DEVELOPMENT

OF
MALAYSIAN ART
History of Malaysian Art
Traditional Malaysian art is mainly centred on the crafts of carving,
weaving, and silversmithing. Traditional art ranges from handwoven
baskets from rural areas to the silverwork of the Malay courts.
Common artworks included ornamental kris and beetle nut sets.
Luxurious textiles known as Songket are made, as well as traditional
patterned batik fabrics. Indigenous East Malaysians are known for
their wooden masks. Malaysian art has expanded only recently, as
before the 1950s Islamic taboos about drawing people and animals
were strong. Textiles such as the batik, songket, Pua Kumbu, and
tekat are used for decorations, often embroidered with a painting or
pattern.

Traditional jewelry was made from gold and silver adorned with
gems, and, in East Malaysia, leather and beads were used to the
same effect.
Mastura Abdul Rahman

Old Interior Series, 1989

mixed media on paper
Works on Paper
34 x 51cm
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MODERN MALAYSIA ART

• In order for Malaysian painting to have its local identity, its must not view itself in isolation from local artifacts and architecture.

• Modern Malaysian painting must establish a link, no only with all kinds of visual art, but also with other domains of traditional

art.

• The only difference is the artistic technique and the material used.

• Art, as a part of the larger social activities of mankind, must not be viewed in terms of art for art sake only but its must be interp

reted within its historical context.

• It must therefore be interpreted within historical context. A work of art definitely reflects the values and world view of the peopl

e in a given society.

• The relationship of world view or mode of thinking and feeling, and form and content, especially in the Malaysian context is the

most important aspect in building up a Malaysian identity in art.

HISTORY OF MODERN MALAYSIAN PAINTING
Immediately after Malayan independence
in 1957, two art institutions were set up;
• National Museum or Muzium Negara.

• National Art Gallery or Balai Seni Visual Negara.

The functions of both institutions are:

• To collect artifacts or modern art works.

• Documentation of all art works.

• Conservation or to keep the works of art in good condItion.

• Exhibition all artifacts or contemporary works of art.

 HISTORY OF MODERN MALAYSIAN PAINTING

In 1954, National Art Gallery occupied Dewan In 1984, it moved to a hotel, Hotel Majestic, in
Tunku Abdul Rahman in Jalan Ampang front of old Malayan Railway station

In 1998, this gallery moved into its permanent

building in Jalan Tun Abdul Razak , Kuala Lu,pur

 DEVELOPMENT OF
MALAYSIAN ART

The Pre-Independence Era (1930s-1957):

• Three main factors influenced the early development of
modern Malaysian Art: ​English colonization, the immigr
ation of foreigners and education​.
• Since the 18th century, Malaysia had been inhabited by Yong Mun Sen Abdullah Ariff
European travellers, colonials and Chinese traders.
• A few writings suggested that modern art in Malaysia
started 1930​with ‘pioneers’ such as ​Yong Mun Sen,
Abdullah Ariff, Lee Kah Yeow​and others.
 DEVELOPMENT OF
MALAYSIAN ART

Penang Impressionists (Watercolorists)

•
Formed in 1920.

• Comprised of expatriate Europeans and two local talents, namely Mrs. ​Lim Cheng Kung​and ​ Abdullah Ar
iff​.

• Watercolour was the most popular medium in that time. Penang Chinese Art Club

• The arrival of artists from China in the 1930s played a significant role in the development of Modern Mala Abdullah Ariff
ysia art.

• In​1936, Yong Mun Sen​, the "Father of Malaysian painting", formed the Penang Chinese Art Club along
with some local artists after his arrival to Penang from Singapore.

• In 1941, Penang Impressionist and Penang Chinese art club were disbanded because of the second wo
rld war.
DEVELOPMENT OF
MALAYSIAN ART

Nanyang Academy of Fine Arts (NAFA)

• Since China had ideological conflicts and political instability, many Chinese chose to leave China for Southeast Asia, or what they describe as ​Nanyang​.

• NAFA had a predominantly Chinese outlook in terms of staff and students until the late 1950s.

• The academy was founded in ​1938​by ​Lim Hak Tai ​in​Singapore.

• Financially supported by a group of Chinese businessmen.

• Yong Mun Sen​was a Malaysian artist and one of the founders of NAFA (widely known as the Father of Malaysian Painting).

• It was the ​first art academy in British Malaya​to offer full time courses in painting and sculpture and was responsible for the emergence of important group of artists.

• The “golden period” of the academy was from 1947-1960.

• NAFA’s style characterized by: ​‘western’​approach in oil painting, ‘Chinese’​approach in Chinese ink and Calligraphy, a synthesis/mix​of ‘western’ and ‘Chinese’ influences.

• Artists​: ​Cheong Soo Pieng​, Georgette Chen Li Ying, Chen Wen Hsi and Chen Chong Swee.

• Cheong Soo Pieng​’s “​Tropical Life​” (1959), for example, shows clearly the synthesis of Western and Eastern art traditions known as the Nanyang style, and people and life in Singapor
e and Malaya as a subject matter. (​Chinese ink and gouache on Chinese rice paper​)
 DEVELOPMENT OF
MALAYSIAN ART

• In ​1952​, the Wednesday Art Group was founded in Kuala Lumpur by​Peter Harris ​(English pai
nter, art educator and Art Education Inspector for the Education Ministry).
• Included artists such as ​Patrick Ng​, ​Ismail Mustam​, ​Syed Ahmad Jamal​and ​Dzulkifli Buyong​.
• Most of the WAG members were​self-taught​.
• This is the first art group that attracted a fair number of Malay, Chinese and Indian members
(Multi-racial).
• Their artworks were mainly about ​self expressionism​and investigation of new ideas.
• Was more concerned with the ‘modern’ art by developing an interest in a ​Western​stylistic ou
tlook. The group also held various outdoor activities including figure drawing, figure paintin Patrick Ng Kah Onn The Spirit of

g, and sketching at various places. the

Earth,Water and Air
• Unlike the Nanyang artists who migrated from China, WAG members, such as Patrick Ng, was
1958
born in Malaya
Oil painting
137 x 122cm
DEVELOPMENT OF
MALAYSIAN ART

Angkatan Pelukis Semenanjung (APS)

• Established in ​1956​by Java-born painter ​Mohd Hoessein Enas​.

• Its name changed to ​Angkatan Pelukis SeMalaysia​in 1968.

• Formed on a basis similar to Angkatan Senirupa Indonesia or commonly known as ASRI (which co-founded by Moham

mad Hoessein Enas).

• Established at the United Malay National Organization (​UMNO​) political party’s headquarters in Kuala Lumpur.

• The APS group was the first Malay art group that was ​officially registered​in this country.

• Artists​: ​Mohd Hoessein Enas​, Idris Salam, Mazli Mat Som, ​Syed Ahmad Jamal​, Mohd Salehuddin, ​Abdul Latiff Mohidin​.

• Included mainly ​Malay​artists.

• Its emphasis was on ​skill, technical aspects​and the mastering of materials ​not​on philosophy, creativity or finding com

mon ideas.
Mohd. Hoessein Enas
Admonition
• The reason for the formation of APS was to ​compete with the preexisting cultural groups​, especially the Arts Council.
1959
• Whereas WAG was more concerned with individual self expression and artistic modernist pursuits, APS were more con Oil painting
cerned with their ​Malay nationalism​and producing works that ​uplifted and romanticized the Malay​as the beneficiaries 110 x 88 cm
of the land.

• Focused on​Malay rural life and hardship​and attempted to contribute to the regeneration of Malay society. Example: “​

Admonition​” by: Mohd Hossein Enas

DEVELOPMENT OF
MALAYSIAN ART

The Post-Independence Era (1957s-2000s):

• The real modern art developments in Malaysia started after 1957.
• With more people involved, art shaped indirectly by the political and social reality of t
he country’s ​plural society.
• Modern Malaysian Visual Art has been under the ​influence​of:

1. Malay Society and its way of life

2. Animism and Hinduism influences

3. Traditional Local Culture

4. Mythology, Legends and Folklore

• Islamic Influence After 1970s, artists (​New Scene Artists​) began to shift from conventi
onal and abstract styles towards ​conceptual​and intellectual approaches. E.g: Tang Tu
ck Kan, Choong Kam Kow, Sulaiman Esa, Redza Piyadasa. (​Redza Piyadasa, “The Great
Malaysian Landscape” (1972)​)
 DEVELOPMENT OF
MALAYSIAN ART

• “​Mystical Reality​” artists shifted their artistic practices towards Eastern philosophies such as Taoism and Zen rather than Western ones. They questioned the nature and function of art. E.
g: Sulaiman Esa and Redza Piyadasa.
• The most famous artistic groups after independence are:
1. Group Anak Alam (Children of Nature Group) Founded in 1974.
• Focuses on the role of the individual artist in the development and expansion of the scope of art.
• Some of the members were involved in theatre and poetry as well.
• Consists of ​Abdul Latiff Mohidin​(the founder), Zulkifli Dahalan, Ali Rahamad and Syed Ahmad Jamal.

2. Persatuan Pelukis Malaysia (PPM) (Malaysian Artists Association)

The style which this group follows is experiment and free form (no specific theme and principle in their artworks). Persatuan Pelukis Malaysia (PPM)
Officially launched on 25 April ​1980​at the National Art Gallery.
Syed Ahmad Jamal​was its first president.
Aims to:
3. Develop art in line with the country’s cultural aspirations. Mind and elevate the moral, social and material situation of artists.
4. Cooperate with the government for the advancement of art.
5. Encourage and promote art in the country and abroad.
6. Variable activities such as exhibitions, seminars, talks and visits
The Pluralist Era refers to the development of Malaysian art from the 1990s that witnesses a variety of styles, approaches and meanings (traditional, islamic, western). Group Anak Alam
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