Malaysian digital painting: an art historical study / Mumtaz Mokhtar

Malaysian modern painting was established in the 1930s during British colonization. Since that period, artists applied pigments on paper and canvas, using media such as water color, oils, pastel and acrylic paint. With the advent of digital technology, local artists started using computers in their art-making in the 1980s and have become reputable since the Digital Collage exhibition in 1988. In the context of art, digital painting is an extension of the painting concept which refers to new forms involving various types of digital data including vector or raster image, text and sound

A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works

The revolution of media technology offers artists a lot of possibilities to create different art forms. The artist explored and manipulated different media to give different impact in their works since modernism and post modernism period. Malaysia as one of Asian country also committed to art development where artist explore various media in painting including conventional and technological media as well. Digital technology and art movement were developed in two separate segments. In fact, new media art does not establish in art history plot. Therefore, the word digital painting poses an ambiguity to describe its status. The convergence of scientific term and art term called digital painting will be discussed into two sections under conceptual issues and technical issues. In conceptual issues, digital painting will be linked to the ingredient and components of art including the artist, the form, the audience and its surrounding, the subject, and the content. This paper will also discuss what is behind digital painting which includes some technical issues including concept of digital image, the hardware and the software. This paper will confer some Malaysian digital paintings situation and scenario. Subsequently, it summarizes the core elements in digital painting to be implemented in further studies

ART AND CRAFT IN THE ERA OF CREATIVE INDUSTRY IN MALAYSIA

Malaysia is targeted to become a developed county in the year 2020.  This paper aims to establish an ideology that craft is a high art creation that deals with intellectual, careful and meaningful output. In order to develop an inclusive framework about art and craft, this paper reviews the development of craft and art in Malaysia.  The epistemological discussion on the definition of art and craft will offer a fresh spectacle on art and craft as elements that can ensure the success of the creative industry. The combination of art, craft and Malay aesthetics provides more clues on how the creative industry can go about. In addition, several initiatives from Malaysia are presented due to illustrate how Malaysia engineered the country towards 2050.  Creative industries in Malaysia have a very high potential to be developed and should supported by the government as well as the private sector.  This researcher believes that active and dynamic collaboration, new media exploration, cross discipline and innovation will be the crucial issues to be considered in the development of art and craft in the era of creative industry

A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works

The revolution of media technology offers artists a lot of possibilities to create different art forms. The artist explored and manipulated different media to give different impact in their works since modernism and post modernism period. Malaysia as one of Asian country also committed to art development where artist explore various media in painting including conventional and technological media as well. Digital technology and art movement were developed in two separate segments. In fact, new media art does not establish in art history plot. Therefore, the word digital painting poses an ambiguity to describe its status. The convergence of scientific term and art term called digital painting will be discussed into two sections under conceptual issues and technical issues. In conceptual issues, digital painting will be linked to the ingredient and components of art including the artist, the form, the audience and its surrounding, the subject, and the content. This paper will also discuss what is behind digital painting which includes some technical issues including concept of digital image, the hardware and the software. This paper will confer some Malaysian digital paintings situation and scenario. Subsequently, it summarizes the core elements in digital painting to be implemented in further studies

Influence of AEM Model on the Sustainable Development of Traditional Ethnic Handicraft

This study, based on a transcontinental perspective, establishes an AEM model aimed at fostering the sustainable development of ethnic handicrafts. The objective of this model is to facilitate the development of ethnic handicrafts from three dimensions: artistic creation, education, and the market economy, while simultaneously promoting cross-regional integration of ethnic cultures. Throughout the research process, the researcher primarily employed field surveys, literature analysis, and studio research methods

Art throughout the Industrial Revolution and Art Framework for the Industrial Revolution 4.0

This review paper presents the scenario of the revolution in Malaysia. The industrial revolution has changed from Industrial Revolution 1.0 to Industrial Revolution 2.0, Industrial Revolution 3.0 and now its culmination of the Industrial Revolution 4.0. Several documents were reviewed to identify the dynamic framework of art within Industrial Revolution 4.0. With the art framework related is detailed with a component of the artist as co-creator, hybrid types of production and the attribute of a super bright society. Creative humans should refer to several key points to be more prepared, equipped and, realistic, coherent with society 5.0. Keywords: art framework, Industrial Revolution 4.0, society 5.0 eISSN: 2398-4287 © 2022. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open-access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under the responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians), and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v7iSI7.377

Integration between art and science : an art appreciation of Nyawa Light Exhibition / May Tasneem Nor Adzaman, Mumtaz Mokhtar and Alif Haiqal Musa

This study aspires to inform that collaborative artwork between art and science play crucial role in order to bridge the gap between art and science field. This research is to actually meet the objective such as study the contextual analysis based on the selected artwork from the Nyawa’s light exhibition at the same time analyse the formalistic artwork and also interpret the aesthetical content of the selected artwork from Nyawa’s light exhibition. In the present paper, the research method is described by qualitative study through two different methods which are through interview with three different artists from three different categories and through close observation. The findings were that collaborative artwork between art and science exposed the idea of understanding between both fields. Regarding to the statement the research creates a communication platform through artistic visualization on scientific theory that lead to new media exploration based on new ideology and invention

Manuscript of Hikayat Hang Tuah (PNM: MSS 1713): a study of decorative binding and its meaning / Azlini Anuar Tan and Mumtaz Mokhtar

This concept paper attempts to investigate the history of Islamic binding from the point of view of binding structure and decoration motifs in Hikayat Hang Tuah manuscript (PNM: MSS 1713). In this study, binding is defined as a mechanised process of physically folding a sheet of folio. Partially, the process involves folding the sheets together into a number of sections and turning into a codex. In addition to this, the ancient manuscript is written by hand with ink. Also, the association materials in the making of Islamic manuscript used with appropriate organic materials. The difference between western and Islamic binding involves the type of styles, materials and techniques used in the binding. Unlike binding from western style, the style of Islamic binding is influenced by the Arabic world tradition and follows the Islamic principle. The art decoration is inspired by the great dynasty during the Ottoman, Safavid and Mughal era. Generally, the decoration in the Islamic art involves organic motifs, geometry, calligraphy and abstracts. On this subject, one of the famous Malay folktales in Malay World is Hikayat Hang Tuah. In other words, Hikayat Hang Tuah manuscript is the scientific study of the manuscript, the primary examination was mainly focused on the binding structure, materials, technique, and illumination. This is followed by the problem statement which emphasises the diversity of decoration on the form and contents in the Hikayat Hang Tuah, as well as to make comparisons between the manuscripts produced in the east coast of the Malay Peninsula. The aim of this research is to investigate the history of Malay binding from the point of view of its binding structure and its decoration motifs in Hikayat Hang Tuah manuscript (PNM: MSS 1713). It also aims to uncover the philosophical message and its meaning. The methodology used in the analysis was the qualitative methods. The method used in this research varies. The main method is associated with conservation procedure. This procedure involved an examination of the leather, observation on the paper, sampling and sample preparation on the hand-sewn and analysis characteristic on the illumination. Besides, information is received from the library such as journals, books and articles. Other aids in the field study are delivery information from different sources, interviews from the point of geographically and historically perspectives. This research will reveal the significant differences in the origins of the motifs and design elements represented in the Malay world, based on visual and technical arrangements found in the Hikayat Hang Tuah manuscript. Furthermore, the influence of this analysis will serve as a scholarly reference for the comparative and critical analysis from tradition motifs leading into innovative creation from traditional craftwork

A Doctrinal Review of Visual Art from Islamic Religious Institution in Malaysia

This paper aims to gather doctrinal reference regarding visual art from Malaysian Islamic Religious institutions; and to analyze the content of all collections (objective 1) that are related to the presentation of visual art as discussed in the perspective of Islamic Shariah; by using a systematic literature review approach. The findings from the doctrinal report on visual art showed that its discussion revolved only around the explanation of imagery in visual art which involved 6 types of visible subjects. This comprehensive collection will become a guideline in producing visual artwork that comply with Islamic Shariah. Keywords: Doctrinal review; guideline; fatwa; visual art eISSN: 2398-4287© 2020. The Authors. Published for AMER ABRA cE-Bsby e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI3.253

Iconography Underpinning Malaysian Portrait Painting

Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.293