FACULTY ART AND DESIGN

MUHAMMAD HAFIZ BIN KAMARUL NAEM

2020986415

AD228/5A

PREPARED FOR :

DR. RAFEAH BINTI LEGINO

DATE SUBMITTED :

2021
1.1 Visual Complation

Source: Google Images Source: Google Images

Source: Google Images Source: Google Images

1.2 Related Literature

Nationalism, like nation, is very hard to define clearly and unequivocally. The
contention that nationalism is what nationalists make of it is, in fact, an evasion. "Nationalism
is a condition of mind, feeling, or sentiment of a group of people living in a well-defined
geographical area, speaking a common language, professing a literature in which the
aspirations of the nation have been expressed, being attached to the common traditions, and,
in some cases, having a common origin.Nationalism also a political doctrine, the belief that
nations should be self-governing. In other words nationalism have a much definition that can
related such as National Self - Determination (Centrel Theme), Nation- State Building (Goal),
and Independence.
 Furthermore, nationalism used to be recognized as an ideology of national
independence, an ideological movement for the attainment and maintenance of self –
government. "Nationalism is the desire to preserve or enhance a people's national or cultural
identity when that identity is threatened, or the desire to transform or even create it when it is
felt to be inadequate or lacking." Nationalism may manifest itself as part of official state
ideology or as a popular non-state movement and may be expressed along civic, ethnic,
cultural, language, religious or ideological lines. There are many types of nationalism such as
liberal nationalism, conservative nationalism, expansionist nationalism, anticolonial
nationalism, cultural nationalism, ethno-cultural nationalism and civic nationalism.

In a Malaysian art nationalism especially this immigration process occurred as a result

of the British domination in the economic and socio- political economy in Malaya hence
helped to strengthen the economic state in these British colonies during the nineteenth and
twentieth century. The National Culture Policy introduced in 1971 in Malaysia, inspired from
the idea of National Cultural Congress (Kongres Kebudayaan Kebangsaan) organized by the
Ministry of Culture, Youth and Sports. This policy aspired to serve as a guide in establishing
and maintaining Malaysian nation identity. Among the main objectives – to strengthen unity
though culture,nurture and preserve national identity based on indigenous cultures (Malay)
and Islam. With this objective, the Islamic approaches and the elements of traditional art
began to be absorbed into works of art by local artists.

Based on meaning nationalism advocated the right of people who defined themselves
as nations to establish their own independent states.

My idea in centralizing nationalism is based on the culture and socio -economy that carries
the spirit of patriotism in evoking a sense of love for the country. The picture in my idea is to
show the activities of the basic economic sector which is the most important resource to the
food sector and many others .In bringing the character of nationalism in contemporary art
malaysia I also bring identity in art wilt show me the citizenship of Malaysia.
1.3 Artis Reference

1. Syed Fakaruddin
 Kesatuan Tunggul Punggur
 2020
 91.5 x 91.5cm
 Oil Paint and Arcylic on canvas

Content

This artwork tell us the depicted the primitive territorial symbol and the idea of stillness
Malaysia in facing this troubling time through lifeless logs forming the ‘Stripes of Glory’ flag
as the title may recommends. He managed to bring about a lively piece of art, almost 3-
dimensional through hints of the national palette and distinct foreshortened stumps.

Context

Two elements which are significant to be highlighted from Syed Fakaruddin’s ‘Kesatuan
Tunggul Punggur’ or ‘The United Logs of Stump’ are the title itself and the exquisite skill of
foreshortening

2. Ruzaika Omar Basaree

 Siri Dungun
 1981
 171 x 76 cm
  Mixed Media

Content

Tells us The Malay-Islamic social image is an image featured in human expressions and
culture and reflects the speciality of local craftsmen. This artwork show the aesthetic art and
the “Rumah Kampung Malay”.

Context

In term of the context this artwork tell the Malay culture and the motif of craft based on the
nature value.
 3. Bayu Utomo Radjikin
 Bujang Berani
 1991
 100 x 97 x 55 cm
 Metal and Plaster

Content

In this work shows the heroism of the Dayak ethnic Sarawak. The name “Bujang Berani” was
given was because of the nature of courage, valor and elevated fighting spirit. Also included
is traditional clothing equipped with accessories that symbolize the Dayak ethnic group. for
expression and emotion on this sculpture is the face of a hero who is brave and cries loudly
because of the spirit of love for the nation and heritage as well as about the existence of the
origins and history of heroism. ideas and perceptions. in terms of expression this sculpture
highlights the result of interaction with the spirit of heroism. in addition this sculpture shows
the spirit of nationalism because it can evoke the spirit, values and feelings of identity. this
sculpture is made using cast iron.

Context

Tells us the culture of the Dayak ethnic Sarawak and also the traditional accessories that
symbolize the Dayak ethnic.
 4. Jamil Zakaria
 Lubok
 2017
 Variable Saiz ( Installiation)
 Stainless Steel & Wiremesh

Content

Tell us the storyline a jala (fishing net) a fisherman catch who sometimes harvest a lot,
sometimes not because of the seventh season. In this work also shows how the tradition of the
Malays who are still applicable to this day.

Context

Inspired by traditional Malay sosia-economy culture, the idea was conceived from
juxtaposing the meaning lubok with the realities of life as described by the artwork titles.

5. Juhairi Said
 Menarik Kerbau
 2005
 80 x 135 cm
 Woodblock print on paper (edition 12 of 20)
Content

Juhari Said imbues his technically accomplished works with a socio-cultural-political edge by
using the pepatah Melayu (Malay adage) as a cautionary tale. Menarik Kerbau, the English
equivalent of dumb-driven cattle, is part of his socio-political barbs that included Ayam
Jantan. He confided to being effete intellectually at this stage, facing a mid-life crisis in his
then mid-40s, and he virtually dragged him out of a potential stupor with this. The kerbau is
also a symbol of masculinity but in so being able to be dragged away easily is a form of
weakness.

Context

In term of the context this artwork tell us the sosio-culutral political using the proverbs for the
story.
1.4 Ideation