ART IN SOCIAL CONTExT ADE675 7B
ART IN SOCIAL CONTExT ADE675 7B
ART IN SOCIAL CONTExT ADE675 7B
MAHANI WAHAB E-PORTFOLIO
ART IN SOCIAL CONTExT ADE675 7B
development of malaysia art
MODEN MALAYSIA 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.
history of modern malaysian painting
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:
– To collect artifacts or modern art works.
– Documentation of all art works.
– Conservation or to keep the works of art in good condition.
– Exhibition all artifacts or contemporary works of art.
Credit to Erhi Arham Azmi
Credit to Erhi Arham Azmi
Credit to Erhi Arham Azmi
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.
the development of modern malaysia art
• 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.
First stage
• 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
![Coconut-Plantation-copy[2].jpg](https://static.wixstatic.com/media/4f385a_9ce8b4b7bd2a4ed78fda2d968a37a1a7~mv2.jpg/v1/fill/w_399,h_265,al_c,q_80,usm_0.66_1.00_0.01,enc_avif,quality_auto/Coconut-Plantation-copy%5B2%5D.jpg)
Coconut Plantation-Dawn (1948)
NANYANG ART STYLE
The Tropicale Life (1959)
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
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 material into a medium suitable for aesthetic expression.
• Derives its theme from the life or rural Malay women who are wearing colourful batik sarongs
Chuah Theah Teng
WEDNESDAY ART GROUP
• ‘The Spirit of the Earth,Water and Aiq ‘ (1958) by Patrick Ng Kah Onn is an endeavour to produce artwork that reflected the local sociocultural 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
Patrick Ng Kah Onn
The Spirit of the Earth,Water and Air 1958
Oil painting
137 x 122cm
ANGKATAN PELUKIS SEMENANJUNG (1956/1957)
Turn a stream of romantic nature indonesia landscape paintings that have been called by the Dutch as "OostIndische Kunst (East India Art). • Characteristics of the work is to describe the subject of Malays women and scenery
Mohd. Hoessein Enas Admonition 1959
Oil painting
110 x 88 cm
• 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 responsible for the training of art teacher candidates as Specialirs Teacher’ 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
EXPRESSIONISM AND ABSTRACT EXPRESSIONISM (1960S – 2000S)
• 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 ‘Bashing In The Sea’ and ‘Payung Biru’ Syed Ahmad Jamal transformed the local naturalistic images into an expressive brushstroke technique.
• He believes that Expressionism art style provides more freedom to artists to decide their actions and decisions.
• In Abstract Expressionism 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.
