Professional Documents
Culture Documents
ART
OBJECTIVES
THE STUDENTS SHOULD BE ABLE TO:
1. UNDERSTAND THE DEVELOPMENT OF
SYLLABUS CONTENT
I.
O
O
O
II.
O
O
SYLLABUS CONTENT
III.
THE POST-INDEPENDENCE
ERA
O
O
SYLLABUS CONTENT
IV.
O
O
EVALUATION
OCOURSE
WORK/ASSIGNMENT
: 40%
OFINAL EXAM : 60%
OTOTAL : 100%
TEXT BOOK
O Muliyadi Mahamood, 2007. Modern
MALAYSIAN CONTEMPORARY
ART 1930s-2010
1930s-1960s:
O PENANG WATERCOLORISTS
O NANYANG PAINTERS
O WEDNESDAY ART GROUP
O ANGKATAN PELUKIS SEMENANJUNG
O BATIK PAINTINGS
Nik Zainal Abidin, 1959. Wayang Kulit Kelantan, oil paint, 81.6 x 106.7 cm
MALAYSIAN CONTEMPORARY
ART 1930s-2010
1960s:
O UNIVERSAL STYLE IN MALAYSIAN
PAINTINGS
1970s-1980s:
O THE SEARCH FOR IDENTITY
1990s-2010:
O THE PLURALIST ERA
Awang Damit Ahmad, 1998. Marista Pun-pun, mixed media, 153x183 cm.
MODERN MALAYSIAN
ART: THE PREINDEPENDENCE ERA
(1930s-1957)
THE PREINDEPENDENCE
ERA : FROM
NATURALISM TO
ABSTRACTION
COLONIZATION
O ENGLISH INVOLVEMENT STARTED IN
PENANG (1786)
O STRAITS SETTLEMENTS (PENANG,
MALACCA AND SINGAPORE) (1826)
O PANGKOR TREATY WITH SULTAN
PERAK (1874): APPOINTMENT OF AN
ENGLISH RESIDENT TO ADVISE
SULTAN IN GOVERNMENT AFFAIRS
THE BEGINNING OF
LANDSCAPE PAINTING
O THE BRITISH CONTRIBUTION TO
BRITISH APPROACH
O RATIONAL AND INVESTIGATIVE
BRITISH APPROACH
O THE NATURALISTIC APPROACH TO
BRITISH APPROACH
O FEATURED A FOREGROUND, A
O COLONIZATION
OMODERNIZATIO
N
OWESTERNIZATION
OTHE PENANG
WATERCOLOURIST
S
THE PENANG
WATERCOLOURISTS
OTHEME: LANDSCAPE
OSUBJECT: LOCAL
LANDSCAPE, SEASCAPE,
TIN MINE, KAMPUNG,
FIGURES, PADI FIELDS
THE PENANG
WATERCOLOURISTS
OMEDIUM: WATER
COLOUR
ODUE TO THE EASY
AVAILABILITY OF THE
MEDIUM DURING THE
PRE-WAR YEARS
THE PENANG
WATERCOLOURISTS
O STYLE: WASH,
TRANSPARENT,
NATURALISTIC,
IMPRESSIONISTIC,
BRITISH PICTORIAL
CONVENTIONS, CHINESE
LANDSCAPE TRADITION.
THE PENANG
WATERCOLOURISTS
O STYLE: THE NATURE OF
THE PENANG
WATERCOLOURISTS
STYLE:
O THE PENANG IMPRESSIONISTS (1930)
O ART EXHIBITIONS AT HOTELS,
GOVERNMENT OFFICES AND
SCHOOLS
O THE PENANG CHINESE ART CLUB
(1936)
THE PENANG
WATERCOLOURISTS
STYLE:
O ABDULLAH ARIFF: CONTROLLED
MANNER, NATURALISTIC DETAILS
O YONG MUN SEN: CHINESE TRADITION
OF LANDSCAPE, SPONTANEITY OF
VIGOROUS BRUSHSTROKES.
THE PENANG
WATERCOLOURISTS
O THEME: LANDSCAPE
O SUBJECT: LOCAL LANDSCAPE,
THE PENANG
WATERCOLOURISTS
ARTISTS:
O ABDULLAH ARIFF
O YONG MUN SEN
O TAY HOOI KEAT
O KUO JU PING
O KHAW SIA
Abdullah Ariff, 1960. Bumi Bahagia-Lombong Bijih Malaya, water color, 36.4x54.1cm.
Yong Mun Sen, Rumah Atap Di Tepi Laut cat air, 46.7 x 62.1
IMMIGRATION
O BRITISH CONTROL OF THE
IMMIGRATION
O THE ARRIVAL OF ARTISTS FROM
ONANYANG PAINTERS
SINGAPORE, 1938
NANYANG
PAINTERS
NANYANG
PAINTERS
NANYANG
PAINTERS
ARTISTS:
O LIM HAK TAI
O CHEONG SOO PIENG
O CHEN WEN HSI
O LAI FONG MOI
O GEORGETTE CHEN
Cheong Soo Pieng, 1945. Dua Wanita di Tepi Pantai, oil, 93x113cm.
THE WEDNESDAY
ART GROUP
KUALA LUMPUR, 1952
WEDNESDAY ART
GROUP
O THEME: LANDSCAPE, HUMAN
WEDNESDAY ART
GROUP
O PRINCIPLE:
WEDNESDAY ART
GROUP
O MEDIA: WATER COLOUR, OIL,
GOUACHE
O STYLE: POST-IMPRESSIONISM,
WEDNESDAY ART
GROUP
ARTISTS:
O PETER HARRIS
O PATRICK NG KAH ONN
O CHEONG LAITONG
O DZULKIFLI BUYONG
O SYED AHMAD JAMAL
O NIK ZAINAL ABIDIN
O ISMAIL MUSTAM
Peter Harris, 1956. Rumah Rakit Kuala Lipis, gouache, 38.2 x 48.2 cm
Patrick Ng Kah Onn, 1958. Semangat Bumi, Air dan Udara. Oil, 137x122cm.
OANGKATAN PELUKIS
SEMENANJUNG
(APS)
KUALA LUMPUR, 1956
ANGKATAN PELUKIS
SEMENANJUNG
O PRINCIPLE:
ANGKATAN PELUKIS
SEMENANJUNG
O THEME: HUMAN FIGURE,
PORTRAIT, LANDSCAPE
O SUBJECT: MALAY PEOPLE AND
CULTURE
ANGKATAN PELUKIS
SEMENANJUNG
O MEDIA: OIL, PASTEL, WATER
COLOUR
O STYLE: REALISTIC
ANGKATAN PELUKIS
SEMENANJUNG
ARTISTS:
O MOHD HOESSEIN ENAS
O IDRIS SALAM
O MAZLI MAT SOM
O MOHD SALEHUDDIN
O ABDUL LATIFF MOHIDIN
O SYED AHMAD JAMAL
Mohd Hoessein Enas, 1962. Memetik Daun Tembakau di Kelantan. Oil, 96x121cm.
POST-INDEPENDENCE
ERA : FROM
ABSTRACTION TO
CONCEPTUALISATIO
N
OTHE SEARCH
FOR IDENTITY
1970s-1980s
WESTERN EDUCATION
1950s-1960s
O LOCAL ARTISTS WHO WENT ABROAD
TO STUDY WERE EXPOSED TO THE
WORKS OF EUROPEAN ARTISTS AND
BROUGHT THEIR INFLUENCE BACK BY
INCORPORATING IT INTO THEIR
WORKS.
OUNIVERSAL
STYLE IN
MALAYSIAN
PAINTINGS
(1960s)
UNIVERSAL STYLE
O THEME: LANDSCAPE, HUMAN
INTERNATIONAL LANDSCAPES,
HUMAN ACTIVITIES, NATURE,
ABSTRACT
UNIVERSAL STYLE
O MEDIA: OIL, WATER COLOUR,
PASTEL
O STYLE: ABSTRACT, SEMI-ABSTRACT,
EXPRESSIONISM, ABSTRACT
EXPRESSIONISM, CUBISM, POSTIMPRESSIONISM, POP ART
UNIVERSAL STYLE
ARTISTS:
OSYED AHMAD JAMAL
OTAY HOOI KEAT
OABDUL LATIFF MOHIDIN
OTEOH JIN LENG
OLEE JOO FOR
OIBRAHIM HUSSEIN
OISMAIL ZAIN
O1970s
OTHE SEARCH
FOR IDENTITY
1970s-1980s
ERA OF TRANSITION
O ART BEGAN TO SHIFT FROM
ARTISTS:
O TANG TUCK KAN
O CHOONG KAM KOW
O SULAIMAN ESA
O REDZA PIYADASA
EXERCISE:
1)What are the important characterictics of
Conceptual Art
OTowards A
Mystical
Reality
(1974)
Mystical
Reality
Mystical
Reality
This stylistic and
ANAK ALAM
O IN 1974, THE ANAK ALAM
ANAK ALAM
STYLE:
O DIVERSITY OF QUALITY:
EXPERIMENTAL, EXPRESSIVE,
SURREAL AND INTUITIVE.
ANAK ALAM
ARTISTS:
O ABDUL LATIFF MOHIDIN
O MUSTAFFA HJ IBRAHIM
O ALI RAHAMAD
O ZULKIFLI MOHD DAHALAN
Zulkifli Dahlan, 1977. Satu Hari di Bumi Larangan. Emulsion paint on plywood, 96x144.
NATIONAL CULTURAL
POLICY
MALAYSIAN IDENTITY
O NATIONAL CULTURAL CONGRESS (1971)
O NATIONAL CULTURAL POLICY
NATIONAL CULTURE
INTERNATIONAL LANDSCAPES,
HUMAN ACTIVITIES, NATURE,
ABSTRACT, BATIK, MALAY
LITERATURE, TRADITIONAL ARTS.
EXPRESSIONISM, ABSTRACT
EXPRESSIONISM, CUBISM, POSTIMPRESSIONISM, POP ART, ISLAMIC
ART, ETC.
OMalaysian
Art since
the 1990s
TRADITIONAL ART
O The Interest In Traditional Art Forms
ISLAMIC ART
O The Islamic Revival And The
WESTERN ART
O the interest in western art
INTEREST IN
TRADITION AND
TRADITIONAL
ART FORMS
Ahmad Shukri Mohamed, 1992. Cabinet Series, Mixed media, 183 x 183
cm
Din Omar, 1991. Nasi Bungkus: Antara Dua Hidangan, mixed media,
214x187cm.
Awang Damit Ahmad, 1991. Offering, arkrilik dan kolaj, 180 x 177 cm
Juhari Said, 1999. Katak Nak Jadi Lembu II, woodcut, 78x80cm.
Haron Mokhtar,
Lagenda Politik Melaka 1,
acrylic, (1994).
INTEREST IN
ISLAMIC
ART AND
AESTHETICS
Raja Zahabuddin Raja Yaacob, 1991. Keagungan Tuhan I. Foto montaj, 97x81cm.
Sharifah Fatimah
Zubir, Mihrab,
(2006).
INTEREST IN
WESTERN
ART
MOVEMENTS
Yusof Ghani, 1989. Siri Tari VII/89, mixed media, 122 x 122 cm
Awang Damit Ahmad, 1991. Offering, arkrilik dan kolaj, 180 x 177 cm
Awang Damit Ahmad, 1998. Marista Pun-pun, mixed media, 153x183 cm.
Sharifah Fatimah Zubir, 1998. Sri Jingg Indera Kayangan, arkrilik, 183 x 153 cm
Ahmad Azahari Mohd Noor, 1987. Potret oF Marina Yusof, cat minyak, 162 x 88 cm
Ahmad Fuad Osman, 1993. Aaagghh Get Your Filthy Hand Out of My Face, Akrilik, 278x278cm.
Hasnol Jamal Saidon, Smiling Van Gogh and Smiling Gauguin (Fashion Parade),
catan akrilik dan animasi komputer, (1997).
MODERN
MALAYSIAN
SCULPTURE
SCULPTURE
O Unlike painting, the development
Modern Sculpture
Factors that delayed the
development of modern sculpture:
O The history of modern art is generally
viewed from the perspective of the
development of modern painting.
O The art movements, the aesthetic
values and the criteria applied in
modern art criticism are also based on
painting, not sculpture.
Modern Sculpture
Factors that delayed the
development of modern
sculpture:
O All other factors that supported the
development of modern art, such as
galleries, writings, and patronage
favoured painting.
Sculpture in Malaysia
O The association of sculpture with
Sculpture in Malaysia
O In the context of modern
Modern Malaysian
Sculpture
O Sculpture is viewed as a form of art
Modern Malaysian
Sculpture
O THE DEVELOPMENT OF MODERN ART
Modern Malaysian
Sculpture
O The broadening of the
Modern Malaysian
Sculpture
O Sculpture started to develop in
Modern Malaysian
Sculpture
O The sculptures of Syed Ahmad
Modern Malaysian
Sculpture
OFIGURATIVE AND
REPRESENTATION
AL SCULPTURES
ANTHONY LAU
O ANTHONY LAU, ONE OF THE
ANTHONY LAU
O Anthony Laus attitude of respect for
Hasil Laut
O Representation of marine life
Anthony Lau
O The artists firm attitude
Modern Malaysian
Sculpture
O The sculptures of Syed Ahmad
1970s
O In general, the lack of
CHALLENGE TO PAINTERS TO
MAKE THEM MORE AWARE OF
OTHER FORMS OF ART BESIDE
THE PAINTINGS THAT THEY
CONSIDER BEAUTIFUL.
Lee Kian Seng, 1973. Manusia Mankind, Welded and cut steel plates, 224x163.5x141cm.
Choong Kam Kow, 1974. S.E.A. Thru-flow 3, Wood and mixed-media construction, 30x121x15cm.
Redza Piyadasa, 1977. A Matter of Time, Found object, acrylic on plywood, 99x148x122cm.
Late 1970s
O By the late 1970s and soon
Late 1970s
O The School of Art and Design, ITM,
Theme
O From a thematic point of view,
OLike paintings,
OTraditional Malay
woodcarving adopts a
new context and a new
visual language while
retaining its content
and philosophy.
OTraditional Malay
woodcarving adopts a
new context and a new
visual language while
retaining its content
and philosophy.
Raja Shahriman:
Refers to traditional
Malay weapons such
as the kris and parang
Noor Azizan Rahman Paiman, 1993. Coming Back from North Island Series V, Mixed media, 236x45cm.
Political and
Social
Themes
Ceramic Sculptors
Hasnol Jamal Saidon, Smiling Van Gogh and Smiling Gauguin (Fashion Parade), catan akrilik dan animasi komputer, (1997).
MALAYSIAN
PRINTMAKIN
G
Abdul Latiff Mohidin, 1968. Imago Senja, Woodcut print, 78.5x99.5 cm.
Lee Kian Seng, 1973. Ying Yang Series-Soul and Form, Batik, 118x81cm.
Ponirin Amin, 1978. Dalam Sinar Mata Mu, Sutera saring, 51x68cm.
Ponirin Amin, 1990. Surah Yasin, wood print and silk screen, 56x76cm.
Juhari Muhd Said, 1991. Tiga Cawan Kopi, woodcut and linocut, 129x97cm.
Juhari Muhd Said, 1999. Katak Nak Jadi Lembu II, woodcut, 78x80cm.