HISTORY OF MALAYSIAN ART (VCL 215)

Prof. Dr. Muliyadi Mahamood Liberal Studies Department, FSSR 03-5544 4013, 017-284 0593 muliyadi2004@yahoo.com; yadi@salam.uitm.edu.my

OBJECTIVES
THE STUDENTS SHOULD BE ABLE TO: 1. UNDERSTAND THE DEVELOPMENT OF MALAYSIAN CONTEMPORAY ART IN RELATION TO SOCIO-CULTURAL DEVELOPMENT OF THE COUNTRY.

2. ANALYZE STYLISTIC DEVELOPMENT OF MALAYSIAN CONTEMPORARY ART. 3. CONDUCT RESEARCH ON MALAYSIAN CONTEMPORARY ART IN TERMS OF FORM, CONTENT AND CULTURAL CONTEXT.

SYLLABUS CONTENT
I. II. EARLY MALAYSIAN ART COLONIAL PAINTERS PENANG WATERCOLORISTS NANYANG PAINTERS THE PRE-INDEPENDENCE ERA WEDNESDAY ART GROUP ANGKATAN PELUKIS SEMENANJUNG/SEMALAYSIA CONTEMPORARY BATIK PAINTERS

SYLLABUS CONTENT
III. THE POST-INDEPENDENCE ERA UNIVERSAL STYLE IN MALAYSIAN ART THE NEW SCENE PAINTERS ARTWORKS OF THE POSTNATIONAL CULTURAL CONGRESS: SEARCHING FOR IDENTITY

SYLLABUS CONTENT
IV. THE PLURALIST ERA PAINTING, SCULPTURE AND PRINTMAKING. INSTALLATION AND ELECTRONIC ART NEW MEDIA AND DIGITAL ART

EVALUATION
COURSE WORK/ASSIGNMENT : 40% FINAL EXAM : 60% TOTAL : 100%

TEXT BOOK
Muliyadi Mahamood, 2007. Modern Malaysian Art: From the Pioneering Era to the Pluralist Era (1930s-1990s). Kuala Lumpur: Utusan Publication and Distributors Sdn. Bhd.

MALAYSIAN CONTEMPORARY ART 1930s-2010

1930s-1960s: PENANG WATERCOLORISTS NANYANG PAINTERS WEDNESDAY ART GROUP ANGKATAN PELUKIS SEMENANJUNG BATIK PAINTINGS

Abdullah Ariff, 1948. Coconut Plantation-Dawn, water color, 38x56cm.

Georgette Chen, 1960, Mother and Child, oil paint, 64 x 80 cm

Nik Zainal Abidin, 1959. Wayang Kulit Kelantan, oil paint, 81.6 x 106.7 cm

Mazli Mat Som, 1961. Menanti Nelayan, oil paint, 76 x 92 cm

MALAYSIAN CONTEMPORARY ART 1930s-2010

1960s: UNIVERSAL STYLE IN MALAYSIAN PAINTINGS 1970s-1980s: THE SEARCH FOR IDENTITY 1990s-2010: THE PLURALIST ERA

Syed Ahmad Jamal, 1961. Tulisan, oil paint, 33 x 74 cm

Ibrahim Hussein, 1969, My Father and the Astronout.

Sulaiman Esa, Garden of Certainty II, 1995.

Yusof Ghani, 1988. Siri Tari X/88, Mixed media, 128 x 183 cm

Awang Damit Ahmad, 1998. Marista Pun-pun, mixed media, 153x183 cm.

ART APPRECIATION

ART WORK
FORM CONTENT CONTEXT

METHODOLOGIES OF ART HISTORY

FORMAL ANALYSIS CONTEXTUAL ANALYSIS BIOGRAPHY

FORMAL ANALYSIS
FORMAL ANALYSIS: DESCRIBING AND ANALYSING WHAT YOU SEE IN A WORK OF ART; LOOKING AT THE WORK OF ART TO TRY TO UNDERSTAND WHAT THE ARTIST WANTS TO CONVEY VISUALLY.

FORMAL ELEMENTS
COLOUR LINE SCALE SHAPE LIGHT COMPOSITION

COMPOSITION
BALANCE ORDER PROPORTION RHYTHM

FORMAL ANALYSIS
IN A SENSE, THERES NO SUCH THING AS PURE FORMAL ANALYSIS, TOTALLY DIVORCED FROM CONTEXTUAL ANALYSIS.

CONTEXTUAL ANALYSIS
CONTEXTUAL ANALYSIS: TRYING TO UNDERSTAND THE WORK OF ART IN A PARTICULAR CULTURAL MOMENT.

CONTEXTUAL ANALYSIS
THIS CAN MEAN FOCUSING ON THE WORK OF ART IN ITS OWN TIME OR AT ANOTHER POINT IN HISTORY. IT CAN ALSO MEAN LOOKING AT THE SOCIAL, POLITICAL, SPIRITUAL AND/OR ECONOMIC SIGNIFICANCE OF THE WORK.

CONTEXTUAL ANALYSIS
PEOPLE INVOLVED PHYSICAL ASPECT SOCIAL ISSUES

CONTEXTUAL QUESTIONS: FOCUS ON THE PEOPLE INVOLVED IN THE CREATION WHO WERE THE PATRON, ARTIST, VIEWERS? WHAT SORTS OF RECORDS DID THE ARTIST LEAVE ABOUT THE CREATION OF THIS WORK? DID THE ARTIST SAY ANYTHING ABOUT HIS OR HER INTENTIONS IN CREATING THE WORK?

CONTEXTUAL QUESTIONS: FOCUS ON THE PEOPLE INVOLVED IN THE CREATION WHAT WERE THE PATRONS MOTIVES IN SPONSORING THIS WORK? WERE OTHER ARTISTS OR WORKSHOP ASSISTANTS INVOLVED?

CONTEXTUAL QUESTIONS: FOCUS ON THE PHYSICAL WORK OF ART, ITS LOCATION AND USE WHEN WAS THIS WORK MADE? WHERE WAS IT ORIGINALLY LOCATED? DOES THE WORK MAKE USE OF RARE AND COSTLY MATERIAL? DOES IT INCLUDE MATERIALS THAT HAVE RITUAL OR SYMBOLIC VALUE?

CONTEXTUAL QUESTIONS: FOCUS ON SOCIAL ISSUES WHAT WAS THE POLITICAL, RELIGIOUS OR SOCIAL CONTEXT IN WHICH THIS WORK WAS CREATED? WHAT IS THE SUBJECT? WHAT POLITICAL, RELIGIOUS AND/OR SOCIAL MESSAGES ARE BEING CONVEYED? WAS THIS A NEW OR INNOVATIVE ARTISTIC STYLE?

WORK OF ART
THE WORK OF ART IS NOT ONLY A SOURCE OF COMPLEX PERSONAL EXPERIENCE, BUT ALSO HAS ANOTHER KIND OF COMPLEXITY. IT IS THE OUTCOME OF AT LEAST THREE DIFFERENT TYPES OF CONDITIONS: PSYCHOLOGICAL, SOCIOLOGICAL AND STYLISTIC (ARNOLD HAUSER, 1959).

WORK OF ART
PSYCHOLOGICAL SOCIOLOGICAL STYLISTIC

THE CRITICAL PROCESS

ATTENDING TO VISUAL FACTS NAMING AND DESCRIBING THE FACTS ANALYZING THE FACTS INTERPRETING THE EVIDENCE JUDGING WORKS OF ART
(FELDMAN, 1994)

ART CRITICISM
DESCRIPTION ANALYSIS INTERPRETATION JUDGEMENT

 Thank you.