Malaysia Contemporary Art

This paper aims to investigate the terminology relating to irony and the manifestation of the struggle within the inner thought of a 21 st-century Malaysian artist, Sophia Kamal. Her artwork discussed here portrays a signiicant picture of what it means to be a woman in the 21 st century. In her recent exhibition, entitled "WUDU", Sophia exposed the 21 stcentury dilemma faced by many modern women, especially the modern Muslim woman, through extensive, ine pieces of colourful and impressive artwork. Sophia's art pieces have contributed to the development of local artwork produced by contemporary women artists in Malaysia by exploring the perception of identity in terms of the female gaze and consciousness from a feminist perspective, which this paper will discuss further. Focussing on the issues of identity and feminism, this paper argues that her art pieces relect the conlict between traditional culture and postmodern life, thinking and culture that is increasing its visibility in urban Malaysia.

Art in Malay culture traditionally existed alongside with the invention of utility items. Traditional pottery known for its utility functions has integral with local genius aspects. This paper focuses on the documentation and indepth study of the local genius of the Mambong pottery. The tradition of Mambong village pottery is traceable to 1868. Situated on the banks of the Galas River, Kelantan, Kampung Mambong with its two hundred and thirty eight years pottery tradition is a rather unique phenomenon. It has produced pieces such as smoke container, round bottom water jar, squat water vessel, vessels with handles, earthenware pot, steam pot that suggest skilful dexterity in handling the medium of clay in response to physical and spiritual needs. Mambong pottery expresses the knowledge of forms and their functions but something of the sense of genius, as well. It is time that the local genius of Mambong pottery is highlighted, its use and significance elaborated, and the tradition appreciated.

Based on the previous studies on issues concerning visual artwork, many suggested an improvement has to be made on the Guidelines about Visual Art from the Islamic Perspectives (1987). Referring to the theoretical model from the guideline, the process of producing visual artwork deals with the visual subject and the style of presenting the visual form. As a reference in producing Shariah compliant visual artwork, the guideline should be improved based on the evolving of the contemporary art. This paper aims to explore the needs of study on visual art from the perspectives of Islamic Shariah base on the contemporary development in the art scene. Given this gap, this study attempts to discuss the literature review for compiling the preliminary view point on the guideline status quo. The result shows that there are deficiencies in the guideline in terms of visual subject, visual form and visual content discussion. It is hoped that this study will pave the way to new frontier in the Contemporary Visual Art based on Islamic Shariah which has a huge contribution to the sustainability of national art. Result of this study can become a literature for those researchers who are intent to discover on this topic. Recommendation was given for further investigation into a refinement the guideline base on the contemporary art development through the qualitative research.

Beliefs and interpretations from the Islamic concept have influenced the emergence and extensions of many landscape designs including the Malay landscape. This paper reviews the significant relation between the Malay landscape and Islamic garden concept through established references. The main intention is to identify, analyzing and establishing the landscape elements, design characteristic and their functions as the research attributes. This paper uses the imagery evidence from the Quran to support the study analyses and discussions. The conclusions will lead towards all possible dimensions of Islamic Malay landscape in cultural, traditional and sustainability context for future resilient.

Since the 1990s, Malaysian artists have been using performance art as an artistic medium. Nevertheless, the history and context of performance art in Malaysia have not been examined in the context of Malaysian art history in particular. Coming from the fine arts background, artists such as Intan Rafiza, Sharon Chin, Aisyah Baharuddin, Rahmat Haron, Azizan Rahman Paiman, Mislina Mustaffa, and Fared Ayam, are among Malaysian artists who have been producing performance art as their main artistic medium. These performances, as will be discussed in this article, are what we define as “socially responsive medium” as these performances are not only ways for artists to express themselves but most importantly, the performances were inspired and executed as a form of artistic assertion or response in regard to various issues happening that triggered or inspired these artists to react via the execution of these performances. To give a better historical context and background, this article will...

Style is used to identify and understand concept such as in communication, values of life, religion and society, and forms existed based on a certain recommendation. This paper is focusing on the style of the Malay manuscript (al-Qur'an) which stands as a symbol of knowledge for the Malay scholars as well as an important source of understanding the intellectual and literary heritage of Malaysia. For developing the Islamic concept on the interpretation of the artwork, three appropriate and relevant theories have been selected. The four methods chosen are based on the aesthetic concept by Zakaria Ali and the theory of art appreciation in Islamic art by D'zul Haimi Md Zain, Nor Azlin Hamidon and Wan Samiati Andriana. The significances of the paper is to enhance the system and structure of vocabularies for Islamic art and Malay traditional art, aligns with the United Nation's Sustainable Development Goal.

The past decade has witnessed the revival of street protest culture in Malaysia. This new wave of demonstrations arguably began in 2007, when the Hindu Rights Action Force (HINDRAF) mobilised an estimated 30,000 people to march for the rights of a religious-and racialised-minority against government policies that favour bumiputera Malays. 1 Since then, street protests have been organised by a wide variety of groups and have become an increasingly common feature in Malaysia's political landscape. The most prominent of them are the Bersih [Clean] marches organised by a coalition of nongovernment organisations calling for ballot reform to ensure fair elections; to date, there have been five such rallies, each of which mobilised tens of thousands of participants. Coinciding with the early years of this new wave of protests were the general elections of 2008 and 2013, which saw record voter turnout and an unprecedented number of seats won by the opposition coalition, Pakatan Rakyat, breaking the political stronghold held by the ruling ethno-nationalist party, United Malays National Organisation (UMNO), since independence. Along with these political developments, the resurgence of protest culture was seen as signalling a rise in civic participation and an indication of Malaysia's maturing democracy.

Art in Malay culture traditionally existed alongside with the invention of utility items. Traditional pottery known for its utility functions has integral with local genius aspects. This paper focuses on the documentation and indepth study of the local genius of the Mambong pottery. The tradition of Mambong village pottery is traceable to 1868. Situated on the banks of the Galas River, Kelantan, Kampung Mambong with its two hundred and thirty eight years pottery tradition is a rather unique phenomenon. It has produced pieces such as smoke container, round bottom water jar, squat water vessel, vessels with handles, earthenware pot, steam pot that suggest skilful dexterity in handling the medium of clay in response to physical and spiritual needs. Mambong pottery expresses the knowledge of forms and their functions but something of the sense of genius, as well. It is time that the local genius of Mambong pottery is highlighted, its use and significance elaborated, and the tradition appreciated.

The world’s growing population has led to large amount of packaging waste, which further contributes to the problem of its disposal and other environmental issues. Package is the main key for reducing waste from the starting point and during product life cycle LC. The perfect package preserve food loss not only until it reaches consumer hands but also during use and after opening. Most of Egyptian dry foods packaging lacks to the environmental considerations. The paper pointed to add environmental value to packaging in the Egyptian market in dry foods sector. The dry food products vary in the Egyptian market, most of them packed on same packaging format and material. A case study was conducted to highlight the major dry foods packaging problems; over packaging material, unfriendly and inconvenience closing system were underlined. The study aimed to stimulate packaging design innovation considering format, closing system; and provide tools, examples and further information to support...

From the perspective of history and tradition, the art of calligraphy painting is seen to co-exist from two distinct traditions of the arts, that of the west and east traditions. Both traditions converge to form a new phenomenon via the assimilation process of the modern era. The phenomenon led to the formation of an art tradition-a premise both assumed and proven-wherein the form is indicative of the times seen in the light of conflicting cultural and ideological knowledge visa -vis the Islamic and secular values. However this phenomenon can be seen as an integrative element between various racial entities of early post-modern Malaysia for more than a decade. It also gave rise to the commitment of certain quarters to create a work of art that imbues the Islamic ideology, a reactive alternative to the variety of trends and art forms occurring in Malaysia then and generally viewed as lacking in art philosophy as compared to the Islamic Tawhid philosophy depicted in calligraphy paintings especially when associated with the holiness and preciseness of its meaning. To some artists, the art of calligraphy painting is a preferred choice because of the fulfilment in depicting mature and deep spiritual experience. All these observations led to the need to investigate the calligraphy art works in Malaysia more seriously in the form of a proper research endeavour, in order to enable its history as an art form be given due attention as one that is precise and able to promulgate the Malay national identity.

Islamic contemporary paintings stand as one of the identities of the nation. The pluralisme of its styles has been depending mainly towards the classification of Muslim artworks introduced by Ismail Raji Al-Faruqi in 1986. Due to the expansion of art media, its technique, individual quality and aesthetic experience, this paper intends to search for the new styles emerged from the amalgamation of the three art traditions: Islamic, Western and Malay art, from the study made on Islamic calligraphy paintings selected from year 1947 until 2005. Among 707 paintings collected, 110 have been selected as samples to represent the diversity of the material, year, artist and painting technique. These paintings have been scrutinized using qualitative method (grounded theory) and the final finding introduces 5 main styles which could accommodate in precise the paintings into its own suitable categories based on the latest art mainstreams.

The project objectives are to develop process models to investigate the interaction of planetary and synoptic-scale waves including the effects of latent heat release (precipitation), nonlinear dynamics, physical and boundary-layer processes, and large-scale topography; to determine the importance of latent heat release for temporal variability and time-mean behavior of planetary and synoptic-scale waves; to compare the model results with available observations of planetary and synoptic wave variability; and to assess the implications of the results for monitoring precipitation in oceanic-storm tracks by satellite observing systems. Researchers have utilized two different models for this project: a two-level quasi-geostrophic model to study intraseasonal variability, anomalous circulations and the seasonal cycle, and a 10-level, multi-wave primitive equation model to validate the two-level Q-G model and examine effects of convection, surface processes, and spherical geometry. It exp...

This research went through experimental processes for the actualization of the objectives. Materials were sourced from different locations; primary clay was sourced from Kankara in Katsina State, secondary clay was obtained from Bomo town, Zaria Kaduna State while Iron Filings were procured from from an area known as Randa Kano, Kwangila, Zaria. The primary and secondary clays were soaked together for a period of one week and sieved into watery past which was afterwards dewatered for readiness to work with. In the case Iron filings, they were analyzed by sieving into four aggregate sizes of 1.18mm, 600µm, 300µm for experimentation. Clay and iron filings were blended together in different percentages according to the aggregate sizes of Iron filings. Throwing of the different percentages of mixture of clay and iron filings were also carried out on the wheel to ascertain the level at which iron filings affected the throwing ability of the clay. Analysis of the physical appearances of the slabs and thrown tests were carried out and this enabled the production of the decorative wares. The decorative wares were in different sizes and shapes, manipulated to create more interest by restricting iron filings from some parts of the wares. The wares were fired in a kerosene kiln and with the aid of cone 1000 o C to control the temperature.

A tile making machine (TMM) was designed and fabricated (see Plate IV), varieties of tiles in different sizes and thickness were extruded and certain properties of the tiles were also tested. This is in order to determine and certify the functional reliability of the machine and it's products when compared with similar machines earlier in operation. A body of ball (Bomo) clay and kaolin (kankara) clay in equal percentage of 50% was used for the tile extruded. Empirical method was employed to prepare the tile materials beginning with locating, identifying and charting of local deposits, exploration, procurement, transportation, beneficiation, compounding/mixing of ceramic materials, aging, production with the prepared recipes, drying and firing which mark the final stage. Tensile, hardness and impact resistance tests were carried out on the tiles produced with the TMM and two ready-made glazed China tiles in the market. The produced tiles results on the tensile test were (20mm = 1311.06 N/ mm 2 , 15mm = 951.78 N/ mm 2 and 10mm = 741.47 N/ mm 2); hardness test: (20mm = 40.2 HRF, 15mm = 29.7 HRF and 10mm = 18.7 HRF); and impact test: (20mm = 5.5J, 15mm = 2.13J and 10mm = 0.63J). The two results compared showed significant relationship in the parameters measured. Even though tiles produced from the TMM machine were not glazed but they met the standard parameters for unglazed tiles as obtained in literatures. From the parameters measured and the results obtained these tiles suitably match with the klinker tiles used as floor tiles and for other hard lining surfaces.

A tile making machine (TMM) was designed and fabricated (see Plate IV), varieties of tiles in different sizes and thickness were extruded and certain properties of the tiles were also tested. This is in order to determine and certify the functional reliability of the machine and it’s products when compared with similar machines earlier in operation. A body of ball (Bomo) clay and kaolin (kankara) clay in equal percentage of 50% was used for the tile extruded. Empirical method was employed to prepare the tile materials beginning with locating, identifying and charting of local deposits, exploration, procurement, transportation, beneficiation, compounding/mixing of ceramic materials, aging, production with the prepared recipes, drying and firing which mark the final stage. Tensile, hardness and impact resistance tests were carried out on the tiles produced with the TMM and two ready-made glazed China tiles in the market. The produced tiles results on the tensile test were (20mm = 1311...

The global trend is shifting from the mass production era towards small brand and individualism or customized production. With the arrival of this new era (21st century) that revolves around concept development, consumers now demand to be treated individually; and manufacturers need to create the sorts of products that will meet individual wants. Such products don't fit neatly into the mass economics of the old model. Therefore, this transformation in product demand is seen as a potential loophole for small and medium industries (SMIs) to compete favorably in the global market. However, most small and medium scale industries are strictly local with less innovation; these make the business hard to grow. Thus, it is important for SMIs to dream big in bringing about product experience, and invest more time and efforts in conceptualizing ideas that are suitable; as this will help in making better value judgment. Hence, this paper investigates the new shape of small and medium industries for the 21 st century economics. It highlights the Tri-Sustainable characteristics needed for 21 st century SMIs. Based on this understanding, the paper proposed three basic approaches for SMIs to reinvent their businesses in the new era. With this, small and mediums industries that started small can get big economically and innovatively. Index Terms-21 st century economics, digital and rapid prototyping, product development process, Tri-Sustainable characteristics.

This paper discusses on the impact of thematic approaches taken by Malay artists in Malaysia since the 1990's.Malaysian art has become increasingly diverse in terms of its approach, subject, theme and media. This growing artistic diversity is discussed within a postmodern framework and is representative of a shift in tendencies away from a purely Malay/Islamic-centred artistic tradition to a more postmodern approach that is inclusive of Malaysia's emerging middle class. Since the 1990's, works produced by Malay artists have taken a more critical perspective aligned with the postmodern situation or situasi percamoden in accordance with Malaysia's leapfrog into modernization. Through their works, Malay artists raise concerns and issues pertaining to the consequences of development and modernization, and explore themes ranging from social problems, environment and urbanization, and contemporary issues thereby employing postmodernist approaches in their art. What is obvious is, that Malay artists are concerned with the immediate and near future, rather than looking back or glorying the past. These artistic tendencies epitomize the challenges, divergences and even connections of perspectives that define the growing Malaysian middle class especially in the context of the construction or even deconstruction of Malaysian society.

bachelor degree in fine art in Taiwan, she obtained her master degree in photography in Arles, France. As a social actor, Kuik continues to experience different tensions coming from the clash between institutions, social bounds, identities and interests. These experiences are foregrounded in Kuik's perception of the world and her relationship with the authority, and subsequently shaped her work, in which she believes the personal space is the major battlefield of ideological, political and economic interests. Her recent work focuses on the negotiation between the collective and the individual, and place as a field of personal intervention.

Malaysia have various crafts include crafts for religious purpose, however, we are still using Feldman's art criticism model. Feldman's criticism model do not accommodate contextual value of the crafts and is not made to judge crafts. Most of art lecturers are familiar with Feldman's art criticism model because its simplicity which only four phases; describe, analyze, interpret, and judge. This study used content analysis and interviewed two postgraduate students who studied pottery in Mambong Village. I modify Feldman's art criticism model and propose three phase model; internal, original and historical context. Internal context; description include visual and material descriptions, how pottery or handicraft is made, original context; styles, values, principle design within local context, compare and contrast, examine original and other country influences the styles and historical context: historical moments, events, and trends relate to handicraft, how other interpreters have understood it, where it has been placed in the history of art. The model will help student or researchers to evaluate and appreciate the value of crafts including religious crafts. Students will not only know how to judge the quality of the crafts, but they will also appreciate the history and cultural context of the crafts.

This research went through experimental processes for the actualization of the objectives. Materials were sourced from different locations; primary clay was sourced from Kankara in Katsina State, secondary clay was obtained from Bomo town, Zaria Kaduna State while Iron Filings were procured from from an area known as Randa Kano, Kwangila, Zaria. The primary and secondary clays were soaked together for a period of one week and sieved into watery past which was afterwards dewatered for readiness to work with. In the case Iron filings, they were analyzed by sieving into four aggregate sizes of 1.18mm, 600µm, 300µm for experimentation. Clay and iron filings were blended together in different percentages according to the aggregate sizes of Iron filings. Throwing of the different percentages of mixture of clay and iron filings were also carried out on the wheel to ascertain the level at which iron filings affected the throwing ability of the clay. Analysis of the physical appearances of t...

Designed and typeset by Sara Lund, Anna Frisk and the Author Swedish translation by Cecilia Häggström Photographs by: Jeoung-Ah Kim Cover: Right above: Figure 1 of Paper I. Paper-composite porcelain (MCP 3) fired at 1300 o C. Mullite, α-quartz, anorthite and amorphous materials are formed during batch composition. Left above: Figure 5 of Paper I. The SEM image of paper-composite porcelain (MHP1) fired at 1260 o C. Fibrous structures display binding and an interlocking of the fibres, and construction of fibrous bridging. Below: Figure 1 (b) of Paper III. A model produced with MCP 3 by the slip casting method and fired at 1300 o C. A transparent glaze was applied. The image was photographed by Jeoung-Ah Kim and the layout designed by Cecilia Häggström.

Islamic contemporary paintings stand as one of the identities of the nation. The pluralisme of its styles has been depending mainly towards the classification of Muslim artworks introduced by Ismail Raji Al-Faruqi in 1986. Due to the expansion of art media, its technique, individual quality and aesthetic experience, this paper intends to search for the new styles emerged from the amalgamation of the three art traditions: Islamic, Western and Malay art, from the study made on Islamic calligraphy paintings selected from year 1947 until 2005. Among 707 paintings collected, 110 have been selected as samples to represent the diversity of the material, year, artist and painting technique. These paintings have been scrutinized using qualitative method (grounded theory) and the final finding introduces 5 main styles which could accommodate in precise the paintings into its own suitable categories based on the latest art mainstreams.

A tile making machine (TMM) was designed and fabricated (see Plate IV), varieties of tiles in different sizes and thickness were extruded and certain properties of the tiles were also tested. This is in order to determine and certify the functional reliability of the machine and it's products when compared with similar machines earlier in operation. A body of ball (Bomo) clay and kaolin (kankara) clay in equal percentage of 50% was used for the tile extruded. Empirical method was employed to prepare the tile materials beginning with locating, identifying and charting of local deposits, exploration, procurement, transportation, beneficiation, compounding/mixing of ceramic materials, aging, production with the prepared recipes, drying and firing which mark the final stage. Tensile, hardness and impact resistance tests were carried out on the tiles produced with the TMM and two ready-made glazed China tiles in the market. The produced tiles results on the tensile test were (20mm = 1311.06 N/ mm 2 , 15mm = 951.78 N/ mm 2 and 10mm = 741.47 N/ mm 2); hardness test: (20mm = 40.2 HRF, 15mm = 29.7 HRF and 10mm = 18.7 HRF); and impact test: (20mm = 5.5J, 15mm = 2.13J and 10mm = 0.63J). The two results compared showed significant relationship in the parameters measured. Even though tiles produced from the TMM machine were not glazed but they met the standard parameters for unglazed tiles as obtained in literatures. From the parameters measured and the results obtained these tiles suitably match with the klinker tiles used as floor tiles and for other hard lining surfaces.

Penyelidikan ini merangkumi pemahaman metafora melalui perkaitan objek perwakilan dengan seni untuk meningkatkan nilai dan estetika dalam memahami karya seni. Karya seni dapat didefinisikan dalam dua bentuk format iaitu representasi dan bukan representasi. Kedua-dua bentuk format ini menekankan modenisme. Penyelidikan ini membincangkan objek yang dijumpai mewakili kiasan 'kepercayaan' serta memiliki ciptaan seni sambil mencerminkan sejarah, fungsi dan dikontekstualisasikan dalam Karya Seni 2D. Konsep siap pakai diperkenalkan pada tahun 1917 ketika Marcel Duchamp memperkenalkan idea untuk menjelaskan kemampuan sifat fizikal, refleksi psikologi, dan adanya ideologi untuk meniru simbol, dan metafora sebagai akar dalam paradigma baru dalam praktik konseptual. Bahanbahan 'berbicara' dengan sendirinya dalam mewakili 'realisme' sebagai keputusan untuk memperkuat persepsi objektiviti dan mempersoalkan tradisi praktik perwakilan di era modernisme. Kualiti idea ini mem...

This research went through experimental processes for the actualization of the objectives. Materials were sourced from different locations; primary clay was sourced from Kankara in Katsina State, secondary clay was obtained from Bomo town, Zaria Kaduna State while Iron Filings were procured from from an area known as Randa Kano, Kwangila, Zaria. The primary and secondary clays were soaked together for a period of one week and sieved into watery past which was afterwards dewatered for readiness to work with. In the case Iron filings, they were analyzed by sieving into four aggregate sizes of 1.18mm, 600µm, 300µm for experimentation. Clay and iron filings were blended together in different percentages according to the aggregate sizes of Iron filings. Throwing of the different percentages of mixture of clay and iron filings were also carried out on the wheel to ascertain the level at which iron filings affected the throwing ability of the clay. Analysis of the physical appearances of the slabs and thrown tests were carried out and this enabled the production of the decorative wares. The decorative wares were in different sizes and shapes, manipulated to create more interest by restricting iron filings from some parts of the wares. The wares were fired in a kerosene kiln and with the aid of cone 1000 o C to control the temperature.

The study of local paintings has been around for a long time and the finding says most of the time, the environment is the main subject matter as source of inspiration. However, only a few researches are being made on the implicit meaning of paintings. In Malaysia since the 90s, environmental themes have declined and rarely seen in records and even so there is some, the finding is not so consistent. Paintings that usually uses landscapes or environmental characteristic as a primary focus, shows the atmosphere of local surroundings and cultural heritage. This study was aimed at analysing the artistic foundations in the paint that emphasized the cultural and environment.This paper discuss about how to interpret the cultural elements and environmental theme that is used and embedded inside the contemporary paintings that is presented in the Malaysian local art scene from the year 1960 until 2016.The theme of local culture and environmental activities often becomes a subject matter for the artist to make a documentation of it with their paintings. The research on contemporary painting in Malaysia was studied for publishing analytical data holistically. Research through visual observation based on a certain art theory is used to obtain data on cultural and artistic environment through observations of multiple artworks. Through this study, the artworks have been used as the primary medium to help the society to better understand and appreciate the aesthetic values of environmental and cultural elements in more elaborate detail. Cultural and environment also bring meaning that relies on current changes affecting heritage and tradition. Through contemporary

In Malaysia, the implementation of the National Culture Policy in the early 1970s reiterated the ethnic preference policy of the National Economic Policy (NEP). As a result, the subsequent 1971 National Culture Congress (NCC) and the Islamization Policy undertaken by the government in the late 1970s had great influence on art practices in Malaysia, especially during the 1980s. These policies could be seen as an official attempt to shape the Malaysian identity, especially in terms of visual art in post-Independence Malaysia. The first part of this article will discuss the indirect consequences of the 1971 National Culture Policy and several Islam-centred policies since the late 1970s and how several assertions were made through a few writings about Malaysian art: that only certain modern art forms, aligned with the rhetoric of national agendas, were produced and exhibited in the late 1970s until the mid-1990s. This paper will problematize the assertion by discussing some disjuncture and inconsistencies in relation to this narrative of Malaysian art. Thus, this paper will argue how, despite the general perception that the National Culture Congress (NCC) and the Islamization Policy had great influence on art practices in Malaysia, a deeper examination of exhibitions revealed that art-making by most artists still depended on the artists' own endeavours and own modern artistic practice. Nevertheless, as this paper will also highlight, this period is an important attempt in decolonializing modern art in Malaysia by ways of state and institutional support, albeit its limited success.

The December 2014 Kelantan floods were the worst on records in terms of depth and extent of inundation as well as damages to properties and infrastructure. Therefore, a comprehensive and integrated flood monitoring, forecasting, and warning methods are needed to allow planning of responses to potential future floods by the government and related environmental agencies. The Kelantan state has been affected by floods every year in modern times. Meteorological and hydrological records have shown that the Kelantan River often overflows during the NE monsoon season. This preliminary due to heavy rainfall, causing an almost annual recurrence of floods to the state between the end of November till March (DID 2014/2015). Excessive land use changes such as deforestation (i.e. logging and clearing for agriculture) and increased precipitation intensity and frequency are the possible causes for this change. However, little research has been conducted to understand and quantify how these factors contribute to changes in the magnitude and frequency of flooding in the area. This research will attempt to integrate geo-morphological, hydrological and meteorological data and evaluate their impact on the recurrence of the annual flood in Kelantan. The main objective of this research project is to study all factors that contribute to the flooding events in Kelantan and propose a strategy to minimize the impact of future flooding events. The methodology planned to achieve the specific objectives for this research comprises of: (i) analysis of satellite imagery and remote sensing images to map general geo-morphology of Kelantan; (ii) analysis of medium-term climatic data (temperature and rainfall data) to evaluate the impact of hydrology on the flooding events. From the Digital Elevation Model (DEM) map, the geomorphology of Kelantan can be clearly seen where at the southern part of Kelantan (Gua Musang and Kuala Krai area) is more hilly and highly elevated, and toward northern parts of Kelantan

This article documented the development of visual arts tourism as a new field of Malaysia's tourism. Since the new millennium, the union of visual arts and tourism has been celebrated by the Ministry of Tourism, Arts & Culture as a marketing strategy to promote Malaysia as a top-of-the-mind destination art tourism destination. The research result has shown that currently there are three significant visual arts programs which are known as (1) One Malaysia Contemporary Art Tourism, (2) Art Expo Malaysia, and (3) Kuala Lumpur Biennale has been developed along with the government's strategies for partnership between visual arts, tourism and economic development. It is hoped that this paper will provide insights into an understanding of the tourism industry in Malaysia, particularly for visual arts tourism development

Keyword: Malaysia's Tourism, Visual Arts, Visual Arts Tourism, Cultural Industries.

In recent centuries, we Muslims have been taught to despise the arts, both those of the visual (or seen) and the aural (or heard) variety. In fact, it would. not be an overstatement to say that the field of art is a "disaster area" today in M~slim education and Muslim life. Many of us grew up in the Muslim World . with the lesson that poetry was mere "play on words", that the visual arts distracted from prayer and meditation, and that music was a stimulant to fornication. This disdain for the arts came from two sources.

This research went through experimental processes for the actualization of the objectives. Materials were sourced from different locations; primary clay was sourced from Kankara in Katsina State, secondary clay was obtained from Bomo town, Zaria Kaduna State while Iron Filings were procured from from an area known as Randa Kano, Kwangila, Zaria. The primary and secondary clays were soaked together for a period of one week and sieved into watery past which was afterwards dewatered for readiness to work with. In the case Iron filings, they were analyzed by sieving into four aggregate sizes of 1.18mm, 600µm, 300µm for experimentation. Clay and iron filings were blended together in different percentages according to the aggregate sizes of Iron filings. Throwing of the different percentages of mixture of clay and iron filings were also carried out on the wheel to ascertain the level at which iron filings affected the throwing ability of the clay. Analysis of the physical appearances of the slabs and thrown tests were carried out and this enabled the production of the decorative wares. The decorative wares were in different sizes and shapes, manipulated to create more interest by restricting iron filings from some parts of the wares. The wares were fired in a kerosene kiln and with the aid of cone 1000 o C to control the temperature.

Art is a diverse range of human activities and the product of those activities include painting, sculpture, pottery, etc. Therefore, the study of pottery artefact has been helpful in developing theories on the cultural development of societies that produced or acquired them. The traditional pottery of Kelantan has been known for its utility functions. Hence, this paper seeks to illuminate on the traditional pottery of Kelantan state in Malaysia. The paper investigates and reviewed the history of Malay pottery down to Kelantan pottery, and also analysed the techniques and processes used for mass production in Kelantan traditional pottery production. This was achieved by first visiting three traditional pottery centres in Kelantan. The places visited include; Zutah Ceramic at Ceribong, Kesdec Ceramics at Pulai Chondong and Belipot Ceramics at Bunut Payong. The outcome of the visit revealed how Kelantan potters use plaster of Paris (POP) to create prototypes using turning wheel and thereafter use it to generate master mould and case mould for mass production.

Every place has its own unique architectural qualities which are not only in terms of its physical makeup but, on how it is perceived. Hence, designers need to be sensitive to those unique qualities so they can enhance and sustain, rather than destroying them. However, to understand these unique qualities, one needs to approach it from the perspective of their aesthetic principles. This is because aesthetic is a critical reflection on art, culture and nature. But the question is; what are these aesthetic and architectural elements; are they still valid for present application? Therefore, to address these issues, this paper seeks to investigate and illuminate on Kelantan traditional aesthetic values. Ten aesthetic elements were identified, thus, the paper illustrates by examples how these elements can be integrated into the architecture of contemporary homes.

Every place has its own unique architectural qualities which are not only in terms of its physical makeup but, on how it is perceived. Hence, designers need to be sensitive to those unique qualities so they can enhance and sustain, rather than destroying them. However, to understand these unique qualities, one needs to approach it from the perspective of their aesthetic principles. This is because aesthetic is a critical reflection on art, culture and nature. But the question is; what are these aesthetic and architectural elements; are they still valid for present application? Therefore, to address these issues, this paper seeks to investigate and illuminate on Kelantan traditional aesthetic values. Ten aesthetic elements were identified, thus, the paper illustrates by examples how these elements can be integrated into the architecture of contemporary homes.

The study of pottery artefact as been helpful in developing theories on the cultural development of societies that produced or acquired them. The traditional pottery of Kelantan as been known for its utility functions. Hence, this paper seeks to illuminate on the traditional pottery of Kelantan state in Malaysia. The paper investigates and reviewed the history of Malay pottery down to Kelantan pottery, and also analysed the techniques and processes used for mass production in Kelantan traditional pottery production. This was achieved by first visiting four traditional pottery centers in Kelantan. The places visited include; Mambong Pottery in Kampung Ulu Sungai, Zutah Ceramic in Ceribong, Kesdec Ceramics in Pulai Chondong and Belipot Ceramics in Bunut Payong. The outcome of the visit revealed how Kelantan potters use plaster to create prototypes using turning wheel and thereafter use it to generate master mould and case mould for mass production.