WHAT IS ART?

Definitions

1. An entities intentionally endowed by their makers with a significant degree of aesthetic

interest, often greatly surpassing that of most everyday objects, first appeared hundreds of
thousands of years ago and exist in virtually every known human culture (Davies 2012)
2. such entities are partially comprehensible to cultural outsiders – they are neither opaque
nor completely transparent;
3. such entities sometimes have non-aesthetic – ceremonial or religious or propagandistic –
functions, and sometimes do not;
4. such entities might conceivably be produced by non-human species, terrestrial or otherwise;
and it seems at least in principle possible that they be extra specifically recognizable as such;
5. traditionally, artworks are intentionally endowed by their makers with properties, often
sensory, having a significant degree of aesthetic interest, usually surpassing that of most
everyday objects;
6. art’s normative dimension – the high value placed on making and consuming art – appears
to be essential to it, and artworks can have considerable moral and political as well as
aesthetic power;
7. the arts are always changing, just as the rest of culture is: as artists experiment creatively,
new genres, art-forms, and styles develop; standards of taste and sensibilities evolve;
understandings of aesthetic properties, aesthetic experience, and the nature of art evolve;
8. there are institutions in some but not all cultures which involve a focus on artifacts and
performances that have a high degree of aesthetic interest but lack any practical,
ceremonial, or religious use;
9. entities seemingly lacking aesthetic interest, and entities having a high degree of aesthetic
interest, are not infrequently grouped together as artworks by such institutions;
10. lots of things besides artworks – for example, natural entities (sunsets, landscapes, flowers,
shadows), human beings, and abstract entities (theories, proofs, mathematical entities) –
have interesting aesthetic properties

Definitions From the History of Philosophy

 Plato stated that the arts are representational, or mimetic. Artworks are ontologically
dependent on, imitations of, and therefore inferior to, ordinary physical objects. Physical
objects in turn are ontologically dependent on, and imitations of, and hence inferior to, what
is most real, the non-physical unchanging Forms. Grasped perceptually, artworks present
only an appearance of an appearance of the Forms, which are grasped by reason alone.
Consequently, artistic experience cannot yield knowledge. Nor do the makers of artworks
work from knowledge. Because artworks engage an unstable, lower part of the soul, art
should be subservient to moral realities, which, along with truth, are more metaphysically
fundamental and, properly understood, more humanly important than, beauty. The arts are
not, for Plato, the primary sphere in which beauty operates. The Platonic conception of
 beauty is extremely wide and metaphysical: there is a Form of Beauty, which can only be
known non-perceptually, but it is more closely related to the erotic than to the arts.

 Kant has a definition of art, and of fine art; the latter, which Kant calls the art of genius, is “a
kind of representation that is purposive in itself and, though without an end, nevertheless
promotes the cultivation of the mental powers for sociable communication”. When fully
unpacked, the definition has representational, formalist and expressivist elements, and
focuses as much on the creative activity of the artistic genius (who, according to Kant,
possesses an “innate mental aptitude through which nature gives the rule to art”) as on the
artworks produced by that activity. Kant’s aesthetic theory is, for architectonic reasons, not
focused on art. Art for Kant falls under the broader topic of aesthetic judgment, which
covers judgments of the beautiful, judgments of the sublime, and teleological judgments of
natural organisms and of nature itself. So Kant’s definition of art is a relatively small part of
his theory of aesthetic judgment. And Kant’s theory of aesthetic judgment is itself situated in
a hugely ambitious theoretical structure that, famously, aims, to account for, and work out
the interconnections between, scientific knowledge, morality, and religious faith.

WHAT IS MODERN ART? 

Within the context of art history, the term MODERN ART refers to art theory and practice,
predominantly in Western Europe and North America, from the 1860s to the late 1960s - the period
associated with MODERNISM. Modern Art is defined in terms of a linear progression of styles,
periods and schools, such as IMPRESSIONISM, CUBISM and ABSTRACT EXPRESSIONISM. In general
usage, there is considerable overlap and confusion between the terms MODERN and
CONTEMPORARY, both of which refer to the present and recent past. Modern is a term which has a
broad application depending on the context in which it is used. It can refer to the present or the
contemporary. In terms of social, political and philosophical discourse, modern refers to the period
that began with the Enlightenment in the seventeenth century. More generally, modern can be used
to refer to all things since the early RENAISSANCE. The relative and temporal nature of the term
resists a clear or fixed definition, and is subject to considerable debate in terms of meaning and
timeframe.

The period associated with Modernism, 1860s – 1970s, is characterised by significant social, cultural,
technological and political developments in the western world. Industrialisation, urbanisation, new
technology, the rise of the middle class, the secularisation of society and the emergence of a
consumer culture resulted in new conditions in which art was created, exhibited, discussed and
collected. The open market replaced patronage as the means of financing art, giving artists the
freedom to engage in more experimental and innovative forms of practice. Inspired by new
developments in technology, in particular PHOTOGRAPHY and FILM, traditional practice and
methodologies, including perspective and representation, were discarded in favour of more
experimental approaches, such as ABSTRACTION, resulting in new forms of expression. Such
innovative practice was referred to as AVANT-GARDE, and Modernism comprises a series of
sucessive avant-garde movements, such as Impressionism, FAUVISM and DE STIJL. The modernist
period was characterised by a belief in the progressive tendencies of modernity, evident in
movements such as Cubism, CONSTRUCTIVISM and FUTURISM, and in architecture in the
INTERNATIONAL STYLE and movements such as the BAUHAUS.

During the course of the twentieth century, disillusionment with aspects of the modernist
enterprise: the impact of industrialisation, global war and developments in military technology,
resulted in some artists adopting strategies of disruption and subversion, evident in movements
such as DADA and SURREALISM. Alternatively, some artists resorted to more personalised and
emotional forms of practice, such as the EXPRESSIONIST movements DER BLAUE REITER and DIE
BRÜCKE. After World War II, the centre of Modernism shifted from Europe to America and was
dominated by ABSTRACT EXPRESSIONISM. Underpinned by a theoretical framework of FORMALISM,
which emphasised form rather than content in both the creation and reception of the artwork, this
‘art for art’s sake’ argument contributed to the increased objectification and commodification of the
artwork. Social, cultural and political changes during the 1960s resulted in considerable shifts in arts
practice. Artists were concerned with the increasing commodification of art and the role of the art
institution – the museum or gallery – and its relationship to broader socio-economic and political
processes. Informed by new developments across a range of theoretical and practical disciplines,
such as FEMINISM, POSTCOLONIAL THEORY, PSYCHOANALYSIS and CRITICAL THEORY, and drawing
on earlier strategies of disruption, artists devised new forms of practice, such as temporary, textual,
performative or didactic work, to complicate the perception of the art object as commodity.
CONCEPTUAL artists emphasised the primacy of the idea over the material art object. Rejecting
assumptions about art historical continuity and critical consensus associated with Modernism, artists
pushed out the boundaries of what was possible in the creation, presentation and reception of art.
Experimental forms of practice, such as FLUXUS, MINIMALISM, POP ART and PERFORMANCE ART,
emerged in response to the perceived constraints and limitations of Modernism

Modern art is that which was created sometime between the 1860s and the late 1960s. This
estimate time range is based on rough date ranges established by art historians, art critics,
curators and the like. 
 
In those days it was a very courageous move, shocking audience and critics. Modern art
encompasses numerous movements such as impressionism, expressionism, cubism,
futurism, abstract art, Dadaism and surrealism. Matisse, Pablo Picasso, Piet Mondrian,
Kazimierz Malewicz, Wassily Kandinsky, Francis Bacon and many others.  
 
Modern art and ‘modernism’ was a radical departure from the kinds of art that had gone
before; its rejection of traditional perspective and subject matter was especially innovative. 
 
 

WHAT IS MODERN MALAYSIAN ART? 

Three main factors influenced the early development of modern Malaysian Art, namely
English colonization, the immigration of foreigners, and education.

     The birth of modern Malaysian art is linked to the national modernization process. Indeed,
modernization represents one of the major issues in the discussion of the cultural development of
Malaysian, including visual art, cartoon art, and literature. Modernization is also often seen as a
westernizing process, both from the perspective of from and of meaning of cultural objects and
human behavior.

The story of a modern Malaysia art tradition has, as such, been characterized by multi-ethnic artistic
engagements and endeavors. Its origins are traceable to the early decades of the 20th century. It
may be rightly claimed that the excitement of modern Malaysian art lies in the fact that this
relatively young artistic tradition has continued to mirror aspects of the diverse cultural realities and
also the inevitable societal tensions that might be expected from this progressive, dynamic
Southeast Asian nation.

Since the 18th century, Malaysia, then Malaya, had already been depicted by European travellers
and colonials and Chinese traders. Modern art in Malaysia started circa 1920 with ‘pioneers’ such as
Yong Mun Sen, Abdullah Ariff, Lee Kah Yeow, Khaw Sia, Tai Hooi Keat, andKuo Ju Ping, to name a
few. There were several pre-war art associations in urbancenters which were formed mostly by
Chinese immigrants along with certain Britishexpatriates, for example, the Penang Impressionists
(formed in 1920 in Penang), United Artists Malaysia (formed in 1929 in Kuala Lumpur), Salon Art
StudiesSociety (formed in 1935 in Singapore), and the Penang Chinese Art Club (formed in1936 in
Penang). Only after the 1950s however, did the development of modern artin Malaysia gained
momentum. Not only were more people involved with modernarts, artistic development and
tendencies as this paper will argue, began to beshaped indirectly by the political and social reality of
the country’s plural societyas will be discussed especially among three major groups such as the
Nanyang,Wednesday Art Group (WAG) and Angkatan Pelukis Semenanjung (APS). Thispaper will
discuss the ways that Malaysia’s early form of plural society had directlyor indirectly influenced the
artistic practice among artists in these groups

Gunung Ledang Tanjung Kupang (1978)

Gunung Ledang Tanjung Kupang is a creation of a work of art that involved the relationship of myths
and the legendary of Malay classic literature. This piece was the process of the harmonization of
geometrical shapes, especially triangles, which has immediately became his strength and identity in
the other pieces he created after that, onwards. Syed Ahmad Jamal shared that the story behind this
particular art piece involved his personal experiences. He made it as a symbol and a story that is a
combination of the tragic MAS aeroplane crash that took place in Tanjung Kupang and Malay classic
literature called “Gunung Ledang”. This unfortunate episode happened in Tanjung Kupang in 1978,
which has taken away the lives of all passengers on board, including Syed Ahmad Jamal’s close friend
named Datuk Ali Haji Ahmad, who was the current minister of agriculture in Malaysia at that time.
The terribly sad news took the whole country by surprise. Due to losing a good friend, he was of
course personally affected. Therefore, as a painter, he expressed his emotions, sorrow, sadness and
delicate feelings in a form of a painting. A landscape view with the shape of mountains was his
favourite element whenever he was working and producing art pieces. All paintings produced have
the characteristics and elements of the nature; flora and fauna; this is because he loved drawing
something that feel very close and familiar to his artistic soul and interest. For instance, the symbols
that were often seen in Malay land were the shoots of bamboo (pucuk rebung) and light clouds were
synonym as the symbol of that era’s heritage, were interpreted and abstracted in a drawing. Two
gold and silver lines became the symbolic meaning of Puteri Gunung Ledang’s request; which was,
gold and silver bridges must be built from Melaka to Gunung Ledang. The innovation towards art
and tradition were merged by the usage of his visual language so it became more complex and allow
the possibility of other element or statement that might be the core of the art piece. This piece has
recalled and brought back to mind the meaningful memories inside the artist because 3 different
contexts were combined, which were context in humanity, nature and history

In Gunung Ledang, using a triangle device, the artist presents his viewer with what may be described
as a mountain, hence the Gunung of the title. Yet the triangle stretches from the base of the canvas
through to the last third. Bars construct the triangle, which may be perceived stretching into the
perspectival distance, representing a ladder. The ‘window’ device from ‘Windows in the Sky’ is now
green. At the top of the canvas small green triangles ‘float’. This is one of a series of works, which
the artist has painted about his birthplace, the myths and legends pertaining to there, while
maintaining the depth of symbolism within the artist’s expressionism.

A Malay myth informs that the mountain - Gunung Ledang, previously known as Mount Ophir, in
Johor, was where a beautiful princess (puteri) lived. Having rejected many suitors she eventually
married Nakhoda Ragam, only for the marriage to end in disaster, the death of Nakhoda and the
return of the princess to her mountain - Gunung Ledang.

The triangle from this point on, in Syed Ahmad Jamal’s painting, becomes a leitmotif, a recurring
theme throughout his work. Symbolically, of course, the triangle may come to represent any number
of things. Visually the triangle may depict stability, power, strength, inverted may denote
dynamism. The triangle is the simplest figure to which all polygons may be reduced, and, for some, a
representation of harmony because of that

The painting of Gunung Ledang Tanjung Kupang, 1978 is an artwork where it

has relationship with myths and legends of the Malay literature. This painting
is a process forms tumpal strength or his identity in his paintings for the next
generated. Landscape with a mountain is something that became his favorite
in doing the work, each produced more flora and fauna, and because of that
he loves to paint something very close to his soul. Seven stages in the form of
Gunung Ledang symbolize the belief that trust seven steps to go through to
get to heaven. The green color represents the earth under the blue sky above
it is. Color yellow line at the bottom represents the gold demanded by Puteri
Gunung Ledang from Sultan Mahmud as dowry. According to him, his interest
in literature and culture where the tradition of classical Malay texts such as
Hikayat Abdullah Munshi, Sejarah Melayu, and the Hikayat Hang Tuah has
greatly influenced the approach in colored paintings 20 years later. According
to Syed Ahmad Jamal, this painting has a story involving himself and make it
as a symbol and story coupled between MAS plane crash tragedy in Tanjung
Kupang and Malay literature Gunung Ledang. This unfortunate event
happened in Tanjung Kupang in 1978, has claimed the lives of all passenger
aircraft MAS including a close friend of Datuk Syed Ahmad Jamal Ali Haji
Ahmad, Minister of Pertanian Malaysia at that time. Intention to land in Kuala
Lumpur misses to Tanjung Kupang and this tragedy shocked the nation. As a
painter, he was sensitive and personally affected by the death of his friend, so
he expressed his feelings in the form of work.

Umpan (1959)
‘Umpan’ was especially recognized as a masterpiece by the local and foreign historians and art
critics. Different from ‘Mandi Laut’, the curves were made more aggressive, dramatic and the act of a
bird that was present half transparently, seemed to be on the surface of wavy water, was said to be
a drastic discovery because the elements of shapes and background have completely vanished and
disappeared from one’s sight. However, the presence of the elements can be felt emotionally and
the energy can be enjoyed easily without being questioned. In an art piece like ‘Umpan’, Syed
Ahmad Jamal gave more attention and prioritized the arcs of the shapes, unlike other western artist
like Jackson Pollock and Mark Rothko who completely declined the use of shapes and played a lot
with colours. The shapes were bended and curved to picture actions or a more aggressive situation.
This is said to most likely show that he was feeling emotionally unstable, disturbed or raged while
producing the piece. In ‘Umpan’, the curves and swirls successfully visualized a tense situation
between the prey and predator. The tendency towards creating the curves and arcs has involuntarily
made Syed Ahmad Jamal develop an interest to the arts of calligraphy that convey natural meanings
through the effortlessly beautiful curves.

Ng, Patrick, Self-Portraits with Friends (1962)

In Self-Portrait with Friends (see Photo 2), Patrick Ng illustrates himself in the middle surrounded by
four other friends who are arranged in a symbolic (rather than naturalistic) manner. The depiction of
the five friends seems to refer to actual people, however the room on which they stand is a symbolic
rather than an actual physical space.
Ng, Patrick, Self-Portraits with Friends (1962). 69.7 × 59.5 cm. National Heritage Board, Singapore

This background is patterned by the different tapestries and tiles, which carry different motifs.
Symbolic meanings, creation myths and traditional narratives are often distilled into the motifs that
are employed on the design of fabrics, rugs and mosaics. The motifs carry the cultural histories that
have been passed from generation to generation. Further into the background stands a mosque. The
juxtaposition of each figure against a combination of motifs reflects the different cultural lineages
and their interconnectedness. Patrick appears in the middle playing an invisible violin, suggesting
himself as the narrator in this scenario, bringing his friends together. Thus, this artwork suggests that
his "self-portrait" is not one of himself alone but one that encompasses the portrait of the larger
image of the nation, made up by different and individual narratives.

Chuah Thean Teng

mother and children by chuah thean teng
art appreciation
phase 2
process & training

The batik technique is evocative of

Malaysian culture. Teng's works glow with
the brilliance of the equatorial sun and show
his empathetic response to the Malaysian
way of life. Themes on physical labour and
mother and child are often seen in Teng's
vast output. While the subject of mother and
child often carries religious connotations in
Western art, Teng's portrayal in Lot 1278
shows a Malay mother's love for her child
sealed in a tender embrace.
phase 3
phase 1

artistic roles &

favourite subjects were voluptuous Tahitian women in their natural surroundings,
Teng has an uncanny talent for capturing the beauty of earthy Malay women in
rural and natural settings. Quite unlike Gauguin however, Teng manages to also
strike a balance between the sensual and the spiritual. In his paintings, a woman
is both a lover (as in Anticipation, picture right) and a nurturer/caregiver (as in
Harmony, picture top right, and Lullaby). She is, thankfully, not like one of those
grotesque women in Klimt's The Hostile Powers. Teng's batik women may be
larger than life and slightly disproportionate, but they are ultimately beautiful.

how art speak in finding meanings

Of the varied themes depicted in Teng’s

remarkable opus of batik paintings, the
human figure is of utmost significance. Here,
Teng’s hallmark imagery of the Mother-and-
Child reappears. Unlike his usual depiction of
women and children set within the rural
Malaysian village scenes, the figures in this
piece are surrounded by abstract Cubist-like
shapes and forms, clearly showing the
experimental nature of Teng’s approach
towards batik painting. He further broke
down the figures into highly stylised planes,
blending the foreground with the background,
while the circular motif repeats itself
rhythmically throughout the composition.
visual thinking
Dato’ Chuah Thean Teng, or popularly known as Teng, is venerated for
internationalising batik as medium of fine art. His unforgettable portrayal of
women and children in the rural Malaysian kampongs is at once close to heart for
the common Malaysian and exotic for the Westerners. Coupled with the new
method of pictorial expression using batik
phase 4

elements & principles

the means by which the elements in a work

of art are arranged and orchestrated. Just as
spoken language is based on phonemes,
syntax, and semantics, visual art is based on
elements and principles that, when used
together, create works that communicate
ideas and meaning to the viewer. We can
think of them as the building blocks of an
artwork’s composition the organized layout
of an image or object, according to the
principles of design.
Mother and Child perfectly complements another piece which is currently held in
the collection of Bank Negara Museum and Art Gallery, titled Scarlet Lips (1988),
where the entire work is flushed with overtones of blues punctuated by the sharp
red on the lips, while a little girl instead of a boy was portrayed as the ‘child’ in
the picture.
phase 6

our world (nature spirit)

phase 5

artistic media
Teng possibly created this work in the mid 1980s when he started to combine
traditional batik technique and direct painting on cloth with a brush. He termed
this technique 'mixed media' which gave him freer expression and a softer quality
to his paintings, as exemplified by Lot 1278. This is different from classical batik
paintings characterised by thick contours and crackling effects.

Peter Harris
Dikripsi, karya ini bertajuk Rumah Rakit Sungai Pahang yang telah dihasilkan
oleh Peter Harris seorang ahli Wenesday Art Group yang popular dengan
mengunakan Gouche bagi mengantikan putih telur pada masa itu. Karya ini
bertemakan realistik kerana merakan keadaan sebenar di sungai Pahang.
Karya ini bersaiz 38.2cm x 48.2cm yang merupakan catan. Dapat dilihat
perumahan rakit di Kuala Lipis yang diambil dari atas tebing. Teknik wash dan
sapuan yang terkawal ini digunakan serta pengunaan warna yang tebal dari
kebiasaanya. Karya ini telah dihasilkan pada tahun 1956.
Analisis, komposisinya diambil dari pandangan sebenar dan tidak boklh
diubah reka letaknya ini menyebabkan pengkarya mengambil posisi ini untuk
menghaslkan catanya. Pengunaan garisan tebal dan kasar boleh dilihat pada
batang pohon yang terdapat diatas tebing sungai. Cahaya yang datang dari
hadapan monokromatik kehijauan menunjukkan keindahan dan ketenangan
alam semulajadi tempatan yang belum tercemar oleh arus pemodenan.
Jalinan terhasil dari sapuan berus dan warna yang tebal boleh dilihat pada
permukaan sungai. Karya ini bersifat tradisional dan realistik pada
penghasillan catanya.
Interpretasi, karya oleh petter haris ini bertemakan realistik. Apa yang boleh
menyokong peryataan ini ialah karya ini telah mengambarkan suasana
sebenar yang diambil pada awal merdeka di Malyasia oleh seorang pelukis
berbangsa barat yang mengambil berat akan suasana tempatan untuk
dirakamkan di dalam karyanya. Ia menjadi realiti pada masa itu bahawa orang
tempatan di negeri Pahang tinggal di sungai Pahang terutamanya diatas
rumah rakit. Kerana sumber makanan dan bekalan air mudah diperolehi.
Penilaian ini dibuat berdasarkan pengalaman saya yang lahir disitu.
Pertimbangan, Pandangan saya terhadap karya ialah ia menunjukan suasana
perkampungan di sungai Pahang yang terpelihara dari pencemaran dan bersih
dari kesibukkan kota. Keindahan dan harmoni penduduk disitu dirakam oleh
Peter Harris. Ini menunjukan karya ini berjaya dalam menyampaikan perasaan
dan mesej Peter Harris perhadap apa yang ingin beliau ingin rakamkan dan
dikongsi untuk tatapan umum.

Karya diatas
merupakan sebuah karya yang dihasilkan oleh seorang pelawat berbangsa Inggeris iaitu Peter Harris
yang bertajuk “Rumah rakit”(1956). Karya ini dihasilkan menggunakan media cat minyak dengan
teknik gouche. Karya ini sealiran dengan aliran realistik dimana pengkarya menekankan suasana
sebenar dan ianya bukannya objek. Peter Harris merupakan seorang pengasas kepada penubuhan
Wednesday Art Group (WAG), yang diasaskan pada tahun 1952. Karya diatas merupakan salah satu
karya yang dihasilkan dengan menggunakan pendekatan baru dalam stail, teknik dan tema dengan
menggunakan berus besar dan keras serta bahan dan teknik yang lebih tebal. Sapuan berus warna
yang digunakan oleh pengkarya adalah terkawal dengan sifat gouche yang lebih tebal. Pengkarya
merakamkan satu keindahan alam semula jadi yang belum dipengaruhi oleh arus pemodenan. 
      Dari aspek amali pula, Unsur-unsur seni yang terdapat dalam karya ini ialah garisan, warna, rupa,
bentuk, jalinan dan ruang. Manakala, dalam prinsip seni seperti keharmonian, imbangan dan
pergerakan berjaya dihasilkan oleh pengkarya. Kesan penggunaan garisan membantu menghasilkan
rupa dan bentuk imej yang digambarkan oleh pengkarya. Penggunaan warna dalam karya ini juga
jarang diguna-pakai pada zaman kini. Kesan warna dalam karya ini amat baik dan cantik serta
kemas. Warna yang digunakan dalam karya ini adalah warna sewarna iaitu kumpulan warna hijau
dan kuning. Kumpulan warna ini berpadanan dengan karya beliau yang bertemakan alam semula
jadi.
       Jika diperhatikan dengan baik, dalam karya ini wujud satu keharmonian. Kesan pergerakan dapat
kita lihat pada permukaan air dalam karya ini. Manakala, penyusunan kedudukan atau reka letak
objek-objek dalam karya ini menimbulkan imbangan yang baik. Kadar banding antara imej belakang
dengan imej hadapan mewujudkan ruang pemisah antara objek. Contohnya, rakit pada kedudukan
yang rendah berbanding dengan pokok kayu yang membentuk ruang. Bahagian tengah pula, tebing
kelihatan sederhana cerun dengan beberapa tumbuhan renek seperti pokok keladi. 
      Kesimpulannya, karya ini berjaya menggambarkan kehidupan masyarakat Malaysia pada zaman
terdahulu. Disamping itu, kita dapat melihat pembangunan yang sederhana dan tidak tercemar
dengan arus pembangunan yang terlalu pesat berbanding pembangunan pada era masa kini.
APRESIASI SENI KARYA TEMPATAN SELEPAS
MERDEKA.

          Karya diatas merupakan karya catan hasil tangan Abdullah Arrif yang bertajuk “Coconut
Plantation_Dawn” yang dihasilkan pada tahun 1948, dengan menggunakan media cat air. Beliau
menggunakan teknik pengolahan ruang yang berkesan, menggunakan ton warna yang mewujudkan
kesan-kesan kekabusan yang dikenali sebagai perspektif atmosfera. 
         karya ini menggambarkan suasana waktu fajar disebuah ladang kelapa. Suasana tempatan
yang indah ini digambarkan menerusi perubahan cahaya dalam ruang yang diolah melalui imej-imej
pokok kelapa yang berfungsi sebagai garis-garis menegak. Kelihatan benda-benda konkrit seperti
pokok-pokok kelapa dan beberapa buah rumah masyarakat Melayu bersama dengan hidupan seperti
binatang peliharaan serta figura manusia. Secara analisisnya, terdapat beberapa unsur seni yang
jelas kelihatan dalam karya catan ini.     Antaranya  ialah, garisan dan jalinan pada lukisan batang
pokok kelapa serta rumpun semak-samun. Bentuk juga dapat dilihat pada pokok kelapa, figura
manusia serta beberapa buah rumah yang dilukis oleh pengkarya. 
      Karya catan ini juga menekankan unsur-unsur seperti ruang dan warna. Ruang dalam catan
dibahagikan kepada tiga bahagian iaitu ruang hadapan, tengah dan belakang. 
      Pengkarya juga memperjelaskan ruang dalam melalui aplikasi perspektif warna dimana objek
yang berada diruang hadapan dilukis dengan jelas dan terang berbanding objek dibahagian belakang
yang diwarna semakin kabur dan tidak jelas. 
       Aplikasi ruang dalam dan perspektif warna yang digunakan oleh pengkarya berjaya menimbulkan
ketenangan dan suasana aman dalam catan. Penggabungan kesemua unsur-unsur seni seperti
bentuk, warna dan jalinan menimbulkan kesan harmoni dan kesatuan dalam karya. Kesimpulannya,
pengkarya berjaya menyampaikan mesej melalui karya yang telah diciptakannya.
      Karya diatas merupakan sebuah karya yang dihasilkan oleh seorang pelawat berbangsa Inggeris
iaitu Peter Harris yang bertajuk “Rumah rakit”(1956). Karya ini dihasilkan menggunakan media cat
minyak dengan teknik gouche. Karya ini sealiran dengan aliran realistik dimana pengkarya
menekankan suasana sebenar dan ianya bukannya objek. Peter Harris merupakan seorang
pengasas kepada penubuhan Wednesday Art Group (WAG), yang diasaskan pada tahun 1952. Karya
diatas merupakan salah satu karya yang dihasilkan dengan menggunakan pendekatan baru dalam
stail, teknik dan tema dengan menggunakan berus besar dan keras serta bahan dan teknik yang lebih
tebal. Sapuan berus warna yang digunakan oleh pengkarya adalah terkawal dengan sifat gouche
yang lebih tebal. Pengkarya merakamkan satu keindahan alam semula jadi yang belum dipengaruhi
oleh arus pemodenan. 
      Dari aspek amali pula, Unsur-unsur seni yang terdapat dalam karya ini ialah garisan, warna, rupa,
bentuk, jalinan dan ruang. Manakala, dalam prinsip seni seperti keharmonian, imbangan dan
pergerakan berjaya dihasilkan oleh pengkarya. Kesan penggunaan garisan membantu menghasilkan
rupa dan bentuk imej yang digambarkan oleh pengkarya. Penggunaan warna dalam karya ini juga
jarang diguna-pakai pada zaman kini. Kesan warna dalam karya ini amat baik dan cantik serta
kemas. Warna yang digunakan dalam karya ini adalah warna sewarna iaitu kumpulan warna hijau
dan kuning. Kumpulan warna ini berpadanan dengan karya beliau yang bertemakan alam semula
jadi.
       Jika diperhatikan dengan baik, dalam karya ini wujud satu keharmonian. Kesan pergerakan dapat
kita lihat pada permukaan air dalam karya ini. Manakala, penyusunan kedudukan atau reka letak
objek-objek dalam karya ini menimbulkan imbangan yang baik. Kadar banding antara imej belakang
dengan imej hadapan mewujudkan ruang pemisah antara objek. Contohnya, rakit pada kedudukan
yang rendah berbanding dengan pokok kayu yang membentuk ruang. Bahagian tengah pula, tebing
kelihatan sederhana cerun dengan beberapa tumbuhan renek seperti pokok keladi. 
      Kesimpulannya, karya ini berjaya menggambarkan kehidupan masyarakat Malaysia pada zaman
terdahulu. Disamping itu, kita dapat melihat pembangunan yang sederhana dan tidak tercemar
dengan arus pembangunan yang terlalu pesat berbanding pembangunan pada era masa kini.
       Lukisan ini merupakan karya seorang pengasas Angkatan Pelukis Semenanjung (APS) iaitu,
Mohd Hoessein Enas yang menjadikan potret dan landskap sebagai tema terpenting dalam berkarya.
Lukisan ini bertajuk “Gadis Korea” menggunakan media cat minyak diatas kanvas menggunakan
tema figuratif sebagai tema utama dan dihasilkan pada tahun. Seni catan potret bukan sahaja
menjadi suatu kaedah merakam suasana pada masa itu malah ianya dapat merakam diri seseorang.
Melalui kaedah ini juga, karya yang dihasilkan dijadikan kenangan kepada pengkarya. Karya ini
merakamkan seorang anak gadis berpakaian baju kebudayaan masyarakat Korea. Jika dilihat dari
aspek paras rupa gadis tersebut, raut wajahnya mirip dengan wajah gadis-gadis masyarakat Melayu.
        Pengkarya mengaplikasikan pakaian tradisional kaum di Korea keatas orang melayu pada masa
tersebut. Pengolahan aspek kedudukan atau tatatertib duduk figura begitu ditekankan oleh pengkarya
dengan mengambil prinsip seni reka iaitu aspek keseimbangan disamping menampilkan nilai lemah
lembut dan bersopan.
       Melihat kepada aspek warna, pengkarya menggunakan warna terang iaitu merah sebagai
penegasan kepada mesej yang ingin beliau sampaikan melalui pakaian tradisioanal masyarakat
korea pada masa itu. Setiap garisan-garisan yang ada pada baju tersebut disampaikan dengan baik
bagi menimbulkan unsur pergerakan walaupun figuratif tersebut dalam posisi duduk supaya figuratif
kelihatan hidup dan tidak kaku. Karya-karya Mohd Hossein Enas merupakan satu warisan dalam seni
kerana karya-karya tersebut banyak membantu sejarawan-sejarawan seni meneruskan penyelidikan
mereka terhadap perkembangan seni terutamanya di Malaysia.
      Karya seumpama ini bukan sahaja mampu menggantikan peranan alatan canggih seperti kamera
tetapi juga mempunyai nilai keindahan yang sangat tinggi dari segi calitan warna dan cara
penyampaian figuratif utama serta perkembangan budaya dalam masyarakat yang terbilang . 
 Mohd Hoessein Enas
Cat minyak
Gadis Korea
Tema: figuratif
Mohd Hossein Enas terkenal sebagai bapa potrait Malaysia kerana kepandaiannya
berkarya dalam menghasilkan potret manusia. Mohd Hossein Enas merupakan seorang pengasas
Angkatan Pelukis Semenanjung (APS) yang menjadikan potret dan landskap sebagai tema
terpenting dalam berkarya. Seni catan potret merupakan medium yang penting sebelum
wujudnya kamera untuk merakamkan diri seseorang. Potret bukan sahaja menjadi suatu bentuk
rakaman tetapi juga dihasilkan untuk menjadi kenangan kepada pengkarya dan yang dilukis,
berupaya menunjukkan profesion, perwatakan atau kedududukan seseoramng dalam masyarakat
tetapi juga menjadi bahan dokumentasi visual yang mampu dijadikan rujukan dalam banyak
perkara seperti potret “Monalisa” yang menjadi kajian dan rebutan kepada pencinta-pencinta
sejarahwan seni masa ini.
Karya diatas merupakan karya yang dihasilkan oleh Mohd. Hossein Enas dengan
menggunakan media cat minyak dan menggunakan tema figuratif sebagai tema utama. Karya ini
menrakamkan gambar seorang anak gadis berpakaian baju kebudayaan masyarakat korea. Jika
dilihat dari aspek paras rupa perempuan tersebut, raut wajah perempuan tersebut menghampiri
raut wajah anak gadis masyarakat Melayu. Karya ini mungkin juga dirakamkan oleh pengkarya
dengan mengaplikasikan pakaian tradisional orang Korea keatas orang Melayu pada masa
tersebut.
Pengolahan aspek kedudukan atau tatatertib duduk figura begitu ditekankan oleh
pengkarya dengan mengambil kira aspek keseimbangan karya disamping menampilkan nilai-
nilai lemah lembut dan bersopan. Selain daripada itu Mohd Hossein Enas juga menggunakan
warana terang iaitu merah sebagai penegasan kepada mesej yang ingin beliau sampaikan melalui
pakaian tradisional masyarakat Korea pada masa tersebut. Setiap garisan-garisan yang ada pada
baju disampaikan dengan baik bagi menimbulkan unsur pergerakan walaupun figuratif tersebut
dalam keadaan duduk untuk menampakkan ketidakkakuan dalam potret tersebut.
Karya-karya Mohd Hossein Enas merupakan suatu warisan dalam seni kerana karya-
karya tersebut banyak membantu sejarawan-sejarawan seni meneruskan penyelidikan mereka
terhadap perkembangan seni di Malaysia khususnya. Karya ini bukan sahaja mampu
mengantikan peranan kamera tetapi juga memiliki nilai keindahan yang sangat tinggi dari segi
calitan warna dan penampilan figuratif utama serta perkembangan budaya dalam masyarakat
yang berbilang dengan masyarakat asing yang pernah datang ke Tanah Melayu.

Apresiasi seni karya tempatan selepas merdeka.

Nama pelukis bagi karya diatas ialah Yeoh Jin Leng. Karya yang bertajuk
“sawah padi” ini dikaryakan pada tahun 1963 dengan menggunakan media cat
minyak. Pengkarya mengaplikasikan teknik sapuan berus tegas. Gaya atau aliran
bagi karya ini ialah sapuan berus cepat, pantas dan tegas untuk membangkitkan
kesan ruang yang mengagumkan. Penggunaan warna kuning tua, hitam dan coklat
menunjukkan suasana sawah padi yang kuning bersinar-sinar dipanah matahari.
Manakala tema karya catan ini menggambarkan landskap tempatan, pemandangan
sawah padi yang panoramik (pemandangan yang luas tanpa halangan atau
gangguan) pada musim menuai.
            Jika dipandang dari sudut asas seni reka, pengkarya banyak menggunakan
garisan dengan penggunaan warna. Warna yang dimaksudkan ialah warna panas
iaitu kuning. Malah, pengkarya juga menggunakan warna coklat yang bertindak
negatif dan warna hitam sebagai warna penggenap.
Melalui karya ini juga, ruang dapat dilihat. Objek dibelakang kelihatan lebih kecil
daripada ruang hadapan. Manakala, warna yang digunakan juga menampakkan
jarak antara objek depan dan belakang. Dari sudut prinsip rekaan pula, dengan
penggunaan warna coklat dan hitam pada objek dibelakang menampakkan unsur
penegasan. Karya ini juga seimbang bahagian kanan dan kiri. 
            Kesimpulannya, karya ini berjaya merakamkan keindahan suasana sawah
padi yang sedang menguning serta menunjukkan budaya kampung pada masa itu.
Keindahan ini membawa kepada keadaan yang indah dan tenang.
Karya hoessein enas
pengantin perempuan iban
. Berjudul pengantin iban yang. Pelukis moden malaysia 1. Aksi wanita itu sedang menumbuk
padi dijadikan ilham bagi karya mohd hoessein enas ini kerana beliau begitu tertarik dengan
kesantunan dan kesopanan serta kerajinan. Pengantin perempuan iban media. Karya karya seni
dalam pameran jarang.

Gadis menumbuk padi tahun. Karya potret ini secara keseluruhannya membawa makna seorang
gadis melayu yang menjaga kemelayuannya di dunia serba. Feb 20 2019 art a way of life. Figura
gadis melayu yang sedang duduk dengan memakai pakaian tradisi perempuan. Hoessein enas
merupakan lagenda seni tampak.

Dato mohd hossein enas antara karya karya. Dato mohd hoessein enas pengantin perempuan
iban tahun. Siapa yang tidak kenal dengan seniman kita ni yang banyak menghasilkan karya.
Setelah melihat beberapa karya hoessein enas. Chuah thean teng mohd hoessein enas nik.

Hasil karya pelukis terkenal mohd hoessein enas 1924 1995. Pengantin perempuan iban tahun.
Negara allahyarham datuk hoessein enas. Karya karya allahyarham hoessein ini memberi impak
yang besar. Oil painting gadis menumbuk padi.

………………………………………………………………………………………………………..

Mohd. Hoessein Enas, banyak menyalurkan nilai-nilai budaya bangsa dalam karya-karyanya sekali
gus menseimbangkan persoalan tentang jati diri atau identiti bangsa. Sentuhan seninya adalah
berpaksikan potret dan landskap sebagai penanda kebangsaan dengan mencipta identiti melalui
pakaian, pekerjaan, adat resam dan imej yang digambarkan. Jelasnya, paparan seni itu adalah
sebagai wadah atau media penting untuk menyalurkan nilai-nilai budaya bangsa (Muliyadi
Mahamood, 2001). Rata-rata Mohd. Hoessein Enas mendukung konsep idealisme dan imejan orang-
orang Melayu bagi menyanjungi etos budayanya. Komitmennya adalah tentang paparan isu-isu
sosial dan usaha menyanjungi keindahan dan kemurnian citra Melayu. Usaha untuk mengupas
mengenai imej serta mengaitkan diri dan identiti kebangsaan adalah sesuatu yang sangat bererti
kepada pembentukan seni budaya bangsa. Menurut Siti Zainon Ismail dalam “Menanggap Identiti”
(2012), menjelaskan unsur-unsur budaya jarang sekali terpisah daripada sikap pandangan dunia atau
worldview dan etos Melayu Menurut Izmer Ahmad (2012), genre figuratif yang dipelopori Mohd.
Hoessein Enas merupakan sesuatu yang sangat diperlukan bagi mengangkat suara yang mewakili
bangsa Melayu ke persada seni rupa. Wadahnya ialah menjulang “pemaparan swasadar falsafah
bangsa Melayu”. Kecondongannya adalah kepada imej representational yang menggambarkan nilai
kemegahan dan etos budaya Melayu yang baru muncul (T.K Sabapathy dan Redza Piyadasa, 1993).
Karya-karya potret Mohd. Hoessein Enas mempunyai mesej dan signifikan tertentu dengan
menunjukkan kepada dunia bahawa orang Melayu itu bangsa Asia yang cantik, lemah lembut dan
menghormati nilai warisan budayanya mengatasi hal-hal lain. Menurut T.K Sabapathy (1979), karya-
karya Mohd. Hoessein Enas menjadi lebih bermakna jika dilihat dalam konteks ini.
Meneliti potret “Gadis Melayu” (1959) oleh Mohd. Hoessein Enas jelas merakamkan seorang gadis
Melayu desa yang mempunyai rupa paras yang asli dan kaya dengan nilai-nilai kesederhanaan
(Muliyadi Mahamood, 2001). Ertinya pengkritik menjelajahi lebih jauh untuk merakam perwatakan
yang santun, sopan atau berbudi bahasa yakni melebihi aspek luaran. Dalam konteks budaya
Melayu, golongan gadis mahupun wanita adalah dikenali sebagai kelompok yang berbudi bahasa,
bersopan santun dan berhemah tinggi (Kamariah Kamarudin, 2006). Perkara ini penting kerana di
dalam penghidupan orang Melayu, nilai seseorang itu adalah ditentukan oleh perilakunya. Semakin
tinggi ia memegang kesantunan, semakin tinggi pula harkat, martabat, tuah dan maruahnya (Tenas
Effendy, 2005). Maka dalam hal ini, masyarakat Melayu amat menjunjung tinggi seseorang yang baik
rupa paras di samping memiliki sifat yang seimbang dari segi moral dan personalitinya. Di dalam
potret ini, Mohd. Hoessein Enas cuba menimbulkan identiti kebangsaan dengan merakam imej figura
tempatan secara natural atau semula jadi.

Catan ini merupakan suatu rakaman tentang budaya Melayu dalam adat meminang. Melaluinya
diperlihatkan tentang adat meminang yang masih mengekalkan tradisi lama (Siti Rohayah Atan,
1998). Karya “Meminang” (1964) menjelaskan tentang pengekalan tradisi lama tentang adat
peminangan dengan ketertibannya. Objek atau alat budaya benda (material) seperti tepak sirih atau
sireh junjung mempunyai tempat yang mulia dan istimewa dalam budaya Melayu (Syed Ahmad
Jamal, 1992). Ia alat bagi tujuan menjunjung adat yang kaya dengan nilai dan falsafahnya tersendiri
yang masih menjadi amalan bagi kebanyakan orang Melayu pada hari ini. Setiap kali berhadapan
dengan karya-karya Mohd. Hoessein Enas, pengkritik pasti menjelaskan tentang apa yang dilukis
bukan sekadar

rupa tetapi adalah gambaran sebenar wajah dan watak yang tersirat di sebalik imej itu. Jika
diperhalusi, di sebalik keaslian kejelitaan gadis Melayu tercerminnya sifat kelemah-lembutan dan
kesantunan budi yang diadun menerusi raut wajah, pakaian dan posisi. Seorang gadis Melayu yang
cantik, selain memiliki kesantunan verbal, mereka juga harus teliti tentang perlakuan etiket yang
dikategorikan sebagai perlakuan yang santun yang merujuk kepada aspek ‘budi’ seseorang individu.
Ketelitian tersebut diungkap melalui pandangan dualisme iaitu dari sudut luaran dan dalaman.
Dalam konteks ini, masyarakat Melayu amat menjunjung tinggi seseorang yang memiliki rupa paras
baik di samping memiliki sifat yang seimbang dari segi moral dan personalitinya. Menurut Muliyadi
Mahamood (1995), pelukis secara jelas memperjuangkan falsafah seni nilai bangsa, justeru
menampilkan karya-karya bernafaskan kemelayuan.

Karyanya memberi gambaran tentang peranan wanita dalam kerja-kerja tradisi turun-temurun
masyarakat Melayu di kampung atau desa permai ketika musim menuai. Gambaran memperjelaskan
tentang ekonomi dan teknologi Melayu tradisi yang diwarisi. Jelasnya dalam masyarakat Melayu,
budaya tolong menolong merupakan budaya yang amat dititikberatkan sejak dari dahulu lagi.
Konsep bergotong-royong serta berhubungan erat dalam masyarakat agraris yang selalu diamalkan
dalam kerangka desa tanpa mengutamakan imbuhan. Ia adalah lambang kehidupan dan kegigihan
anak gadis bangsanya yang membantu meningkatkan taraf kehidupan keluarga (Siti Rohayah Atan,
1998).

his father with an astronaut

Question 1a: Using what you know, why do YOU think that Ibrahim Hussein has
juxtaposed the image of his father with an astronaut? What is the relationship
between the two (also think about the title)?
Personal Response: I think Ibrahim Hussein has juxtaposed the image of his father
with the astronaut, to compare the asian and western lifestyles, on how they are
different in a sense that the asian lifestyle is more to the simple side, and the
western lifestyle has a few more complicated things involved. This links to how
Ibrahim Hussein father led a simple, as they were a poor family, judging from the
appearance of the father portrayed in the artwork, compared to how the astronaut
looks like in a very well-dressed suit, which represents partially the greater amount of
wealth an astronaut has.
Question 1b: Why do you think that the text that is placed between the figures relates
to the artist's birth? Where does the relation lie between this and the rest of the
work?
Personal Response: The words nearer to Ibrahim Hussein’s father, describes the life
the artist is probably leading, and narrates the type of environment he grew up in.
While the words nearer to the astronaut, are far beyond the current life he is leading.
The vast difference between the two sides of words, in a point of view, could be seen
as the artist trying to tell us how he aspires to embark on a new and brighter journey.
As seen from the brighter and a little more vibrant background around the astronaut,
compared to the dull background around Ibrahim Hussein’s father, which probably
represents his poor status.
Question 2: DESCRIBE the mixed-media artwork:
 The artwork is an image of Ibrahim Hussein’s father (on the left), dressed with only a
piece of cloth tied around his waist, and seems to be looking depressed, unhappy
and weary. Beside him (on the right) is a well-dressed astronaut, who is more
properly dressed, geared and accessorized than Ibrahim Hussein’s father

Dull colours are used for the general overall background. Slightly towards the

background of Ibrahim Hussein’s father, the background is darker, compared to the

background towards the astronaut, which is slightly brighter, and less gloomy. The

astronaut is depicted such that it stands out more in the artwork, with the use of

bright colours like blue and a tinge of green in the background colours surrounding

him. Whereas for the background of Ibrahim Hussein’s father, the colours are of the

same colour as the overall background, therefore making Ibrahim Hussein’s father

less outstanding and obvious.

The artist has chosen to portray his image such that his subjects of the painting, face

the front. He also did not closely pay attention to the dimension of the subjects of the

painting, therefore the artwork is more 2-Dimensional than 3-Dimensional.

The materials used for this piece of artwork are basically just acrylic. The artist way
of painting the image help creates a slightly blur effect on the painting, making the
artwork look more blur at the edges of the subjects. Partially to ‘omit the background’
and put the main focus on Ibrahim Hussein’s father and the astronaut instead.

Patrick Ng’s self-portrait takes this further. It queers this Malay/sian ontology on two
registers. The first is through a gender shift from male to female by cross-dressing
himself as a woman in the self-portrait. The second, a shift from Chinese to Malay.
Here he makes visible an anxiety of cultural politics that have constitutionally defined
Malay cultural markers. After all, as defined by the Malaysian Constitution; anyone can
become Malay (masuk Melayu) by adopting Islam and practising Malay customs. But, in
doing so, Patrick Ng’s performance of cultural competence and mimicry is a challenge to
the cultural codification of the period in terms of gender and the racialised body