UNIVERSITI TEKNOLOGI MARA SHAH ALAM, SELANGOR

BACHELOR OF FINE ART (HONS) FACULTY OF ART AND DESIGN

FET 545
FORM AND SOUL

INDIVIDUAL ASSIGNMENT

Prepared by:
NURUL FILZAH SYAFIQAH BINTI ZAHARI
2022898934
CAAD2283A

Prepared for:
MADAM NADIAH BINTI MOHAMAD
TOPIC

Art has long served as a powerful medium through which artists convey their thoughts,

emotions, and reflections on the world around them. A captivating work that draws the viewer's

attention to unravel its layers of meaning is the 'Work of Art', i.e. the creation of a talented

'Artist'.

The artist, known for their avant-garde approach, produces artworks with different

intentions that resonate with the artist's personal experiences and reflections on the zeitgeist. In

interviews and statements, artists have expressed a desire to provoke reflection on specific ideas

or themes by inviting viewers to engage in dialogue with the artwork. This intention serves as a

guiding thread as we navigate the multifaceted tapestry that is the work of art.

The visual elements of the artwork serve as a rich palette through which the artist

conveys their message. Bold use of specific colors evokes a sense of emotion or atmosphere,

while unconventional compositions challenge traditional notions of artistic convention. Each

brushstroke and contour contribute to the overall meaning, creating a visual language that

requires interpretation.

Embedded in the visual elements are symbols and metaphors that add depth to the

meaning of the artwork. Artwork serves as a channel to convey a message as intended by the

artist himself. These elements go beyond mere aesthetics; they become a channel for the artist to

communicate on a symbolic level, inviting the viewer to decipher the hidden meaning in the

canvas.
 Picking Tobacco Leaves in Kelantan (1962) by Mohd Hossein Enas

To truly understand a work of art, one must also consider the cultural and historical

context in which it was inspired. Created during periods of social or political upheaval, the

artwork becomes a mirror that reflects the turbulent currents of its time. The artist's response to

these external forces becomes clear, and the artwork emerges as a poignant commentary on the

collective consciousness.

The viewer's interpretation also adds another layer of complexity to the meaning of the

artwork. When individuals bring their unique perspectives, experiences, and cultural

backgrounds to the viewing experience, the artwork becomes a dynamic space for dialogue. The

subjective nature of interpretation underscores the beauty inherent in the work of Art itself,

allowing it to resonate with diverse audiences in diverse ways.

The artwork stands as a testament to the power of art to transcend the canvas and speak to

the soul. Through a careful examination of the artist's intent, visual elements, cultural context,

and viewer interpretation, we unravel the rich tapestry of meaning woven into this masterpiece.

Artwork transcends the confines of a static image; it becomes a living entity, inviting viewers to

engage in an ongoing conversation with its profound and ever-evolving significance.

BACKGROUND HISTORY

The history of artwork is a vast and captivating adventure, a chronological journey

through the ebb and flow of human creativity that has shaped culture, ideology, and societal

norms. this history seeks to unravel the intricacies of this visual tapestry, exploring the

transformative eras and movements that have left an indelible mark on the canvas of artistic

heritage to share.

The history of this artwork dates back to the period of historic and ancient art in the years

before 30000 BC to 500 CE. The earliest remains of artistic expression were carved into the

rocks and cave walls of this prehistoric age. In this age, our ancestors who were only armed with

primitive tools and unlimited imagination, painted scenes of daily life and the amazing beauty of

animal nature. The haunting appeal of the cave paintings at Lascaux and Altamira stands as a

testament to the persistent human spirit that strives to capture and convey the essence of

existence.

Interior of the Lascaux Caves

In addition, when we turn to ancient civilizations, the art of Mesopotamia, Egypt, Greece,

and Rome became a manifestation of the religious spirit, political ideology, and cultural beliefs

of the community. Monumental sculptures, intricate pottery, and wall paintings adorn the space,
acting as a visual narrative that speaks volumes about the values and aspirations of this

civilization.

After the ancient period, then began the medieval period and the Byzantine period in the

year 500 CE to 1400 CE. The Middle Ages ushered in an era dominated by religious fervor, and

this was greatly reflected in the artwork of the time. Byzantine icons, with their radiant

depictions of saints and biblical figures, became windows to the divine. At the same time, the

architectural marvels of the Romanesque and Gothic styles, such as towering cathedrals and their

stained-glass windows, sought to elevate the human spirit towards the divine.

The Renaissance emerged in the 14th to 17th centuries known as the rebirth of classical

ideals, a transformative age that celebrated human intellect, scientific research, and artistic

innovation. The geniuses of this era, including Leonardo da Vinci, Michelangelo, and Raphael,

pursued a harmonious combination of art and science. The enigmatic smile of the Mona Lisa and

the grandeur of the Sistine Chapel ceiling are timeless testaments to the Renaissance's embrace

of human potential and the careful study of nature.

There is also the Baroque and Rococo periods which started in the 17th to 18th century

which is after the rebirth period, the Renaissance. The Baroque period unfolded with dramatic

brilliance, characterized by dynamic compositions, strong emotions, and great artistic expression.

Caravaggio's mastery of chiaroscuro and the majesty of Bernini's sculptures epitomize the

earnest energy of this era. In contrast, the Rococo movement was more about ornate elegance

and a love of the decorative arts, presenting a visual feast that reflected the opulence of

aristocratic society.
 As the 18th century drew to a close, the Neoclassical and Romantic periods took place

until the 19th century. The pendulum swings between the rational Neoclassical ideals and the

emotional fervor of Romanticism. Neoclassical artists sought inspiration from ancient Greece

and Rome, emphasizing order, reason, and simplicity. In contrast, Romanticism, embodied by

the likes of Delacroix and Turner, celebrated emotion, individualism, and the sublime beauty of

nature.

The 19th century bore witness to a kaleidoscope of artistic movements, each a reaction to

the societal and industrial changes of the time. Realism, with its unflinching portrayal of

everyday life, challenged the idealized depictions of the past. Impressionism, with its emphasis

on capturing transient light and atmosphere, revolutionized the way artists approached their

subjects. Post-Impressionists, including Van Gogh and Gauguin, delved into expressive forms of

color and symbolism, pushing the boundaries of artistic expression.

The 20th century unfurled as a crucible of radical change, marked by movements that

shattered artistic conventions. Cubism, pioneered by Picasso and Braque, deconstructed reality

into fragmented forms. Surrealism, championed by Dali and Magritte, explored the realms of the

subconscious and the fantastical. Abstract Expressionism, epitomized by the action painting of

Pollock, celebrated the spontaneity of creation and the emotional intensity of the artist.

The latter part of the 20th century and the present era ushered in a globalized art scene,

where diverse cultural influences converged and artists drew inspiration from myriad traditions.

This period also witnessed the advent of the digital revolution, transforming the very nature of

artistic creation. Digital art, graphic design, and new media became dynamic mediums that

expanded the possibilities for visual expression, blurring the boundaries between traditional and

emerging forms.
 In conclusion, the history of artwork is an enduring odyssey that spans the epochs of

human civilization. From the primal strokes on cave walls to the pixelated canvases of the digital

age, artists have navigated through a myriad of influences, challenges, and innovations. This

pictorial tapestry weaves together the threads of human experience, reflecting the aspirations,

struggles, and triumphs of generations past and present. As we gaze upon the canvases of our

artistic heritage, we are reminded that the journey of creativity is a continuous exploration, an

unending quest to encapsulate the ineffable essence of the human spirit on the canvas of time.

THEORY ANALYSIS

The theory of artwork encompasses a wide range of perspectives and ideas that seek to

understand and interpret the nature, purpose, and significance of art. Different theories offer

diverse viewpoints on how and why art is created, how it should be appreciated, and what criteria

can be used to evaluate its quality. There are several theories related to this work of art.

Crone in 1972 opined that a work of art cannot be produced except by a painter. this is

said to be so because painters can produce works of art, they can even think about them, because

the process of producing works of art is an intellectual thought process, even Crone and

Collingwood think that works of art are a mental image, and 'ideal' object that expressed in

physical form through the material resulting from the 'real' work in the mind of the observer. this

means that the production of a genuine work of art may require more ingenuity than is used by

those who pride themselves as syndicators. a work of art has its purpose, which is implicit in it.

In addition, Paul Cezanne thinks that, an artist, whether a poet, a musician, or a vase

maker gives shape to an event through observation. this means that artists have a very wide
choice, but it has decreased due to the habits of the times or groups. this condition is not caused

by habit by external pressure such as society's taste or criticism but is influenced by internal

pressure. Control over activities and movement skills under the layer of awareness of the

activity.

The body part of the quail trap is made of sinew and folded finger

webs. The wood-carved roof part is pierced with breadcrumbs and

flowers. the ‘jenang’ part is carved with a filigree cut through the

bean sprout pattern.

A work of art is an artifact that, when given perspective and approach in several ways,

can give the blessing of satisfaction. in some cultures, art is not seen as an activity separate from

its use or function. but this does not prevent it from being accepted as a work of art. By studying

the background of the artist's work and thoughts, we can learn his intentions. the skill of

processing materials, an aspect to produce the intended effect, which is an assessment of a work

of art. It is very difficult to observe the artistic aspect of goods that contain applied processes.

this opinion does not give the possibility that separates the artistic aspect from the goods

produced for a useful function.

Philosopher George Santayana, suggests that everyday items become works of art that

have a soul with a form of statement. this emphasizes the theory of artwork according to Susanne

Langer, who says "The artwork is essentially a form of statement created specifically to be

observed through the senses and imagination.”

 In human life, there are various types of works of art, such as home decorations, clothes,

building tools, and monuments. all of these are artistic activities that produce the visible form of

the essence of something. works of art are unique and irreplaceable like carpentry tools. this

approach emphasizes that the art aspect is indeed separate from the 'craftsmanship' aspect. a

work of art is part of an event that arises from the past.

Artists produce works on the impulse to convey something through materials, ideas, and

emotions. the observer appreciates the art object as an object of the mind and not a material

object. he must feel, realize, observe, and live it. Aesthetic experience is the multiplication and

identification of consciousness and instinct. aesthetic experience exists when we are in the flow

of practical and theoretical engagement to give awareness of expression and enjoy it for the

object itself.

Frithjof Schuon, a Swiss metaphysician of German descent, said that art has rules that

apply the laws of occurrence and universal principles to the world of forms that give birth to the

'style' of a civilization. this style in turn gives birth to a permanent form of the thought of the

civilization. the purpose is to give awareness about the value and relationship between works of

art and the culture that produces the work and inherits it. The main recommendation is to

emphasize the artistic aspect, based on form and content that exceeds function in his article 'On

Form in Art'

Shell ladles from Kelantan

 The artist produces a work that has artistic value more than its physical value, not only

with decoration but also with the beauty of its basic form. the arrangement and balance of form,

line, pattern, interweaving, and color allow it to reach a higher level than just a functional level.

The material, manner, and form of the statement produce a statement of three elements, namely

the creator, the material, and the fan. the creator's taste can add to the originality of the material.

Artists try to convey their emotions and thoughts through materials. The fan's function is to

recognize and observe them.

According to Aristotle, art that imitates the real world is only an imitation. Sartre said

that the work of art is something that is not true and is given an allegory in the outside world.

Malay art is not an imitation of nature, it is a creation through a process of transformation, from

nature to art. Even if the subsequent works are copies, the original work is not a direct imitation.

These theories often intersect and overlap, and different works of art may be best

understood through a combination of these perspectives. Moreover, the interpretation of art is

subjective, and individuals may resonate more strongly with certain theories depending on their

own philosophical inclinations and cultural background.

CONCLUSION

A work of art is proof of the limitless creativity that exists in the human spirit. Across

multiple mediums and forms, it captures the essence of individual and collective imagination.

The strokes of a painter's brush, the arrangement of musical notes, or the movements of a dancer

all contribute to a rich tapestry that transcends linguistic and cultural barriers. In essence, the
artwork becomes a language of emotions, ideas, and perspectives, inviting the viewer into a

realm where the boundaries between creator and observer are blurred.

Beyond its aesthetic appeal, artworks provide a canvas for cultural and historical

narratives. Each work is a reflection of the context in which it was created, embodying the ethos,

struggles, and triumphs of a particular time and place. Whether through subtle nuances or bold

statements, art serves as a conduit for societal reflection and critique. It has the power to

challenge preconceptions, question norms and inspire conversations that transcend frames or

stages, fostering a deeper understanding of the complexities woven into the fabric of our shared

human story.

Additionally, the subjective nature of the artwork ensures that each encounter is a unique

and personal experience. The audience becomes an active participant in the creation of meaning,

bringing their perspectives, emotions, and life experiences to the interpretation. This dynamic

interaction between artwork and observer transforms the act of appreciation into a journey of

self-discovery, prompting introspection and connection on a deep level. In its ability to captivate,

inspire, and provoke thought, works of art enrich our lives, fostering a sense of unity through

shared exploration of the human experience.

REFERENCES

Syed Ahmad Jamal (2010). Rupa dan Jiwa. Dewan Bahasa dan Pustaka,
Kementerian Pendidikan Malaysia.

Shelley Esaak (2019). An Art History From Ancient to Contemporary Art.

Taken from https://www.thoughtco.com/art-history-timeline-183476. January 11, 2024.
8:45 p.m.

William Anderson (2022). Ancient art: Lascaux & Altamira Caves, Venus of Willendorf. Taken
from https://schoolworkhelper.net/ancient-art-lascaux-altamira-caves-venus-of-
willendorf/ pada January 11, 2024: 21:00 p.m.

Mohd Hafiz (2015). Pendidikan Seni Visual. Taken from

https://cikguhafizsenivisual.blogspot.com/2015/12/info-seni-catan-sejarah-aliran-
seni.html. January 12, 2014. 10:35 a.m.

Art History Timeline: Western Art Movements and Their Impact (2021). Taken from
https://www.invaluable.com/blog/art-history-timeline/. January 13, 2024. 11:00 a.m.