the principles of Malay aesthetics as it expands the cultural reach of the Bajaus across the Malay Archipelago. This research is conducted through in-depth interviews with Bajau parang craftsmen as well as through participant observation at their workshop and exhibitions. Semantic Differential method is used in the research to understand what the larger community of Bajau craftsmen recognise to be the values inherent in their artform. The authors refer to Zakaria Ali's six principles of Malay aesthetics to understand how the parang-wood carving traditions of the Bajau conform to these principles. It is within this early cosmopolitan history that the bird design motif can be understood as a motif that embodies both local 116 interpretive frames yet also resonant within a broadly comparative cosmology of Islam in the Malay World.

This research utilised the practise-based method of art focussing on the hero’s journey and his inquiry in the search for information and knowledge related to Hikayat Raja Pasai; a Malay mythological narrative, for the conceptual framing within phenomenology and methodology (practise-based research). Therefore, this research unfolds the creative process revealing the gaps in reading the narrative into drawing practise, animation making, and hermeneutic phenomenology method as an important instrument in practise-based research.