Mahkota on the Melaka traditional mosques: the study on a visual elements / Raziq Abdul Samat...[et.al]

Melaka had been recognized as a World Heritage City by UNESCO in 2008. Based on UNESCO's website, Melaka (along with George Town) . the historic city of Malaysia have developed over 500 years of trade and cultural exchanged between East and West in the Straits of Malacca .With its government buildings, churches, squares and fortifications, Melaka demonstrates the early stages of this history originating in the 15th century Malay sultanate and the Portuguese and Dutch periods beginning in the early 16th century. The two towns constitute a unique architectural and cultural townscape without parallel anywhere in East and Southeast Asia. Based on previous history, it shows that the development and style of arts .culture and architecture are resulted assimilation of foreign countries such as Portuguese. Dutch and British. For an example , the Melaka traditional mosque, there are a lot of assimilation of Chinese. Sumatra n and Indians influence on the architecture itself. The mosque has its own unique identity compare to other mosques in Malaysia

Sufism in the contemporary art of Malaysia / Dr. Ahmadrashidi Hasan and Dr. Mizan Hitam

Sufism is the higher thought of Islam that venture into the domain of spirituality (bathin). It involved the perfection of the practice (al-syari 'ah) process of the path (al-tariqah), the ideology of the truth (al-haqiqah), the philosophy of the knowing (al-makrifah). The knowing (al-makrifah) involved the process of unifying to gain the unity of practice (tauhidul afal), the unity of character (tauhidul sifat), unity in name (tauhidul asma) and the unifying of the essence (tauhidul Dzat) with the only existing essence (Dzat wajibal wujud). The nobility of the ideology (haat) and the beauty of the experience (zauq) of sufism si only felt among its practitioner. This paper disclosed some of the artists who observed to express Sufism , both ideological and experiential. It discussed the content analysis of their artworks on aspects like image, subject and their meaning from the perspectives of Sufism and also the formalistic aspects which involved the style and visuals. Artists appeared to used the implicit manifestation of expression which involved metaphorical and abstract representation . It is established that there are artists in Malaysia who expressed the ideology of Sufism or expressed the beauty of the spiritual experience of the Sufism

The style and subject of the contemporary Islamic painting in Malaysia of the 80s and 90s. / Ahmadrashidi Hasan, Azian Md. Zain and Abd. Rasid Ismail

This study was carried out with the purpose to investigate the progress and development of art in Malaysia, in particular the Islamic art. The decades of 80s and 90s appeared to be the period of Islamic art resurgence and this study was designed to find out the fact about the resurgence and the influencing factors. The study entailed about the Islamic substance, interest, and the Islamic manifestations of the artworks. Islamic art turn out to be a mainstream in the development of the Malaysian modern art in the 80s and 90s. This is an important occurrence and should be recorded as a historical fact and as document of reference in the future. An observation employing Content Analysis method was carried out to analyze the form and content of the samples. A method of Islamic art analysis method was concluded. 83 samples were collected by using the judgmental sampling methods from a population of 320 artworks of the 80s and 90s created by Muslim artists. Interviews were carried out employing art historian and artists as respondents to collect additional and supportive data regarding development of art in Malaysia. Findings established that decades of the 80s and 90s as the decades of resurgence of Islamic art. The resurgence in art was the result of the Islamic resurgence in Malaysia started with the Malayan nationalism movements before the independence, followed by the drastic government effort in advancing Islamic state of affairs after the independence. The resurgence of Islamic art, in particular, was owing to the role played and effort performed by FSSR, UiTM. Findings established that there is no significant style that could be categorized as style of Islamic art and Islamic art could be expressed in various styles as long as it abided by the Islamic law (syari'ah) or jurisprudence (fiqh). The Islamic manifestations of Islamic art were expressed in 3 approaches i.e. The Obvious Islamic Manifestations, The Hidden Islamic Manifestations, and Exclusive of Islamic Manifestations. These expressions could be perceived through the employment of the title, images and motifs, and the content or meaning of the samples. The key terms of the research were Islamic art, Content Analysis, Obvious Islamic Manifestations, Hidden Islamic Manifestations and Exclusive of Islamic Manifestations

Alam sebagai sumber reka bentuk motif-motif seni hiasan fabrik masyarakat melayu / Abd. Rasid Ismail, Ahmadrashidi Hasan dan Shahariah Mohamed Roshdi

Penyelidikan ini adalah tentang motif-motif fabrik masyarakat Melayu dengan tujuan untuk memperlihatkan keindahan yang terdapat pada motif-motif tersebut dari segi struktur binaan dan maknanya. Tiga jenis fabrik dipilih sebagai sampel kajian, ia itu songket, batik dan tekat. Fabrik tersebut dianggap sebagai yang paling utama. Kaedah analisis dalam kajian ini ialah menggunakan teknik analisis motif dari sudut deslaiptif, analisis, interpretasi dan evaluasi seperti yang dicadangkan oleh Ragan. Attribusi kajian adalah mengambil aspek-aspek visual seperti yang dicadangkan oleh Kumpulan Bahaus yang merangkumi elemen seni visual dan prinsip-prinsip rekaan seni visual. Dalam analisis itu tumpuan diberi kepada aspek binaan, iaitu bagaimana unsur dan prinsip itu digabungjalin sehingga menerbitkan motif yang berkaitan. Di samping itu kajian ini juga meneliti aspek isi, iaitu makna-makna yang terpancar daripada miotif-motif tersebut. Penemuan penyelidikan ini menunjukkan bahawa meskipun orang Melayu yang menjadi pandai tukang dan pereka seni tersebut tidak terdidik secara fomal tentang seni visual tetapi pengetahuan dan kemahiran yang mereka miliki adalah pada tahap yang tinggi. Mutu dan keindahan fabrik tersebut sangat bergantung kepada motif-motif yang dihasilkan oleh tukan atau perekanya. Motif-motif berkenaan juga bukan sahaja indah secara visual tetapi juga memancarkan falsafah dan nilai hidup masyarakat yang mendukungnya. Pemilihan subjek yang selektif dan penampilan motif berkenaan sangat serasi dengan budaya, pemikiran dan gaya hidup Melayu. Penyelidikan ini diharapkan dapat memberi kenyakinan bukan sahaja kepada pereka tetapi juga kepada umum bahawa motif tradisional itu indah dan patut dilestarikan

Malay Symbols In Malaysian Visual Art From 1970 - 2003

A search for national identity in visual art begins from the resolution of National Congress of Culture in 1970s. The congress changed the local artist’s attitude and has developed awareness to in-depth study on Malay culture and Malay symbols. Traditional forms of art such as batik, woodcarving, songket, tales, legends, literature and Malay architecture has provided visual references to the artist and as a result, various styles have emerged from exploring the Malay culture in the context of form and content, which has later reshaped the Malaysian Art scene. The aim of this study is to investigate the development of Malay symbols in the Malaysian Visual Art from 1970s until 2003 and factors that contribute to it. This paper will establish the transformation of idea on the Malay culture and tradition in visual art as the art movement that was neglected in the development of Malaysian Contemporary Art. Observation will be employed, as well as books, catalogues and articles reviewed as references to investigate the development of visual art. The artwork will be examined from the Permanent Collection Inventory from 1958 to 2003 of the National Visual Art Gallery publication. A total of 298 artworks have been identified and using judgmental sampling methods, 72 artworks has been retrieved. The final data were compiled and analyzed using Minitab version 16.2.1.0. The analyses results of histogram and bar chart as well as pareto chart year are used to summarize the findings. The finding indicates that the decades of 90s has appeared to be the most active period of the resurgence of the Malay symbols in Malaysian Visual Art. However in the year 2000 to 2003, studies indicate a decline on the depiction of idea from Malay symbols by Malaysian artist. This research provides information on the development of visual art specifically on Malay symbols in Malaysian Art History and to persuade young artists to persistently utilize Malay symbols in the work of art as to preserve the national heritage

Formalistic as an Analysis Method in Signifying the Malay Cultural Symbol in Malaysian Modern Art of Paintings

In order to appreciate an artwork, beauty is not the main issue to be studied, but instead, it is the elements that make up the beauty. Therefore, to investigate the elements, subjects, forms and meanings are the three aspects in the study of art that are used for such purposes. All these elements are interconnected and cannot be separated because of the unity of an artwork is formed from these elements, and further explained the ideas of artists. Thus, in defining the elements of artwork, it is important to study physical data that function by connecting the context of an artwork. The aim of this study is to examine the symbol of Malay cultural traditions in the context of visual art in Malaysia embodied by local artists as the expression of their cultural ideas. Accordingly, a qualitative descriptive study method has been adopted to identify the forms and meanings of the symbols of Malay cultural traditions in Malaysian visual arts,. Two painting artworks from the 1980s and 1990s have been chosen in order to investigate their forms and meanings. After the independence, the symbols of Malay cultural traditions have been embodied by the artists in the search for artistic identity. The results of this study are expected to expose the public generally and art enthusiasts particularly, to appreciate the artworks. Hence, the Malay culture can be well preserved as today's young artists tend to choose the modern universal symbols rather than the symbols of community culture. DOI: 10.5901/mjss.2015.v6n4s2p3