cr: my lecturer

1. HISTORY
OF
ART AND DESIGN
By
Assoc. Prof.
Hj. Mohamed Ali Abdul Rahman
&
Erry Arham Azmi
•F A C U L T Y O F A R T A N D D E S I G N , U N I S E L , S E S S I O N 2 0 1 1 / 2 0 1 2
CHAPTER 4 & 5

2. CHAPTER 4: MODERN MALAYSIAN ART
• In order for Malaysian painting to have its
local identity, its must not view itself in
isolation from local artifacts and
architecture.
• Modern Malaysian painting must
establish a link, no only with all kinds of
visual art, but also with other domains of
traditional art.
• The only difference is the artistic
technique and the material used.
• Art, as a part of the larger social activities
of mankind, must not be viewed in terms
of art for art sake only but its must be
interpreted within its historical context.
• It must therefore be interpreted within
historical context. A work of art definitely
reflects the values and world view of the
people in a given society. The relationship
of world view or mode of thinking and
feeling, and form and content, especially
in the Malaysian context is the most
important aspect in building up a
Malaysian identity in art.
4.1 Related Concept of Art, Craft and Values
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

3. • Arts plays a significant role promoting national consciousness and a
Malaysian sense belonging.
• The art forms, not only reflect the values, weltanschaaung, and
aspiration of a culture, but they also are a means of communication
of spiritual feedback to a society.
• The uniqueness of a modern Malaysian art style is that it revolves
within three points of a triangle:-
– Islamic element as the main pre-dominator
– Malay indigenous culture and aesthetic values
– The values and technique from other and western culture, such
as western and other ethnic groups, are interacting and
influencing each other, and thus this result in art works with an
overall Malaysian identity.
(Kongres Kebudayaan Kebangsaan, 1971)
• These aspects are relevant to those three dimensions of values
that C.Kluckhorn (1952) distiguishes as :-
– Dimension of modality
– Dimension of content
– Dimension of Intent
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

4. • Immediately after Malayan independence in 1957, two art institutions
were set up;
• National Museum or Muzium Negara.
• National Art Gallery or Balai Seni Visual Negara.
• The functions of both institutions are:
1.To collect artifacts or modern art works.
2.Documentation of all art works.
3.Conservation or to keep the works of art in good
condition.
4.Exhibition all artifacts or contemporary works of art.
4.2 History of Modern Malaysian Painting
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

5. In 1954 National Art Gallery occupied Dewan Tunku Abdul
Rahman in Jalan Ampang,
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

6. In 1984 it moved to a hotel; Hotel Majestic, in front of old
Malayan railway station.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

7. In 1998 this gallery moved into its permanent building in Jalan
Tun Abdul Razak Kuala Lumpur.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

8. Syed Ahmad Jamal, the director of National Art Gallery
mentioned that this gallery must upholding the tradition
to serve the society and catalyst of new or modern
artworks.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

9. • There are three stages of Modern
Malaysian
• painting development, namely;
– The 1930s and post 2th World War.
– The 1950s and Pre-Independence.
– 1957 and Post-Independence.
• Those water-colourists were amongst
the artists
– who paved the first stage level;
– Abdullah Ariff, Yong Mun Seng, Tay
Hooi Keat, Lim Cheng Hoe,Khaw Sia
and Katherine Sim.
– Examples of works of art dedicated
to them are;
4.3 The Development of Modern Malaysian Art
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

10. • The freshness of the rural
atmosphere at the break of
day.
• The goats wandering and
eating grass mark the
foreground
• Middle and background of
this painting are marked by
two villagers climbing
coconut tree.
• influenced by western
values
4.3 (a) First Stage
Coconut Plantation – Dawn
(1948).
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

11. • Equipment to catch fish for a living is
depicted.
• According to Sabapathy, Nets as a motif
for composing patterns of rythms,
employing techniques derives from
chinese calligraphy
• according to piyadasa many paintings at
that time using the three zones in a
painting is divided into foreground,
middle ground and background.
Normally, foreground presented with
bright colors, while and background is
painted with the colors not very bright.
Fishing Nets
(1949).
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

12. Nanyang Art Style
• Nanyang Style painters attempted a synthesis of several cultural influences
into a piece of artwork.
• It was the combination of;
– Western easel-painting technique.
– Chinese pictorial treatment.
– Local Malayan subject-matter.
• Nanyang Movement marks the transition period between the earlier and
the next stage of Modern Malaysian Art development.
• The synthesis of western technique, Chinese pictorial treatment and local
Malay life can be seen in the painting above: ‘The Tropical Life’ by Cheong
Soo Pieng
Cheong Soo Pieng
The Tropical Life
1959
Watercolout
88.9 x 45.6cm
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

13. 4.3 (b) Second Stage
• Tendency to use local themes in painting led to the search for other
materials, for example, batik to replace the canvas.
• Initiated by a few individual artist such as Chuah Thean Teng, Khalil Ibrahim,
Lee Kiang Seng and Tay Mo Leong
• Chuah Thean Teng was probably the
first artist in Malaysia to convert batik
from a functional fabric matrial into a
medium suitable for aesthetic
expression.
• Derives its theme from the life or rural
Malay women who are wearing
colourful batik sarongs
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

14. Tendency of using local themes in painting
led to the search for batik technique on
plain cloth. This exploration was initiated
by Chuah Thean Teng, Khalil Ibrahim and
so forth. In ‘Feeding Time (1951) Chuah
used wax, canting, dye and plain white
cloth in representing two Malay girls and
their poultry.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

15. •select the scene by east coast as a theme
for his work
•human interaction generally can be seen
in the work of Khalil
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

16. Wednesday Art Group (1952/54)
• Wednesday Art Group
• Establish by Peter Harris
• Among the artists from this group are;
Syed Ahmad Jamal,Patrick Ng Kah Onn,Nik Zainal Abidin, Dzulkifli Buyong
And Grace Sinavayagam.
• most of them had no formal art education
• Every artist expressed his or her self-expression through art works.
• Artists were free to exploit whatever styles and brushstrokes they like.
• Many of them tended to produce art works that reflected socio-cultural
heritage of the people of Malaysia
• ‘The Spirit of the Earth,Water and Air ‘ (1958) by Patrick Ng Kah Onn is an
endeavour to produce artwork that reflected the local socio-cultural
heritage.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

17. Wednesday Art Group (1952/54)
Patrick Ng Kah Onn
The Spirit of the Earth,Water and Air
1958
Oil painting
137 x 122cm
• is an endeavour to
produce artwork that
reflected the local socio-
cultural heritage.
• reflects the warmth eden
and garden in view of
Malaysia landscape.
nature adorn the earth
with vegetation and
inhabited by gods and
goddesses of nature.
• worship the spirit of earth,
water and wind

18. Nik Zainal Abidin derived his ‘Kelantan
Shadow Puppets’ from a Hindu
mythology; about the gathering of the
monkey armies under the command of
Hanuman in the court of Seri Rama.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I
Nik Zainal Abidin
Wayang Kulit Kelantan
1959
Oil painting
81.6 x 106.7cm

19. Angkatan Pelukis Semenanjung (1956/1957)
• Angkatan Pelukis Semenanjung
• (APS) was established in 1957.
• The founder of APS was Hoessein Enas.
• consists of a number of amateur artists and art lovers holds a
Malay school
• Among the artists from this group are;
Idris Salam, Mohd Sallehuddin, Mazli Matsom, Zakarian Noor,
Ahmad Hassan dan Yusof Abdullah
• This movement provides portraits, images and narratives
representing the vigour of the Malay world especially in cultures
and cinemas.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

20. •turn a stream of romantic
nature indonesia landscape
paintings that have been called
by the Dutch as "Oost-Indische
Kunst (East India Art).
•characteristics of the work is to
describe the subject of Malays
women and scenery
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I
Mohd. Hoessein Enas
Admonition
1959
Oil painting
110 x 88 cm

21. •Starting from 1950s, art teacher-trainee
were sent abroad, especially to Great
Britain, to obtain suitable qualification.
•Among them is; Tay Hooi keat, Syed
Ahmad Jamal, Yeoh Jin Leng, Anthony Lau,
Lee Joo For , Ismail Zain and etc.
•These qualified art teachers were then
reponsible for the training of art teacher
candidates at Specialist Teachers’ Training
Institute (STTI).
•Among the art teacher who graduate from
STTI are Ahmad Haji Hashim, Hashim
Hassan, Ahmad Khalid Yusof, Redza
Piyadasa and Chew Teng Beng and have
subsequently establish their reputations of
divers importance both as artists and
teachers in USM and UiTM.
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

22. • In the sixties and seventies, Syed Ahmad
Jamal and others Malaysian artists who had
pursued their art-education in Western
Universities or art institutions abroad
brought homes the Western art styles.
• In ‘Bathing In The Sea’ and ‘Payung Biru’
Syed Ahmad Jamal transformed the local
naturalistic images into an expressive
brushstroke technique.
• He believes that Expressionisme art style
provides more freedom to artists to decide
their actions and decisions.
• In Abstract Expressionisme the artists
manage to escape or move away from
copying and representing the naturalistic
pictures; they definitely have direct form of
mediation which connect their
feeling,thought and imagination through
paintings.
Expressionime and Abstract Expressionisme (1960s – 2000s)
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

23. • Influenced by the style of American pop
artists
• Ready-made object
• Concept of anti-art
• Among the artists are;
Redza Piyadasa, Sulaiman Esa, Tang Tuck Kan
and Chong Kam Kow.
• Exhbition – Towards a Mystical Reality
(August 1974)
Assemblage, Dadaist and Neo Dadaist (1960s – present)
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I
Redza Piyadasa
The Great Malaysia Landscpae
1972
Mixed
228 x 177 cm

24. CHAPTER 5
Malay Form and Content in Modern Malaysian Visual Art
• The important direction in the story of Modern Art in Malaysia is toward a
conscious search for Malay roots.
• The endeavours to include traditional myth, legends and cultural values of the
Malay as being first civilized indigenous people of West Malaysia a most
appropriate action to take In the arts in order to unite the people of Malaysia.
• The non-Malay artists practice their own suku-suku tribal cultural heritage or
sectionalism, they may also adopt the Malay traditional heritage as the major
national identity in art.
• Recognition of Islam as the official religion of Malay which yet does not mean
that all other religions cannot be practiced.
• Malay form and content in Modern Malaysian Visual Art can be viewed to
several matters such as;
 Malay Society and its way of life
 Animism and Hinduism influences
 Arts and Culture
 Mythology and Legend
 Islamic Influence
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

25. Malay Society and its way of life
• Depict in art works the rural life of
Malay people due to several reason,
such as the colorfulness and
fancifulness of their lifestyle and
dresses of clothing.
• Daily activities, traditional dance,
daily life of Malay women – wearing
batik sarung, sanggul, etc.
• Malaysian children- naive charm
and imbued with innocent and
childlike quality .
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

26. Animism and Hinduism influence
• Symbolism and metaphysics in relatively part of the animistic belief that
was adopted by neolithic people.
• Artists creation of a bountiful garden of eden selected from the Malaysia
landscape also is synthesis of iconic of iconic futures culled from the
variety of tradisional Southeast Asia art forms to externalize a private local
myth.
• Hinduism influence – derive from epic literature ,and the projection
miniature statements reflecting personalized symbols.
• Evidence of understanding the influence of Hinduism in Malay society
before the conversion to Islam.
• Animistic belief – believe that there is another world of invisible Malay
beings – Malay pawang, herbs for traditional medication

27. Arts and Culture
• Performance or cultural show in painting
• TraditionaI music instrument , traditional dance,
• Human figure in richly decorated garments and
headgear
• Shadow-play /wayang kulit
• Cultural activities – kite playing, top spining,
malay traditional ceremonies
• motifs
• TraditionaI music instrument
• garments and headgear
• Shadow-play /wayang kulit
• Boats
• Wood carving traditional houses
• Surface decoration- kain songket
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

30. Mythology and Legend
• Also closely related to both Hindu
epics and local mythology
• Epics – Rama, Sita Dewi , Hanuman,
Wak Long Wak Dogol
• Malay mythological storey –
Hikayat Merong Maha Wangsa
• Malay legend- Hikayat Hang Tuah,
Kelahiran Inderaputera
• Myth – gunung ledang
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

32. Islamic Influence
• Islamic calligraphy have always
enjoyed the highest place in the
artistic hierarchy of Islam.
• With the invention of a jawi
typewriter and printing machine
before Second World War, more
Malay literature in Jawi script has
been printed.
• Contemporary calligraphers such as
Syed Abdul Rahman Al-Attas, Haji
Omar Basaree, Hassan Abdul
Rahman and Mohammed Yusof
Abu Bakar only devote their skills
and knowledge to the Seni Khat
A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I

34. A S S O C . P R O F . M O H A M E D A L I A B D U L R A H M A N & E R R Y A R H A M A Z M I