HISTORY OF MALAYSIAN

ART

OBJECTIVES
THE STUDENTS SHOULD BE ABLE TO:
1. UNDERSTAND THE DEVELOPMENT OF

MALAYSIAN CONTEMPORAY ART IN

RELATION TO SOCIO-CULTURAL
DEVELOPMENT OF THE COUNTRY.
2. ANALYZE STYLISTIC DEVELOPMENT OF
MALAYSIAN CONTEMPORARY ART.
3. CONDUCT RESEARCH ON MALAYSIAN
CONTEMPORARY ART IN TERMS OF
FORM, CONTENT AND CULTURAL
CONTEXT.

SYLLABUS CONTENT
I.
O
O
O

EARLY MALAYSIAN ART

COLONIAL PAINTERS
PENANG WATERCOLORISTS
NANYANG PAINTERS

II.
O
O

THE PRE-INDEPENDENCE ERA

WEDNESDAY ART GROUP
ANGKATAN PELUKIS
SEMENANJUNG/SEMALAYSIA
CONTEMPORARY BATIK PAINTERS

SYLLABUS CONTENT
III.

THE POST-INDEPENDENCE
ERA

UNIVERSAL STYLE IN MALAYSIAN ART

THE NEW SCENE PAINTERS
ARTWORKS OF THE POST-NATIONAL
CULTURAL CONGRESS: SEARCHING
FOR IDENTITY

O
O

SYLLABUS CONTENT
IV.

THE PLURALIST ERA

PAINTING, SCULPTURE AND

PRINTMAKING
INSTALLATION AND ELECTRONIC ART
NEW MEDIA AND DIGITAL ART

O
O

EVALUATION
OCOURSE

WORK/ASSIGNMENT
: 40%
OFINAL EXAM : 60%
OTOTAL : 100%

TEXT BOOK
O Muliyadi Mahamood, 2007. Modern

Malaysian Art: From the

Pioneering Era to the Pluralist
Era (1930s-1990s). Kuala Lumpur:
Utusan Publication and Distributors
Sdn. Bhd.

MALAYSIAN CONTEMPORARY
ART 1930s-2010
1930s-1960s:
O PENANG WATERCOLORISTS
O NANYANG PAINTERS
O WEDNESDAY ART GROUP
O ANGKATAN PELUKIS SEMENANJUNG
O BATIK PAINTINGS

Abdullah Ariff, 1948. Coconut Plantation-Dawn, water color, 38x56cm.

Georgette Chen, 1960, Mother and Child,

oil paint, 64 x 80 cm

Nik Zainal Abidin, 1959. Wayang Kulit Kelantan, oil paint, 81.6 x 106.7 cm

Mazli Mat Som, 1961. Menanti Nelayan, oil paint, 76 x 92 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

Syed Ahmad Jamal, 1961. Tulisan, oil paint, 33 x 74 cm

Ibrahim Hussein, 1969, My Father and the Astronout.

Sulaiman Esa, Garden of Certainty II, 1995.

Yusof Ghani, 1988. Siri Tari X/88,

Mixed media, 128 x 183 cm

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

MALAYSIAN ART CAN BE TRACED TO

THE PRESENCE OF BRITISH
TRAVELLER-ARTISTS AND THEIR
NATURALISTIC DOCUMENTATIONS OF
THE BEAUTY OF THE LOCAL
LANDSCAPE, RENDERED THROUGH
THEIR SCENIC TOPOGRAPHICAL
VIEWS OF THE PLACE.

BRITISH APPROACH
O RATIONAL AND INVESTIGATIVE

DEPICTION OF REALITY, ARTISTIC

INTERPRETATIONS DIFFERED FROM
EARLIER SYMBOLIC AND RELIGIOCENTRED VIEWS.

BRITISH APPROACH
O THE NATURALISTIC APPROACH TO

DEPICTING NATURE AND THE

ENVIRONMENT WAS INITIALLY
BROUGHT TO THE COUNTRY BY THE
BRITISH MILITARY TRAVELLERARTISTS WHO WERE ASSIGNED TO
MAKE TOPOGRAPHICAL VIEWS OF
THE PLACE DURING THE 18TH AND
19TH CENTURIES.

BRITISH APPROACH
O FEATURED A FOREGROUND, A

MIDDLE GROUND, AND A DISTANT

BACKGROUND.
O INFLUENCED BY ROMANTIC NOTIONS
OF NATURE, HIGHLIGHTING THE
IDYLLIC, THE TRANQUIL AND THE
SCENIC.

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

WATERCOLOUR, CAN BE USED

IN WASH AND GOUACHE
TECHNIQUES, ALLOWED FOR
A VARIETY OF ARTISTIC
STYLES.
O APPLIED EITHER
SPONTANEOUSLY OR IN A
CONTROLLED MANNER.

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,

SEASCAPE, TIN MINE, KAMPUNG,

FIGURES, PADI FIELDS
O MEDIUM: WATER COLOUR
O STYLE: WASH, TRANSPARENT,
NATURALISTIC, IMPRESSIONISTIC.

THE PENANG
WATERCOLOURISTS

ARTISTS:
O ABDULLAH ARIFF
O YONG MUN SEN
O TAY HOOI KEAT
O KUO JU PING
O KHAW SIA

Abdullah Ariff, 1948. Coconut Plantation-Dawn, water color, 38x56cm.

Abdullah Ariff, 1960. Bumi Bahagia-Lombong Bijih Malaya, water color, 36.4x54.1cm.

Yong Mun Sen, 1940. Drying Nets, watercolor, 56x38 cm.

Yong Mun Sen, 1955. Pagi Hari-Dawn, Watercolor, 37x117cm.

Yong Mun Sen, Rumah Atap Di Tepi Laut cat air, 46.7 x 62.1

Khaw Sia, 1958. Menyeberang Sungai, cat air, 49 x 63.7 cm

IMMIGRATION
O BRITISH CONTROL OF THE

ECONOMIC AND SOCIO-POLITICAL

LANDSCAPE GAINED STRENGTH IN
THE 19TH CENTURY THROUGH THEIR
POLICY OF BRINGING IN CHINESE
AND INDIAN LABOURERS TO WORK
IN THE FIELDS AND THE TIN MINES.

IMMIGRATION
O THE ARRIVAL OF ARTISTS FROM

CHINA IN THE 1930s PLAYED A

SIGNIFICANT ROLE IN THE
DEVELOPMENT OF MODERN
MALAYSIAN ART: THE FORMATION
OF THE NANYANG ACADEMY OF FINE
ART IN SINGAPORE IN 1938

NANYANG ACADEMY OF FINE

ARTS
O CONTRIBUTED GREATLY TO THE

LOCAL PAINTING STYLE BY

COMBINING EASTERN AND WESTERN
CHARACTERISTICS

ONANYANG PAINTERS
SINGAPORE, 1938

NANYANG
PAINTERS

O THEME: LANDSCAPE, HUMAN

FIGURES, STILL LIFE

O SUBJECT: LOCAL LANDSCAPE,

TOWN, KAMPUNG SCENES,

LOCAL FRUITS

NANYANG
PAINTERS

O MEDIA: WATER COLOUR, OIL

O STYLE: IMPRESSIONISM, POST-

IMPRESSIONISM, CUBISM, CHINESE

LANDSCAPE PAINTING, MEETING OF
EAST AND WEST

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, 1959. Tropical Life, watercolor, 88.9x45.6 cm.

Cheong Soo Pieng, 1945. Dua Wanita di Tepi Pantai, oil, 93x113cm.

Georgette Chen, 1960, Mother and Child,

oil paint, 64 x 80 cm

Lai Foong Moi, 1959,

Gadis Melayu,
Oil, 36x25.

Cheong Soo Pieng, 1963. Sepanjang Pantai, chinese ink, 77.8x45.6cm.

Lai Foong Moi, 1959.

Morning in the Kampung,
Oil, 39x21.

EDUCATION: LOCAL ART

GROUPS
O THE WEDNESDAY ART GROUP
O ANGKATAN PELUKIS SEMENANJUNG

THE WEDNESDAY
ART GROUP
KUALA LUMPUR, 1952

WEDNESDAY ART
GROUP
O THEME: LANDSCAPE, HUMAN

FIGURES, STILL LIFE

O SUBJECT: LOCAL AND REGIONAL

LANDSCAPES, TOWN, KAMPUNG,

MALAY CULTURE, LITERATURE,
SOCIAL LIFE, CHILDREN, WAYANG
KULIT

WEDNESDAY ART
GROUP
O PRINCIPLE:

ART AS A MEDIUM OF SELF

EXPRESSION

WEDNESDAY ART
GROUP
O MEDIA: WATER COLOUR, OIL,

GOUACHE
O STYLE: POST-IMPRESSIONISM,

CUBISM, PICASSO, IMPASTO,

CARTOON

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

Peter Harris, (1957),.

Tanjung Bidara,
Oil, 49.5x39.5cm.

Peter Harris, 1959.

Joget Moden, oil,
140x90cm.

Ismail Mustam, 1961.

Hang Tuah and Hang
Jebat,
Oil, 122x61cm.

Dzulkifli Buyong, 1964. Paper Boats, pastel on paper, 21x29.

Dzulkifli Buyong, 1962. Murid Sekolah,

pastel

Patrick Ng Kah Onn, 1958. Semangat Bumi, Air dan Udara. Oil, 137x122cm.

Nik Zainal Abidin, 1959. Wayang Kulit Kelantan, oil, 81.6x106.7cm.

Nik Zainal Abidin, 1970. Drupadi, water colour, 22x27.

Nik Zainal Abidin,

1962. Boats,
water colour,
30x15.

OANGKATAN PELUKIS

SEMENANJUNG
(APS)
KUALA LUMPUR, 1956

ANGKATAN PELUKIS
SEMENANJUNG
O PRINCIPLE:

ART AS A MEDIUM TO EXPRESS

CULTURAL VALUES

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, 1958,

Potret Diri,
pastel, 44 x 33.5 cm

Mohd Hossein Enas, 1959. Gadis Melayu,

cat minyak, 90 x 31 cm

Mohd Hoessein Enas, 1959.

Woman Pounding Paddy,
Ht. 58.7cm.

Mohd Hoessein Enas, 1962. Memetik Daun Tembakau di Kelantan. Oil, 96x121cm.

Mohd Hoessein Enas, 1959. Admonition, cat minyak, 110 x 88 cm

Mazli Mat Som, 1961. Menanti Nelayan, oil paint, 76 x 92 cm

Mazli Mat Som, 1963.

Yati,
pastel, 62 x 46.7 cm

Mazli Mat Som, 1964.

Pasar Minggu, oil,
34x28.

Mohd Salehuddin, 1959. Membeli-belah di Kampung, oil, 90x70cm.

Ahmad Hassan, 1963.

Menjirat Jaring, oil,
89x59cm.

Yusoff Hj Abdullah, 1962. Perahu-perahu Pantai Timur, oil, 50x75cm..

Md Sani Md Dom, 1989. Kampung Dasar

Sabak,
cat air, 53 x 72 cm

THE POSTINDEPENDENCE ERA

(1957-1970s)

POST-INDEPENDENCE
ERA : FROM
ABSTRACTION TO
CONCEPTUALISATIO
N

OTHE SEARCH

FOR IDENTITY
1970s-1980s

Modern Malaysian Art

Unlike Western modern art that
developed through a long and
eminent tradition of sculptures,
frescoes and oil paintings, modern
Malaysian art arose from a quest to
find new approaches to depict
nature.

Modern Malaysian Art

Syed Ahmad Jamal writes that the
lack of a great visual tradition
caused Malaysian art to be free from
any constraints. Freedom was the
underlying factor that enabled artists
to fully concentrate on their efforts
to free themselves from old
boundaries (1987: 49).

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

FIGURE, STILL LIFE

O SUBJECT: LOCAL, REGIONAL AND

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

Syed Ahmad Jamal, 1957.

Pohon Nipah (Nipah Palms),
oil, 35x23.

Syed Ahmad Jamal,

1957.
Mandi Laut, oil.
100.5x75cm.

Syed Ahmad Jamal, 1959. The Bait, oil, 48x60.

Syed Ahmad Jamal, 1961. Tulisan, oil, 33 x 74 cm

Syed Ahmad Jamal, 1962.

Harapan. Oil, 209.5x88cm.

Syed Ahmad Jamal, 1963. Perhubungan, oil, 76 x 122 cm

Tay Hooi Keat, 1961.

Plantscape, oil, 34x25.

Abdul Latif Mohidin, 1964, Kesepian, oil, 61 x 90cm

Abdul Latiff Mohidin, 1964. Pago-pago, oil, 100x100.3 cm.

Yeoh Jin Leng, 1963. Rice Fields, oill, 32x40.

Yeoh Jin Leng, 1968.

Trenggan, oill, 50x40.

Ismail Zain, 1966.

Woman Crossing the StreamAfter Rembrandt.
Oil, 48x36.

Ibrahim Hussein, 1960. Octopi I. Oil, 140x145.5cm.

Ibrahim Hussein, 1969. Kekecohan-Tumult. Akrilik, 122.5x152.5cm.

Ibrahim Hussein, 1969, My Father and the Astronout. Oil, 50x76.

Joseph Tan, 1968.

Love Me in My Batik,
Mixed media, 54x36.

O1970s

OTHE SEARCH

FOR IDENTITY
1970s-1980s

ERA OF TRANSITION
O ART BEGAN TO SHIFT FROM

CONVENTIONAL AND ABSTRACT

TOWARDS CONCEPTUAL APPROACH

THE NEW SCENE

ARTISTS
O FOLLOWED A RATHER DIFFERENT

PRINCIPLE OF ABSTRACT ART.

O THEIR WORKS STRESS UPON

STRUCTURAL ASPECTS OF VISUAL

DESIGN .

THE NEW SCENE

ARTISTS
O SHIFT FROM FOCUSING ON INTUITIVE

AND EMOTIONAL MATTERS TO

CONCENTRATING ON WHAT THEY
CONSIDERED TO BE MORE
INTELLECTUAL, IMPERSONAL, NONSYMBOLIC.

THE NEW SCENE

ARTISTS

ARTISTS:
O TANG TUCK KAN
O CHOONG KAM KOW
O SULAIMAN ESA
O REDZA PIYADASA

Tang Tuck Kan, 1969. 49 Persegi49 Squares. Akrilik, 203x203cm.

Tang Tuck Kan, 1971. Squares No. 7. Cat emulsion, 116.2x116.2cm.

Choong Kam Kow, 1969. Vibration. Emulsion on canvas, 212.4x152.4 cm.

EXERCISE:
1)What are the important characterictics of

APS(Angkatan Pelukis Semenanjung)

compare with other groups in Malaysian
Modern Art?
Support your answer with some
examples.
20 marks

Conceptual Art

OTowards A

Mystical
Reality
(1974)

Mystical
Reality

O Provocative works by Redza

Piyadasa and Sulaiman Esa.

O Signified a transition from the

inclination to create works

anchored in expressivism and
abstraction to a new interest
that was more conceptual and
theoretical.

Mystical
Reality
This stylistic and

conceptual shift also in

some way points up new
artistic impulses that as
well related to issues
pertaining to the search
for local identity.

Redza Piyadasa, 1972. Pemandangan Malaysia Teragung,

media campuran, 228 x 177 cm

Redza Piyadasa, 1977. A Matter of Time.

ANAK ALAM
O IN 1974, THE ANAK ALAM

COLLECTIVE, THE FIRST ART

COMMUNITY IN THE COUNTRY, WAS
ESTABLISHED.

O CONSISTED OF APS MEMBERS, THEY

EXPERIMENTED WITH VARIOUS

FORMS OF ARTISTIC PURSUITS,
INCLUDING PAINTING, POETRY AND
THEATER.

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, 1975. Jalan Raya. Oil, 62x105.

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 CULTURAL POLICY

O THE NATIONAL CULTURE OF MALAYSIA

SHOULD BE BASED ON THE ORIGINAL

CULTURE OF THE REGION

O ELEMENTS OF OTHER CULTURES THAT ARE

SUITABLE CAN BE INCORPORATED INTO THE

NATIONAL CULTURE

O ISLAM IS THE MAIN ELEMENT OF THE

NATIONAL CULTURE

THE SEARCH FOR

IDENTITY
O THEME: LANDSCAPE, HUMAN

FIGURE, STILL LIFE, ETC.

O SUBJECT: LOCAL, REGIONAL AND

INTERNATIONAL LANDSCAPES,
HUMAN ACTIVITIES, NATURE,
ABSTRACT, BATIK, MALAY
LITERATURE, TRADITIONAL ARTS.

THE SEARCH FOR

IDENTITY
O MEDIA: OIL, WATER COLOUR,

PASTEL, MIXED MEDIA, COLLAGE,

ETC.
O STYLE: ABSTRACT, SEMI-ABSTRACT,

EXPRESSIONISM, ABSTRACT
EXPRESSIONISM, CUBISM, POSTIMPRESSIONISM, POP ART, ISLAMIC
ART, ETC.

THE SEARCH FOR

IDENTITY
ARTISTS:
O SYED AHMAD JAMAL
O ABDUL LATIFF MOHIDIN
O RUZAIKA OMAR BASAREE
O FATIMAH CHIK
O HASHIM HASSAN
O ANUAR RASHID
O SULAIMAN ESA
O YEOH JIN LENG

Ahmad Khalid Yusuf, 1971.

Alif Ba Ta, suterasaring,
83x65cm.

Ahmad Khalid Yusuf, 1984. Jawi and Nature, akrilik, 176x130cm.

Ruzaika Omar Basaree, 1979.

Siri Dungun, campuran, 171x76cm.

Amron Omar, 1980. Pertarungan II. Oil, 164x182cm.

Syed Ahmad Jamal, 1982-86. Sirih Pinang. Akrilik, 199x199 cm.

Syed Ahmad Jamal, 1999. Semangat Ledang. Akrilik, 203x274.5cm.

Mastura Abdul Rahman,

1990. Tanpa Tajuk: Siri
Dalaman,
arkrilik, 88 x 88 cm

Ahmad Shukri Mohamed,

1992. Cabinet Series,
Mixed media, 183 x 183
cm

Sulaiman Esa, Garden of Certainty II, 1995.

Choong Kam Kow, Form & Structure, (1998).

THE PLURALIST ERA

OMalaysian

Art since
the 1990s

THE PLURALIST ERA

O The Pluralist era refers to the

development of Malaysian art in

the 1990s that witnesses a
variety of styles, approaches
and meanings.

THE PLURALIST ERA

The artists can generally be
divided into three large groups:
O The artists who use traditional art as the

subject of their study

O Those who refer to the aesthetics of Islamic
art
O Those who employ a Western or universal
style in their works

THE PLURALIST ERA

O The Pluralist era refers to the

development of Malaysian art in

the 1990s that witnesses a
variety of styles, approaches
and meanings.

THE PLURALIST ERA

The artists can generally be
divided into three large groups:
O The artists who use traditional
art as the subject of their study
O Those who refer to the
aesthetics of Islamic art
O Those who employ a Western or
universal style in their works

TRADITIONAL ART
O The Interest In Traditional Art Forms

And In The Aesthetics Of Islamic Art

Was An Extension Of Their Reaction
To The National Cultural Congress
(1971) And The Seminar On The
Roots Of Indigenous Art (1979)

ISLAMIC ART
O The Islamic Revival And The

Renewed Interest In The Study

Of Islamic Civilization And
Education Also Influenced The
Development Of Islamic Art And
Values In Malaysia.

WESTERN ART
O the interest in western art

movements that had been

established in the country since the
1930s continued to develop,
supported by the art education
system that was oriented to the
west.

INTEREST IN

TRADITION AND
TRADITIONAL
ART FORMS

Ruzaika Omar Basaree, 1979.

Siri Dungun, campuran, 171x76cm.

Syed Ahmad Jamal, 1975.

Tumpal, songket.
205x103cm.

Syed Ahmad Jamal, 1982-86. Sirih Pinang. Akrilik, 199x199 cm.

Syed Ahmad Jamal, 1999. Semangat Ledang. Akrilik, 203x274.5cm.

Hashim Hassan, 1987. Burung Dajal Mengganas Lagi. Akrilik, 107x90cm.

Hashim Hassan, Mengapa Berbalah, acrylic,

(1990).

Khatijah Sanusi, 1992.

September Siri II,
Batik, 126 x 180 cm

Mastura Abdul Rahman, 1990. Tanpa Tajuk: Siri Dalaman,

arkrilik, 88 x 88 cm

Mastura Abdul Rahman, 1990. Interior No.29, mixed-media, 115x115cm

Mastura Abdul Rahman, House of Flower, House of Harmony, mixed-media, (1999)

Ahmad Shukri Mohamed, 1992. Cabinet Series, Mixed media, 183 x 183
cm

Din Omar, 1991. Nasi Bungkus: Antara Dua Hidangan, mixed media,
214x187cm.

Choong Kam Kow, Form & Structure, (1998).

Awang Damit Ahmad, 1991. Offering, arkrilik dan kolaj, 180 x 177 cm

Jalaini Abu Hassan, 1993. Ikan Kekek. Arang, 135x180cm.

Juhari Said, 1999. Katak Nak Jadi Lembu II, woodcut, 78x80cm.

Jalaini Abu Hassan,. 1998. Himpun, akrilik, 122x152cm.

Bayu Utomo Radjikin, 1991.

Bujang Berani, metal and
Plaster of Paris,
100x97x55cm.

Bayu Utomo Radjikin, The Portrait I, (2006).

Kelvin Chap Kok Leong, 1995.

Bejalai & Pedjaka, mixed-media,
218x153cm.

Redza Piyadasa, (1990). The Haji Family, sutera saring, 119 x

91 cm

Redza Piyadasa, Malaysian Story No. 2, acrylic and collage, (1999).

Haron Mokhtar,
Lagenda Politik Melaka 1,
acrylic, (1994).

Md Sani Md Dom, 1989. Kampung Dasar Sabak,

cat air, 53 x 72 cm

Khalil Ibrahim, 1993. Highland I, cat air, 54 x 74 cm

Joseph Tan, 1990. The Formation Series, akrilik, 178x178cm.

INTEREST IN

ISLAMIC
ART AND
AESTHETICS

Ahmad Khalid Yusuf, 1971.

Alif Ba Ta, suterasaring,
83x65cm.

Ahmad Khalid Yusof, 1993. Oppositions, arkrilik, 94 x 111 cm

Sulaiman Esa, Nurani, media campuran, (1984).

Sulaiman Esa, Garden of Certainty II, 1995.

Sulaiman Esa, 1992.

Garden of Mystery VI,
Mixed-media,
216x157cm.

Raja Zahabuddin Raja Yaacob, 1991. Keagungan Tuhan I. Foto montaj, 97x81cm.

Sharifah Fatimah
Zubir, Mihrab,
(2006).

INTEREST IN

WESTERN
ART
MOVEMENTS

Yusof Ghani, 1988.

Siri Tari X/88,
Mixed media, 128 x 183 cm

Yusof Ghani, 1989. Siri Tari VII/89, mixed media, 122 x 122 cm

Yusuf Ghani, Siri Tari, (1989).

Yusof Ghani, Tari XXI, (1989).

Yusof Ghani, Siri Topeng, (1992).

Yusof Ghani, Kepang

(1997).

Yusof Ghani, Siri Hijau.

Yusof Ghani, 1994. Siri Tari 9, oil, 121.5x121.5cm.

Awang Damit Ahmad, 1991. Offering, arkrilik dan kolaj, 180 x 177 cm

Rafiee Ghani, 1993. Room Of Flowers I, oil, 101 x 92 cm

Awang Damit Ahmad, 1998. Marista Pun-pun, mixed media, 153x183 cm.

Tajuddin Ismail, Moonshadow, (2002).

Khalil Ibrahim, 1990. After Figure. Akrilik, 121x121cm .

Sharifah Fatimah Zubir, 1998. Sri Jingg Indera Kayangan, arkrilik, 183 x 153 cm

Kamarudzaman Md Isa, 1987. Penghargaan Untuk Bapak, Cetakan Komputer, 23x50cm.

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.

Zulkifli Yusoff, MERDEKA 57, (2009).

Hasnol Jamal Saidon, Smiling Van Gogh and Smiling Gauguin (Fashion Parade),
catan akrilik dan animasi komputer, (1997).

Ham Rabeah Kamarun, 1990. Globe, Ceramic, 64x182x121.7cm.

MODERN
MALAYSIAN
SCULPTURE

SCULPTURE
O Unlike painting, the development

of modern sculpture is rarely

studied and written about. This
may explain why sculpture was not
a very popular field, whether at the
beginning of modern Malaysian art
or in the early stages of the
development of modern art in the
world. Yet in the context of
contemporary art today, sculpture
has carved a place for itself.

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

religion created a negative

perception in Malaysia towards
the field of sculpture in general.
Sculpture became unpopular and
restricted, because it was
associated with the worshipping
of idols which is at odds with
Islam.

Sculpture in Malaysia
O In the context of modern

Malaysian art, the late

development of sculpture is
linked to the countrys religious
and cultural background.

Modern Malaysian
Sculpture
O Sculpture is viewed as a form of art

that is related to the exploration of

three-dimensional shapes and to the
formalistic elements of art such as
space, texture, colour, structure, and
surface. These formalistic elements
support certain meanings that
revolve around questions of culture,
art and religion.

Modern Malaysian
Sculpture
O THE DEVELOPMENT OF MODERN ART

HAS BROADENED THE MEANING AND

FUNCTION OF SCULPTURE, CREATING
NEW POSSIBILITIES IN THE
TREATMENT OF FORM AND CONTENT.

Modern Malaysian
Sculpture
O The broadening of the

significance of sculpture and the

nature of modern art that
encourages the exploration of
media have given rise to various
forms of sculpture due to the
artists creative impulses and
their environment.

Modern Malaysian
Sculpture
O Sculpture started to develop in

Malaysia around the 1960s, but only

as an activity secondary to painting.
Most of the artists who produced
sculptures were painters, except
Anthony Lau who is better known as
a sculptor. For this reason, the
analysis of sculpture is related to the
study of painting.

Modern Malaysian
Sculpture
O The sculptures of Syed Ahmad

Jamal, Latiff Mohidin, Cheong

Laitong, Yeoh Jin Leng and Tung Tuck
Kan raise related issues that link
painting to sculpture. These artists
are primarily painters
(T.K. Sabapathy, 1976).

Modern Malaysian
Sculpture
OFIGURATIVE AND

REPRESENTATION
AL SCULPTURES

ANTHONY LAU
O ANTHONY LAU, ONE OF THE

EARLIEST MODERN MALAYSIAN

SCULPTORS
O T.K. Sabapathy suggested that his

sculptures should be viewed through

the elements of representation and
the characteristics of sculpture

ANTHONY LAU
O Anthony Laus attitude of respect for

the materials he uses in his works

must be taken into account, for this
principle influences the form and
content of his works about nature. I
am attracted by materials. An artist
must respect his materials.

Anthony Lau, Djin Api (Fire Jinn),

Wood, (1959).

Anthony Lau, Lembu Liar (Wild Bull),

Stone and cement, (1962), 63x89x56cm.

Anthony Lau, Ayam Jantan,

Welded metal sculpture, (1963).

Anthony Lau, Forest, Iron, (1968).

Anthony Lau, Hasil Laut, Metal, (1968), 63x30x30cm.

Hasil Laut
O Representation of marine life

while displaying the sculptors

understanding of the treatment
of materials. The beauty of the
sculpture is also revealed
through the effect created by
the texture and movement.

Anthony Lau, Lembu Liar (Wild Bull),

Stone and cement, (1962), 63x89x56cm.

Anthony Lau
O The artists firm attitude

towards his materials and the

conventional characteristics of
sculpture have become part of
his contribution to the
development and diversity of the
local sculpture scene.

Modern Malaysian
Sculpture
O The sculptures of Syed Ahmad

Jamal, Latiff Mohidin, Cheong

Laitong, Yeoh Jin Leng and Tung Tuck
Kan raise related issues that link
painting to sculpture. These artists
are primarily painters
(T.K. Sabapathy, 1976).

Syed Ahmad Jamal

O Syed Ahmad Jamals sculpture The

Link (1963) broaches the same

theme as his painting. Syed Ahmad
Jamals approach related twodimensional with three-dimensional
art.

Syed Ahmad Jamal, The Link, Metal, (1963).

1970s
O In general, the lack of

involvement in sculpture so far

among our artists certainly shows
that they have not had much
interest for this multi-faceted
dimension of reality, unlike their
interest in the creation of pretty
pictures to hang on a wall.
(Redza Piyadasa and Sulaiman Esa, Towards A Mystical
Reality, 1974:6).

O THE STATEMENT REPRESENTS A

CHALLENGE TO PAINTERS TO
MAKE THEM MORE AWARE OF
OTHER FORMS OF ART BESIDE
THE PAINTINGS THAT THEY
CONSIDER BEAUTIFUL.

Cheong Lai Tong, 1961.

Penambul, Metal,
123x75x38cm.

William K.K. Lau, 1962. Rihat Tengah Hari, Clay.

Lee Kian Seng, 1973. Manusia Mankind, Welded and cut steel plates, 224x163.5x141cm.

Choong Kam Kow. SEA Thru-Expand, Cat emulsion, (1970).

Choong Kam Kow, 1974. S.E.A. Thru-flow 3, Wood and mixed-media construction, 30x121x15cm.

Abdul Latiff Mohidin, Suria-Langkawi Series,

Oil, 132x51x11cm, (1976).

Lee Kian Seng, 1977.

Of Image Object, Ilussion Off Series Mechanism,
Campuran, 174x174cm.

Redza Piyadasa, 1977. A Matter of Time, Found object, acrylic on plywood, 99x148x122cm.

Late 1970s
O By the late 1970s and soon

afterwards, sculpture started to

develop rapidly and to attract a
lot of attention.

Late 1970s
O The School of Art and Design, ITM,

was one of the institutions

responsible for producing many
famous and skilled sculptures, such
as Zakaria Awang, Ariffin Ismail,
Mad Anuar Ismail, Ham Rabeah
Kamarun, Ramlan Abdullah, Tengku
Sabri Tengku Ibrahim, Zulkifli
Yusof, Raja Shahriman and Bayu
Utomo Radjikin.

Zakaria Awang, 1980. The Path, arca

pemasangan.

Mad Anuar Ismail, 1988. Hulu Keris,

kayu, 45 x 40 x 61 cm

Theme
O From a thematic point of view,

these sculptors interact with

their surroundings, broaching
the issues of religion, culture,
nature and life in general.

OLike paintings,

sculptures are created as

a reaction to the
National Cultural
Congress, the Islamic
revival, and the influence
of universal styles.

OTraditional Malay

woodcarving adopts a
new context and a new
visual language while
retaining its content
and philosophy.

Mad Anuar Ismail, 1991.

Pemain Rebab No.1, Carved wood,
400x240x100cm.

Mad Anuar Ismail, BSLN 1991,

Flight No.2-Rajawali, Wood,
123x89x234 cm.

Mad Anuar Ismail, 1993. Keris Handle,

Besi, 153x62x52cm.

Tengku Sabri Tengku Ibrahim, 1995.

Column XIX, Wood, 208x13x13cm.

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

Raja Shahriman Raja Aziddin, 1991.

Tanpa Tajuk, Welded iron
construction, 237x115x85 cm.

Raja Shariman Raja

Aziddin, 1991.
Watak,media campuran,
145 x 140 x 150 cm

Noor Azizan Rahman Paiman, 1993. Coming Back from North Island Series V, Mixed media, 236x45cm.

Ramlan Abdullah, 1990. Meditation/Gathering, kayu, arca

pemasangan, 250 x 120 cm

Ramlan Abdullah, 1995. Monumenta of Freedom,

Mixed-media, 141x57x51 cm.

Bayu Utomo Radjikin, 1991.

Bujang Berani, metal and
Plaster of Paris,
100x97x55cm.

Azhar Abdul Manan, 1995.

Untitled, Wood,
253x115x23cm.

Political and
Social
Themes

Zulkifli Yusof, 1991. The Power II,

media campuran, 310 x 370 x 700 cm

Zulkifli Yusoff, 1996

Dont Play During Maghrib

Tan Chin Kuan, 1991. Garden,

media campuran, 500 x 500 x 300 cm

Ceramic Sculptors

Ham Rabeah Kamarun, 1990. Globe, Ceramic, 64x182x121.7cm.

Ham Rabeah Kamarun, 1990. Globe, seramik, arca pemasangan

Wong Pey Yu, 1998. Nature Signature III,

Seramik, 173x71x58cm.

Since the 1990s

O Various forms of sculptures

emerged, whether conventional, to

be exhibited in a gallery context,
installations, or environmental
sculptures.

Zulkifli Yusoff, MERDEKA 57, (2009).

Hasnol Jamal Saidon, Smiling Van Gogh and Smiling Gauguin (Fashion Parade), catan akrilik dan animasi komputer, (1997).

Haslin Ismail, The Way It All Works, (2010).

Haslin Ismail, The Way It All Works, (2010) (Pandangan terperinci).

Goh Chiu Kuan, Aiyah... Its Not Mine Lah, (2010).

Aznan Omar, Gerbang, (2010).

Diana Ibrahim, First Aid Kit (V-Love Capsules), (2010).

Suhaidi Razi, Horses Series Kasih Sayang, (2010).

Edrojer Cesidi Anak Rosili, Society for Art, (2010).

Since the 1990s

O In addition to rising interest by

artists, many factors have

contributed to the strengthening
and development of sculpture, like
support from the government and
the private sectors in acting as
patrons of the arts, organizing
competitions, symposiums,
seminars, education, and
strengthening of art education.

MALAYSIAN
PRINTMAKIN
G

Tan Tee Chie, 1953. Membasuh, Woodcut, 35.5x45.5 cm.

Tan Tee Chie, 1961. Menunggu, Woodcut, 38x43cm.

Lee Joo For, 1964.

Penghidupan yang
Pasti, Linocut,
76x51cm.

Abdul Latiff Mohidin, 1968. Imago Senja, Woodcut print, 78.5x99.5 cm.

Long Thien Shih, 1970.

Rupa Barat di Awan dan
Ombak Timur, Sutera
saring, 73x70.5cm.

Long Thien Shih,

1975. Roh-roh
yang
Mentertawakan
Kita, Sutera
saring, 75x70cm.

Lee Kian Seng, 1973. Ying Yang Series-Soul and Form, Batik, 118x81cm.

Ahmad Khalid Yusof, 1971. Alif Ba Ta, Sutera saring, 83x65cm.

Ponirin Amin, 1978. Dalam Sinar Mata Mu, Sutera saring, 51x68cm.

Ponirin Amin, 1979. Di Pentas Mu yang Sepi, Gurisan, 60x94.5 am.

Ponirin Amin, 1990. Surah Yasin, wood print and silk screen, 56x76cm.

Awang Damit Ahmad, 1981. Poskad Kepada Dunia, Etching, 48x65cm.

Kamarudzaman Md Isa, 1987. Penghargaan Untuk Bapak, Cetakan Komputer, 23x50cm.

Ismail Zain, 1988. AlRumi, Cetakan Komputer,

72.3x61.4 cm.

Long Thien Shih, 1991. Untitled, photo etching, 33x43cm.

Juhari Muhd Said, 1991. Tiga Cawan Kopi, woodcut and linocut, 129x97cm.

Juhari Muhd Said, 1999. Katak Nak Jadi Lembu II, woodcut, 78x80cm.

THANK YOU AND GOOD

LUCK..