FACULTY ART AND DESIGN

MUHAMMAD HAFIZ BIN KAMARUL NAEM

2020986415

AD228/5A

PREPARED FOR :

DR. RAFEAH BINTI LEGINO

DATE SUBMITTED :

14 JUN 2017
INDEGIOUS ART

1.1 Visual Complation

Source: Personal collection Source:Google Images

Source: Youtube Source: Facebook

Source: Google Images Source: Google Images

1.2 Related Literature

Indigenous art is refer to something common about the experience of many people.
Indigenous may be a fundamental concept in aesthetics that has been overlooked due to the
historical ethnocentrism of Western philosophy,but it is a concept that reflects the difficulty
of making cross-cultural generalizations. By indigenous aesthetics, I am referring to thoughts
about aesthetic experience that devepled independently of the Western tradition in various
parts of the world: ideas about held by indigenous people. The term “indigenous” presents
definitional problems in a contemporary context. Originally, the term referred to traditions,
implements,natural specimens, and so forth that are native to a particular region or
regions.Currently, “indigenous” refers to people who are minorities in their own homeland,
who have suffered oppression in the context of colonial conquest, and who view their
political situation in the context of neo-colonialism.

For non-native readers this book may be reflexive in two senses: in relation to their
own culture’s role in the process of conquest and colonization, and in the sense of their own
expression of attachment to place though aesthetic expression, an attachment that often seems
submerged in contemporary artistc expression. Non-natives study other cultures ‘ideas about
art,in part, because this study reflects upon non-natives’ own experience. Key to
understanding indigenous aesthetics is what Leutjold described as “continuity of expression:
relating to “historical,religious,conceptual,generational,tribal,or cosmological.

Based on the meaning Indigenous art, that native scholar heater ahtone defines an
Indigenous aesthetic by identifying key signifiers that include the relationships between
metaphors, symbols,cultural beliefs, knowledge, stories/histories,and personal narrtives.
Based on the point of view of indigenous art, which narrates that it influences also culture
and environment. Kuala Rompin is probably best known as the gateway to Tioman Island.
However, it is not without its own attractions. The restaurants of Kuala Rompin are famous
for their seafood, especially for their freshwater prawns and freshwater clam caught in the
surrounding areas especially at the estuary of Sungai Rompin (Rompin River). Crabs and
squids are also popular.
Kuala Rompin is also building a name for itself in the sport of sailfish fishing. It is
increasingly being recognized as the Sailfish Capital of Asia, and hosts an annual world-class
fishing event, the Royal Pahang International Billfish Challenge. Kuala Rompin is considered
to be one of the best places in the world to catch Sailfish. According to the study, Kuala
Rompin is also an activity that is a lot to fisheries, trade in raw materials such as seafood that
is loved by its residents and villagers. Fishing activities are usually located in Kuala Pontian,
Kuala Rompin.

Turning to my idea in the production of the work is indeed a choice for a subject matter that
is close to the environment that reflects Kuala Rompin which is famous for fishing activities
and fishing activities that are the culture and economic resource of the people. Among the
specialties of Kuala Rompin that are different from the area is Kuala Rompin is famous for
sailfish and also lobster which makes fishing activities in the south china sea is full of
anglers.

For the selection of subject matter for the production of my work is an iconology to the
activities of fishermen or anglers which is also supported by additional materials such as
lobster and sailfish.
1.3 Artis Reference

1. Mazli Mat Som

 Menanti Nelayan
 1961
 76 x 92 cm
 Oil Paint on Canvas

Content

Tell about the a painting Menanti Nelayan (waiting for the fishermen, 1961) by Mazli Mat
Som shows a young Malay girl wearing a kebaya, a traditional Malaysian dress against the
landscape of the sea and boats that have waiting the fishermen

Context

In term of context, this artwork tell us the girl that have feelings “This image expresses
patience, calm, alone, desire, hope and sadness,
 2. Yong Mun Sen
 Drying Nets
 1940
 56 x 38 cm
 Watercolour On Paper

Content

Tell about the capture life of people in the waters, namely fishermen who often do knitting
activities, fishing.

Context

This artwork mostly interested in capturing the beauty of the local scenery and also the daily
activites. This artwork tells us the daily activities fisherman which shows the culture of the
Malays and also socioeconomic population.
 3. Khairi Fakhri
 Berjiwa
 2019
 183 x 91cm
 Bintumen on Canvas

Content

Berjiwa or With Soul represents the artist’s observation and view on a fisherman’s life and
custom This work is representative of the fishing community that is still operational today.

Context

It illustrates a larger than life fisherman in the act of throwing a net at the start of his day. The
artist accentuates the intricacy of the fishing net and its rolls. According to Khairy, in order to
understand the nature of his subject matter and his tool, he must first observe and experience
the moment. This way, he is able to be compassionate about the fisherman’s yearning for
accomplishment. Khairy’s painterly technique and the effects of bitumen as his choice of
medium evoke a sense of nostalgia.
 4. Faizal Suhif
 Rezeki akan datang
 2010-2016
 127 x 343 cm
 Monoprint, Stencil, Oil and Acylic On Canvas

Content

This artwork tell the the sustenance provided by God.

Context

In terms of context, this work tells us that the things which come from God will never be
broken as long as we believe in God.
1.4 Ideation

Sketch deveploment