FACULTY ART AND DESIGN

MUHAMMAD HAFIZ BIN KAMARUL NAEM

2020986415

AD228/5A

PREPARED FOR :

DR. RAFEAH BINTI LEGINO

DATE SUBMITTED :

2020
COLONIALISM ART
1.1 Visual Compilation

Source: Google Images Source: Google Images

Source: Google Images Source: Google Images

1.2 Related Literature

Colonialism is a practice of domination, which involves the subjugation of one people

to another. One of the difficulties in defining colonialism is that it is hard to distinguish it
from imperialism. Frequently the two concepts are treated as synonyms. The term colony
comes from the Latin word colonus, meaning farmer. This root reminds us that the practice of
colonialism usually involved the transfer of population to a new territory, where the arrivals
lived as permanent settlers while maintaining political allegiance to their country of origin.
The legitimacy of colonialism has been a longstanding concern for political and moral
philosophers in the Western tradition.

As with any other art movements and industries, there is no confirmed date on when
Malaysian contemporary art began but the earliest works were recorded during the 18th
century when European colonials, Chinese traders and other travelers had shown scenes in
Malaya, the name of Malaysia then. The art movements were basically formed by the
Chinese traders and other communities and it was only after 1950s that the Malaysia’s
contemporary art movement began to gain speed. This was at a time when the country was
undergoing major changes and development in the social and political arenas which allowed
more room for artists to showcase their interpretation of issues. It was around this time that
the art scene began to gain more significance as both artists and their arts were getting
prominence through the political and social scenes. The likes of Nanyang, the Angkatan
Pelukis Semenanjung and the Wednesday Art Group were the few movements that gained
much popularity then.

One thing for sure, Malaysia benefitted much from the multi-cultural society in which
influence came through and was integrated to become what it is today. In understanding this,
one must be able comprehend that the country was originally made up of Malays with
Chinese and Indian immigrants coming in during the pre-war years. Of course there are the
western influences of the British, Dutch, Portuguese and the Japanese whose culture have
been widely injected into the communities.

The British involvement in admimistrative affairs reflected their efforts to shape the
country’ socio-cultural identity, and this situation can be considered the basic fotr the
emergence of the Modern Malaysian Nation. The British contribution to Malaysia art can be
traced to the presence of British traveller-artists and their naturalistic documentations of the
beauty of the local landscape, rendered though their scenic topographical views of the place.
According to the british approach that the rational and investigative depiction of reality,
artistic interpretations differed from earlier syombolicand religio-centred views.

The naturalistic approach to depicting nature and the environment was initially brought
to the country by the british military traveller-artists who were assigned to make
topographical views of the place during the 18th and 19th centuries. For a landscape that
include a featured a foreground, a middle ground, and a distant background influenced by
romantic notions of nature, highlighting the idyllic, the tranquil and the scenic.

Malaysian pottery and ceramics were an essential part of the trade between Malaysia
and its neighbours during feudalistic times, throughout Asia. Under the Malaysian culture,
pottery is not solely witnessed as a mere household utensil. It is perceived as a work of art, a
paradigm of talent, embroidered with aesthetic, legacy, perseverance, and religious devotion.
The Malay earthenwares are usually unglazed, with the ornamental designs were carved
when the pottery is semi-dried during its construction process.

According to several studies, the native Malay pottery industry has developed
indigenously from the period of great antiquity and has since encapsulated a high-level of
cultural sophistication. It also has been noted that the design features of the Malay pottery
suggested the absence of foreign influence prior to the 19th century, a paradox considering
the vast cultural contact between the Malays and the outside world.

There are four main areas of earthenware production in Malaysia; mambong in

Kampung Mambong, Kuala Krai, Kelantan, labu Sayong in Sayong, Kuala Kangsar, Perak,
terenang in Kampung Pasir Durian, Hulu Tembeling, Pahang and several places in Sarawak.
Sarawak pottery has a very distinct and exotic look.

It was said at one time in this area there is a tree named Ru, or Rhu (Casuarina
equisetifolia). Ru trees are unique compared with other casuarina trees that live here because
of its cascading shape. One story tells of rhu trees having a circumference that can fit as many
as 40 people dining together. At first, people call this place name as Rhu Ramping, and
eventually Rumpin and Rompin. In colonial days, Kuala Rompin was a fishing village that is
often visited by traders who commute between Singapore and Kuantan. In 1952 the Pahang
state government made Rompin an autonomous sub-district under Pekan. An Administrative
Officer was subsequently appointed, taking the post of Assistant District Officer, to be
stationed in the autonomous subdistrict; British officer, J.B. Melford was appointed to that
post on 16 December 1952. On July 31, 1976, the Sultan of Pahang, His Majesty Sultan Haji
Ahmad Shah Al Musta'in Billah upgraded Rompin into a full district, hence separating it
from Pekan and making Rompin the ninth district of Pahang. Rompin was given one vote in
the parliament one decade later.Today, Rompin District is divided into five mukims
(communes), namely Tioman, Endau, Pontian, Keratong and Kuala Rompin town.

Based on the research that I have research Kuala Rompin mostly have the history in terms of
architectural history, economic activity and many more. The selection of my idea is based on
the history of Kuala Rompin Jeti and the old town which used to be active with social
economy activities, especially in fishing villages. and also now still operating but to different
places for example in Pontian, Kuala Rompin. The description for my work is also showing
some action activities with social economy culture that was shown at some point in the past.

1.3 Artist Reference

1. Abdullah Ariff
 Coastal landscape with fisherman
  1954

 38 x 55 cm

 Watercolour on paper
Content

This artwork tell us the the atmosphere of the landscape of the coastal landscape with
fishermen. Recalling the atmosphere of the Malays in the past we are actively doing activities
on the coast. Such activities have been around since time immemorial and have been
influenced by colonialism. The picture in this work clearly tells about the life of the Malays
at the time of the ancients.

Context

In term of context, this artwork tell us the man a diligent and socio -economic fisherman who
showcased the landscape of the coastal landscape.

2. Kide Baharudin
 Tempoyak Petai
 2020
 45x 45 cm
 Arcylic on Canvas
Content

Tell us Malay culture through eating “ Tempoyak Petai”, the food served shows the
characteristics of traditional food from generation to another generation that is often eaten
with the family.

Context

This is what the culture and traditions of the Malays in the past that still serves dishes from
salads were over at that point.

3. Zaim Durulaman
 Pisang Emas Di Bawa Belayar
 2010
 167.5 x 167.5 cm
 Mixed media on canvas
Content

Inspired by the famous poem of Sheikh Hamzah Fansuri, Syair Perahu, I aim to manifest the
space in the four corners of the white canvas with my seasoned and weary sampan.

Context

Paintings do not contain words, but a composition can be vivid with just a stroke of a brush
on canvas. Each artist has his/her own visual vocabulary and grammar. Perahu(boat) for me is
a metaphor for journey, life. It may be just means of transportation for others, God only know

4. Ali Nurazmal Yusoff

 Imitation Master “After Caravaggio”
 2009
 122 x 290 cm
 Oil on Canvas
Content

Benedetta Segala, who coincidentally hails from the same hometown region as Caravaggio.
This artwork tell us the combination western art and modern art culture that show the naratif
elements of society's life today, especially in Malaysia as well as elements around my own
life.

Context

The ‘Chiaroscuro’ technique which is a minimal lighting technique for creating dark and light
areas in a work.

“The large -sized painting is my attempt to produce a work that is considered museum
standard. Most such works are of very high value and are often kept in museums as valuable
collections.

5. Lee Joo For

 Bertiga di Tepi Laut
 1959
 49.5 x 97
 Oil Paint on Bod
Content

This painting depicts three women sitting by the sea while tying a net or repairing a broken
net. Their background is a fishing boat that was partially sheltered through Lee Joo’s view for
when this artwork was produced.

Context

Featuring community subjects, groups and local culture who wear traditional baju kurung.
1.4 Ideation