Mural yang telah disiapkan dalam tempoh seminggu.
Kumpulan pelajar tingkatan Pra PMR yang terlibat.
(Duduk dari kanan) Naufal,Syaheed,Hazzim
(Berdiri dari kanan) Hazziq,Afiq,Syafiq,Luqman,Syamin
Keadaan dinding sebelum projek
Wednesday, December 22, 2010
Saturday, October 30, 2010
MALAM SEJAMBAK KASIH SERUMPUN BUDI 27 OKTOBER 2010
Majlis ini merupakan jamuan yang dihadiri oleh semua guru dan staf SAKTI meraikan serta memberi penghargaan kepada guru dan pelajar SMAN2 Bogor yang ada di SAKTI tempohari. Program Sejambak Kasih Serumpun Budi ini menyajikan persembahan dari kumpulan siswa-siswi SMAN2 Bogor iaitu tarian Jaipong, sejenis tarian tradisional mereka. Turut dipersembahkan koir dengan iringan keyboard secara 'live' oleh salah seorang siswa mereka. Selesai sahaja persembahan mereka, jamuan makan malam dimulakan bersama iringan Wind Orchestra dari Simfoni SAKTI. Jamuan makan malam dengan berkonsepkan ala bufet meja bulat dan layanan pelayan-pelayan yang terdiri dari para pelajar SAKTI menjadikan jamuan makan malam ini lebih eksklusif dan elegan.
Persembahan bertenaga dari siswa-siswi SMAN2 Bogor
Bergambar dengan Ratu dan Dewi Kisti
Malam Sejambak Kasih Serumpun Budi ini juga merupakan malam deklarasi di antara SAKTI dan SMAN2 Bogor menjalinkan hubungan berteraskan ilmu, persahabatan dan persaudaraan. Majlis menandatangani deklarasi ini di hadiri wakil rasmi PPD Kota Tinggi, En.Ali Othman, Penolong Pengarah Pelajaran Daerah Kota Tinggi. Plag deklarasi ini ditandatangani oleh Ayahanda Pengetua Cemerlang Tn.Hj.Hassan Topit dan Ibu Dewi, Wakil Kepala Sekolah SMAN2 Bogor, Indonesia.
Majlis Deklarasi Ilmu Antara SAKTI dan SMAN2 Bogor
Ucapan penghargaan atas kesudian hadir Penolong PPD KT En.Ali Othman
Cenderamata SAKTI istimewa buat SMAN2 Bogor
Thursday, October 28, 2010
MALAM JALINAN MESRA IKATAN KASIH 26 OKTOBER 2010
Pada 26 Oktober 2010, SAKTI menerima kunjungan mesra dari 10 orang guru dan 20 orang pelajar dari SMAN2 Bogor, Indonesia. Malamnya kami menyajikan sebuah Majlis Sambutan Selamat Datang dengan pengisian dua buah persembahan dari kalangan pelajar tingkatan 3 dan 4. MALAM JALINAN IKATAN KASIH ini bermula sekitar jam 8.30 malam dan berakhir kira-kira jam 10.00 malam. Terima kasih atas jasa semua pelajar yang terlibat.
Thursday, September 16, 2010
Ramadhan Pergi Syawal Datang
RAMADAN sudah meninggalkan tapak semaian ibadat yang mekar di hati seorang mukmin. Jiwanya masih lagi dipengaruhi bekas amal salih, sabar dan reda menahan hawa nafsu, munajat dan sujud, tadabbur al-Quran dan sedekah, doa yang panjang, tangisan dan taubat pada akhir malam.
Semua itu amat bermakna bagi membersihkan jiwa. Maka, pada Syawal ini janganlah disurutkan langkah ke belakang dan dikotori jiwa dengan maksiat. Apatah lagi untuk memutuskan diri dengan ‘pencen ibadat’?
Jika demikian tentu sia-sia madrasah Ramadan dalam membentuk karakter jiwa yang bersih, tahan lasak melawan hawa nafsu dan kuat mujahadah. Syawal yang mulia seharusnya menggamit jiwa untuk kembali kepada fitrah.
Dunia kembali kepada wajah yang jelek dan huru-hara akibat perangai manusia bersifat seperti syaitan. Kembali bergolak dengan kejahatan dan kezaliman di mana-mana, dosa dan maksiat dianggap sesuatu yang lumrah dan semakin lembik suara mengajak kepada amar makruf nahi mungkar. Apakah ini semua berlaku kerana berakhirnya Ramadan?
Tidak, sesungguhnya Ramadan dijadikan sebagai bulan pembekal iman dan penguat semangat ketakwaan orang mukmin. Kekurangan ilmu dan ketandusan kefahaman agama menjadi sebab dan punca sesetengah umat Islam tidak mampu menterjemahkan semangat Ramadan sepanjang kehidupan mereka.
Janganlah kerana berpegang secara silap kepada hadis Rasulullah SAW yang menyatakan syaitan diikat pada Ramadan maka ada yang pandai-pandai beranggapan dosa dan maksiat yang dilakukan kini bukan atas kemahuan mereka, tetapi kerana rasukan serta hasutan syaitan selepas rantai dilepaskan.
Bukankah manusia sudah dibekalkan dengan kekuatan dan senjata untuk melawan pengaruh syaitan? Allah menolong hamba-Nya dan memberi penjagaan serta bimbingan wahyu untuk menyelamatkan manusia daripada kejahatan makhluk itu.
Mengapa menuduh syaitan menjadi punca kemerosotan iman, padahal setiap insan dibekalkan akal, hati, mata dan telinga untuk menerima hidayah Allah ? Rasul diutuskan dan agama diturunkan dengan sempurna.
Bukankah Allah memberi jaminan dan perlindungan kepada setiap hamba-Nya daripada gangguan syaitan? seperti firman-Nya yang bermaksud:
“Bagi manusia ada malaikat yang selalu mengikutinya secara bergilir, di depan dan di belakangnya, mereka menjaganya atas perintah Allah . Sesungguhnya Allah tidak merubah keadaan sesuatu kaum sehingga mereka merubah keadaan yang ada pada diri mereka sendiri dan apabila Allah menghendaki keburukan terhadap sesuatu kaum, maka tidak ada yang dapat menolaknya dan sekali-kali tak ada pelindung bagi mereka selain Dia.” (Surah al-Ra’d, ayat 11)
Allah berfirman yang bermaksud:
“Hampir-hampir neraka itu terpecah-pecah lantaran marah. Setiap kali dilemparkan ke dalamnya sekumpulan orang kafir, penjaga (neraka itu) bertanya kepada mereka: Apakah belum pernah datang kepada kamu (di dunia) seorang pemberi peringatan? Mereka menjawab: Benar ada. Sesungguhnya telah datang kepada kami seorang pemberi peringatan, maka kami mendustakannya dan kami katakan: Allah tidak menurunkan sesuatupun, kamu tidak lain hanyalah di dalam kesesatan yang besar. Dan mereka berkata: Jika kami mendengarkan atau memikirkan (peringatan itu) nescaya tidaklah kami termasuk penghuni neraka yang menyala-nyala. Mereka mengakui dosa mereka. Maka kebinasaanlah bagi penghuni neraka yang menyala-nyala.” (Surah al-Mulk, ayat 8-11)
Antara amalan yang membuat syaitan berputus asa menggoda manusia ialah dengan kembali kepada Allah selepas tersilap langkah. Sesungguhnya tipu daya syaitan itu amat lemah bagi orang yang sentiasa dekat dengan Allah dan menyedari bahawa ada Malaikat Hafazah dan Malaikat Rakib juga Atid yang menemani serta memerhati pergerakan amalan mereka.
Sehingga melalui lisan Nabi-Nya SAW dinyatakan setiap anak Adam pasti berdosa. Mereka tidak terlepas daripada gangguan syaitan, bahkan dalam aliran darah mereka melainkan orang yang menang dan kuat melawan pengaruhnya dengan pertolongan Allah .
Hal ini dinyatakan Baginda SAW yang bermaksud: “Bahawasanya Rasulullah SAW pernah keluar dari rumah Aisyah pada waktu malam, lalu aku (Aisyah) berasa cemburu terhadapnya. Apabila Baginda kembali dan melihat apa yang aku lakukan, Baginda bersabda: Wahai Aisyah! Apakah engkau cemburukan aku? Aku menjawab: Bagaimanakah orang seperti aku ini tidak cemburu kepada orang sepertimu? Kemudian Rasulullah SAW bersabda: Kenapa begitu? Apakah syaitan merasukmu? Lalu aku bertanya: Wahai Rasulullah! Apakah aku mempunyai syaitan? Sabda baginda: Benar. Aku bertanya lagi: Apakah syaitan itu berada pada semua orang? Sabdanya: Benar. Aku bertanya lagi: Pada dirimu juga ada syaitan? Sabda Baginda: Benar, akan tetapi Tuhanku menolongku terhadap syaitan itu sehingga akhirnya dia menyerah kalah.” (Hadis riwayat Imam Muslim)
Betapa lemahnya manusia apabila Allah melepaskan genggaman-Nya ke atas hati mereka, apabila Allah memalingkan pandangan rahmat-Nya dari jiwa mereka dan apabila Allah membiarkan mereka menjaga diri sendiri tanpa kekuatannya-Nya.
Sebaik-baik jalan keluar bagi menyelamatkan diri ialah dengan menghapuskan dosa lalu dan kembali kepada Allah dalam keadaan bertaubat. Jika tersilap lagi, bangkitlah semula dan jangan berputus asa mencari jalan pulang.
Sikap optimis dalam mencari hidayah dan melazimi taubat kepada Allah adalah amalan terbaik yang membuat syaitan menangis berputus asa. Bayangkanlah, ketika syaitan sudah hampir mencapai matlamatnya untuk menyesatkan seorang insan, tiba-tiba dengan segenap kekuatan insan itu berpatah balik pulang kepada Allah . Pasti syaitan laknatullah tersungkur menghumbankan wajah mereka ke tanah menangis sambil berkata: “Oh alangkah ruginya, sedikit saja lagi aku hampir menyesatkannya!”
Amalan seterusnya yang membuat syaitan berputus asa ialah membentuk benteng hati bersama ulama dan orang salih. Rasulullah SAW bersabda yang bermaksud: “Sesiapa antara kamu yang menginginkan kebahagiaan syurga, hendaklah dia melazimkan diri dalam jemaah. Sebab syaitan suka kepada orang yang bersendirian.” (Hadis sahih riwayat Imam al-Tirmizi)
Pergaulan sihat mesti dilandaskan iman dan takwa. Memilih sahabat adalah ibadat. Setiap insan mesti memastikan dirinya berada dalam lingkungan iman yang baik, amal salih berterusan dan ilmu semakin meningkat serta penghayatan mendalam dalam kehidupan seharian. Keadaan sebegini memusnahkan impian syaitan laknatullah menyesatkan manusia beriman.
Kedudukan ulama ikhlas dan orang salih yang warak kadang-kadang dipinggirkan disebabkan perbezaan pandangan serta tindakan mereka terhadap orang jahil. Setiap perbezaan dan khilaf dalam masyarakat adalah ketentuan Allah yang berlaku pada setiap zaman.
Sudah selayaknya orang yang faham dan alim berlapang dada atas perlakuan orang jahil seperti Rasulullah SAW diarah untuk merendahkan ’sayapnya’ (menurut bahasa al-Quran) di hadapan orang kurang memahami.
Demi membentuk benteng teguh menangkis serangan syaitan laknatullah, tiada jalan terbaik selain mengikuti sunnah Rasulullah SAW, bersaudara dengan orang salih dan menimba ilmu daripada pewaris Nabi.
"Baldatun toyyibatun warabbun ghafur. "
Maksudnya:"Negara yang aman, makmur dan mendapatkan keampunan Allah." (Saba`:15)
dipetik dari blog:
http://putratropika.com
Semua itu amat bermakna bagi membersihkan jiwa. Maka, pada Syawal ini janganlah disurutkan langkah ke belakang dan dikotori jiwa dengan maksiat. Apatah lagi untuk memutuskan diri dengan ‘pencen ibadat’?
Jika demikian tentu sia-sia madrasah Ramadan dalam membentuk karakter jiwa yang bersih, tahan lasak melawan hawa nafsu dan kuat mujahadah. Syawal yang mulia seharusnya menggamit jiwa untuk kembali kepada fitrah.
Dunia kembali kepada wajah yang jelek dan huru-hara akibat perangai manusia bersifat seperti syaitan. Kembali bergolak dengan kejahatan dan kezaliman di mana-mana, dosa dan maksiat dianggap sesuatu yang lumrah dan semakin lembik suara mengajak kepada amar makruf nahi mungkar. Apakah ini semua berlaku kerana berakhirnya Ramadan?
Tidak, sesungguhnya Ramadan dijadikan sebagai bulan pembekal iman dan penguat semangat ketakwaan orang mukmin. Kekurangan ilmu dan ketandusan kefahaman agama menjadi sebab dan punca sesetengah umat Islam tidak mampu menterjemahkan semangat Ramadan sepanjang kehidupan mereka.
Janganlah kerana berpegang secara silap kepada hadis Rasulullah SAW yang menyatakan syaitan diikat pada Ramadan maka ada yang pandai-pandai beranggapan dosa dan maksiat yang dilakukan kini bukan atas kemahuan mereka, tetapi kerana rasukan serta hasutan syaitan selepas rantai dilepaskan.
Bukankah manusia sudah dibekalkan dengan kekuatan dan senjata untuk melawan pengaruh syaitan? Allah menolong hamba-Nya dan memberi penjagaan serta bimbingan wahyu untuk menyelamatkan manusia daripada kejahatan makhluk itu.
Mengapa menuduh syaitan menjadi punca kemerosotan iman, padahal setiap insan dibekalkan akal, hati, mata dan telinga untuk menerima hidayah Allah ? Rasul diutuskan dan agama diturunkan dengan sempurna.
Bukankah Allah memberi jaminan dan perlindungan kepada setiap hamba-Nya daripada gangguan syaitan? seperti firman-Nya yang bermaksud:
“Bagi manusia ada malaikat yang selalu mengikutinya secara bergilir, di depan dan di belakangnya, mereka menjaganya atas perintah Allah . Sesungguhnya Allah tidak merubah keadaan sesuatu kaum sehingga mereka merubah keadaan yang ada pada diri mereka sendiri dan apabila Allah menghendaki keburukan terhadap sesuatu kaum, maka tidak ada yang dapat menolaknya dan sekali-kali tak ada pelindung bagi mereka selain Dia.” (Surah al-Ra’d, ayat 11)
Allah berfirman yang bermaksud:
“Hampir-hampir neraka itu terpecah-pecah lantaran marah. Setiap kali dilemparkan ke dalamnya sekumpulan orang kafir, penjaga (neraka itu) bertanya kepada mereka: Apakah belum pernah datang kepada kamu (di dunia) seorang pemberi peringatan? Mereka menjawab: Benar ada. Sesungguhnya telah datang kepada kami seorang pemberi peringatan, maka kami mendustakannya dan kami katakan: Allah tidak menurunkan sesuatupun, kamu tidak lain hanyalah di dalam kesesatan yang besar. Dan mereka berkata: Jika kami mendengarkan atau memikirkan (peringatan itu) nescaya tidaklah kami termasuk penghuni neraka yang menyala-nyala. Mereka mengakui dosa mereka. Maka kebinasaanlah bagi penghuni neraka yang menyala-nyala.” (Surah al-Mulk, ayat 8-11)
Antara amalan yang membuat syaitan berputus asa menggoda manusia ialah dengan kembali kepada Allah selepas tersilap langkah. Sesungguhnya tipu daya syaitan itu amat lemah bagi orang yang sentiasa dekat dengan Allah dan menyedari bahawa ada Malaikat Hafazah dan Malaikat Rakib juga Atid yang menemani serta memerhati pergerakan amalan mereka.
Sehingga melalui lisan Nabi-Nya SAW dinyatakan setiap anak Adam pasti berdosa. Mereka tidak terlepas daripada gangguan syaitan, bahkan dalam aliran darah mereka melainkan orang yang menang dan kuat melawan pengaruhnya dengan pertolongan Allah .
Hal ini dinyatakan Baginda SAW yang bermaksud: “Bahawasanya Rasulullah SAW pernah keluar dari rumah Aisyah pada waktu malam, lalu aku (Aisyah) berasa cemburu terhadapnya. Apabila Baginda kembali dan melihat apa yang aku lakukan, Baginda bersabda: Wahai Aisyah! Apakah engkau cemburukan aku? Aku menjawab: Bagaimanakah orang seperti aku ini tidak cemburu kepada orang sepertimu? Kemudian Rasulullah SAW bersabda: Kenapa begitu? Apakah syaitan merasukmu? Lalu aku bertanya: Wahai Rasulullah! Apakah aku mempunyai syaitan? Sabda baginda: Benar. Aku bertanya lagi: Apakah syaitan itu berada pada semua orang? Sabdanya: Benar. Aku bertanya lagi: Pada dirimu juga ada syaitan? Sabda Baginda: Benar, akan tetapi Tuhanku menolongku terhadap syaitan itu sehingga akhirnya dia menyerah kalah.” (Hadis riwayat Imam Muslim)
Betapa lemahnya manusia apabila Allah melepaskan genggaman-Nya ke atas hati mereka, apabila Allah memalingkan pandangan rahmat-Nya dari jiwa mereka dan apabila Allah membiarkan mereka menjaga diri sendiri tanpa kekuatannya-Nya.
Sebaik-baik jalan keluar bagi menyelamatkan diri ialah dengan menghapuskan dosa lalu dan kembali kepada Allah dalam keadaan bertaubat. Jika tersilap lagi, bangkitlah semula dan jangan berputus asa mencari jalan pulang.
Sikap optimis dalam mencari hidayah dan melazimi taubat kepada Allah adalah amalan terbaik yang membuat syaitan menangis berputus asa. Bayangkanlah, ketika syaitan sudah hampir mencapai matlamatnya untuk menyesatkan seorang insan, tiba-tiba dengan segenap kekuatan insan itu berpatah balik pulang kepada Allah . Pasti syaitan laknatullah tersungkur menghumbankan wajah mereka ke tanah menangis sambil berkata: “Oh alangkah ruginya, sedikit saja lagi aku hampir menyesatkannya!”
Amalan seterusnya yang membuat syaitan berputus asa ialah membentuk benteng hati bersama ulama dan orang salih. Rasulullah SAW bersabda yang bermaksud: “Sesiapa antara kamu yang menginginkan kebahagiaan syurga, hendaklah dia melazimkan diri dalam jemaah. Sebab syaitan suka kepada orang yang bersendirian.” (Hadis sahih riwayat Imam al-Tirmizi)
Pergaulan sihat mesti dilandaskan iman dan takwa. Memilih sahabat adalah ibadat. Setiap insan mesti memastikan dirinya berada dalam lingkungan iman yang baik, amal salih berterusan dan ilmu semakin meningkat serta penghayatan mendalam dalam kehidupan seharian. Keadaan sebegini memusnahkan impian syaitan laknatullah menyesatkan manusia beriman.
Kedudukan ulama ikhlas dan orang salih yang warak kadang-kadang dipinggirkan disebabkan perbezaan pandangan serta tindakan mereka terhadap orang jahil. Setiap perbezaan dan khilaf dalam masyarakat adalah ketentuan Allah yang berlaku pada setiap zaman.
Sudah selayaknya orang yang faham dan alim berlapang dada atas perlakuan orang jahil seperti Rasulullah SAW diarah untuk merendahkan ’sayapnya’ (menurut bahasa al-Quran) di hadapan orang kurang memahami.
Demi membentuk benteng teguh menangkis serangan syaitan laknatullah, tiada jalan terbaik selain mengikuti sunnah Rasulullah SAW, bersaudara dengan orang salih dan menimba ilmu daripada pewaris Nabi.
"Baldatun toyyibatun warabbun ghafur. "
Maksudnya:"Negara yang aman, makmur dan mendapatkan keampunan Allah." (Saba`:15)
dipetik dari blog:
http://putratropika.com
SELAMAT HARI MALAYSIA
Pada 16 September 1963, nama Malaya telah digantikan dengan nama Malaysia secara rasminya. Kenali jati diri Malaysia negara kita tercinta. Syukuri nikmat kemerdekaan dengan mengenali asal kita. 1 Malaysia 1 SAKTI.
Monday, August 16, 2010
rEKA BeNTuk AUTOMOBIL Teksi MaSA dEPAN
Pelbagai reka bentuk dihasilkan oleh pereka untuk memenuhi keperluan pelanggan. Di New York sebuah syarikat UniCab telah membentangkan proposal reka bentuk untuk sebuah teksi yang bercirikan ‘eco-friendly’ khas direka untuk bandar New York.
Reka bentuk ini adalah memenuhi keperluan sebuah kereta penumpang masa depan dengan memenuhi keperluan semasa. Ciri-ciri reka bentuk seperti sebuah powertrain elektrik, kabin yang luas dengan kapasiti tempat duduk untuk empat orang dan sistem 'infotainment' yang menampilkan maklumat perjalanan dan pelancongan. Memenuhi keperluan digital dan ICT.
Reka bentukl ini disokong oleh sebuah sistem penggerak sepenuhnya dengan empat motor elektrik di roda, yang membolehkan penggunaan secara elektronik. Hal ini disokong oleh sebuah sistem penggerak penuh dengan empat motor elektrik di roda.
Bateri boleh dicas semula dengan mudah melalui infrastruktur yang disebuat sebagai "Boomerang Hub Recharging Stations", (Tempat cas bateri) terletak di kedudukan strategik di seluruh Bandar New York.
Teksi itu boleh mengangkut empat penumpang dan pintu geser lebar serta jalan automatik untuk 'wheel-chairs' (Pelanggan OKU). Disamping itu ciri-ciri dalaman yang boleh berfugsi sebagai hiburan melalui 'onboard' yang memaparkan perjalanan sistem maklumat serta maklumat pelancongan.
Di antara ciri-ciri tehnikal adalah sistem penghawa disesuaikan & suspensi hidrolik, yang ditujukan untuk pengurangan bahagian yang bergerak untuk meningkatkan kehandalan dan mengurangkan penyelenggaraan.
Di susun semula oleh:
CK Amane
http://senivisual2.blogspot.com/Tuesday, July 19th, 2010
Reka bentuk ini adalah memenuhi keperluan sebuah kereta penumpang masa depan dengan memenuhi keperluan semasa. Ciri-ciri reka bentuk seperti sebuah powertrain elektrik, kabin yang luas dengan kapasiti tempat duduk untuk empat orang dan sistem 'infotainment' yang menampilkan maklumat perjalanan dan pelancongan. Memenuhi keperluan digital dan ICT.
Reka bentukl ini disokong oleh sebuah sistem penggerak sepenuhnya dengan empat motor elektrik di roda, yang membolehkan penggunaan secara elektronik. Hal ini disokong oleh sebuah sistem penggerak penuh dengan empat motor elektrik di roda.
Bateri boleh dicas semula dengan mudah melalui infrastruktur yang disebuat sebagai "Boomerang Hub Recharging Stations", (Tempat cas bateri) terletak di kedudukan strategik di seluruh Bandar New York.
Teksi itu boleh mengangkut empat penumpang dan pintu geser lebar serta jalan automatik untuk 'wheel-chairs' (Pelanggan OKU). Disamping itu ciri-ciri dalaman yang boleh berfugsi sebagai hiburan melalui 'onboard' yang memaparkan perjalanan sistem maklumat serta maklumat pelancongan.
Di antara ciri-ciri tehnikal adalah sistem penghawa disesuaikan & suspensi hidrolik, yang ditujukan untuk pengurangan bahagian yang bergerak untuk meningkatkan kehandalan dan mengurangkan penyelenggaraan.
Di susun semula oleh:
CK Amane
http://senivisual2.blogspot.com/Tuesday, July 19th, 2010
Thursday, July 1, 2010
Sejenak Dalam Sejarah
Sejarah Seni Visual Di Malaysia
Perkembangan seni lukis moden Malaysia bukan sahaja menggambarkan peralihan pandangan dalam seni lukis malahan ia sebenarnya megambarkan perubahan dan perkembangan idea dan pandangan yang berlaku dalam kehidupan sosial, ekonomi dan politik kita. Sebagai contohnya pengaruh pemikiran islam yang pada satu ketika mewarnai gaya seni lukis jelas mengambarkan situasi ketika itu, ideologi Islam sedang berkembang dalam negara yang turut berubah dari segi sosial, ekonomi dan politik. Apakala perubahan ideologi bertukar ganti, terlihat pula bagaimana perubahan kepada gaya karya yang lebih berbentuk hebahan atau propaganda telah bertapak dalam ekspresi artistik kita.
Dalam persiapan dan memperaga Pameran Seni Lukis Malaysia terdapat tiga perkara yang perlu difahami untuk menggambarkan sejarah seni lukis Malaysia. Aplikasi penyampaian mesej pensejarahan ini harus dibuat mengikut tahun atau secara kronologi. Pertamanya, era dimana seni lukis ketika itu lebih mirip ke gaya lukisan barat mungkin pada zahirnya bentuk dan idea tidak ditiru tapi karya-karya ini menerap nilai kesenian barat. Maka lukisan-lukisan yang dihasilkan ketika ini adalah terdiri dari lukisan lanskap bermedia cat air dan cat minyak, portret, lukisan alam benda dan abstrak. Apabila media batik diperkenalkan arah tuju seni lukis telah beralih kepada bentuk formalisma - penghasilan karya yang berlandaskan estetika. Lukisan-lukisan lebih berbentuk pemandangan tempatan dan gambaran cara hidup di Malaysia ketika itu. Subjek tempatan yang dipilih ini dikatakan sebagai lambang atau identiti "KeMalayaan" atau KeMalaysiaan" malah lukisan abstrak juga telah diilhamkan dari nilai-nilai fizikal malahan spiritual dan psikologi tempatan dan serantau.
Dalam lewat tahun 50'an dan 60'an telah berlaku konflik dan tegangan dalam seni akibat dari perbalahan pengakuan superioriti dan dominasi oleh pengamal lukisan abstrak dan ekspresionistik. Justeru dalam situasi ini bagi yang mengamal dan meminati lukisan realisma rasa tercabar dan telah bangkit menunjukan reaksi telah dipinggirkan.
Dalam tahun 60'an terlihat pemilihan gaya abstrak yang lebih formalistik dan berbentuk individualistik. Situasi ini memberi perandaiaan bahawa gaya 'avant-garde' yang dipelopori oleh Abstrak Ekspresionisma Amerika telah diberi penghargaan. Malahan seolah-olah telah diterima bahawa gerakan seni lukis moden Malaysia adalah bergandingan dengan gerakan seni lukis barat yang ketika itu dipengaruhi oleh paradigma estetika yang sama.
Bentuk kedua pandangan dan idea artistik memperlihat persoalan isu identiti atau "KeMalaysiaan". Dalam keadaan di mana gerakan senilukis yang masih berkiblatkan perkembangan seni lukis barat, karya-karya telah mula memasukkan intipati dan perlambangan dari budaya tempatan dan etnik. Sensitiviti ini telihat antara tarikh 13 Mei 1969 dan era Kongres Kebudayaan Kebangsaan 1971. Namun perkembangan formalistik ketika itu tidak dapat dan sukar menerima pengkaryaan yang menggabungkan unsur-unsur motif tempatan dengan ekspresi moden.
Dalam tahun 60'an terlihat pemilihan gaya abstrak yang lebih formalistik dan berbentuk individualistik. Situasi ini memberi perandaiaan bahawa gaya 'avant-garde' yang dipelopori oleh Abstrak Ekspresionisma Amerika telah diberi penghargaan. Malahan seolah-olah telah diterima bahawa gerakan seni lukis moden Malaysia adalah bergandingan dengan gerakan seni lukis barat yang ketika itu dipengaruhi oleh paradigma estetika yang sama.
Bentuk kedua pandangan dan idea artistik memperlihat persoalan isu identiti atau "KeMalaysiaan". Dalam keadaan di mana gerakan senilukis yang masih berkiblatkan perkembangan seni lukis barat, karya-karya telah mula memasukkan intipati dan perlambangan dari budaya tempatan dan etnik. Sensitiviti ini telihat antara tarikh 13 Mei 1969 dan era Kongres Kebudayaan Kebangsaan 1971. Namun perkembangan formalistik ketika itu tidak dapat dan sukar menerima pengkaryaan yang menggabungkan unsur-unsur motif tempatan dengan ekspresi moden.
Pascal May 1969 mempelihatkan kesedaran terhadap persoalan identiti. Krisis ini pada sesetengah menganggap kerosakan pada identiti yang sukar dipulihkan tetapi majoritinya memberi unjurun baru bahawa pembentukan identiti baru harus dibuat secepat yang mungkin. Malahan identiti baru itu perlu berdasarkan realiti budaya dan sosial yang mirip Malaysia: May 1969 menjadi satu tanda akhirnya zaman ketulusan. Tahun 70'an membawa kita ke era proses pemulihan yang dipengaruhi paradok dan persekitaran. Malahan di dekad ini karya-karya yang dihasilkan menyampaikan luahan ini dalam keadaan begitu kritikal yang tidak pernah dilihat.
Kategori yang terakhir yang berada di sekitar dekad ke 80'an dan 90an memperlihat cubaan yang serius untuk meneruskan penerapan kecirian "nasional" atau "keaslian" seni lukis moden Malaysia. Cubaan ini dimulai oleh faktor Islam, etnik dan budaya yang pada masa yang sama dengan tanpa disedari telah termasuk dalam pascal modernis yang ada hubung kait dengan seni lukis barat. Pelbagai media baru dan lama telah digunakan antaranya seni instalasi, seni video dan seni persembahan. Di sini juga jelas terlihat karya-karya abstrak dan figuratif telah kembali bertapak sementara peningkatan dalam pengkaryaan seni arca pelbagai media amat baik yang barangkali pada satu ketika tidak lansung kelihatan.
Pelukis muda yang berada sekitar tahun 80'an dan awal dekad baru rata-rata menghasilkan karya-karya yang diluar kecirian seni lukis konvensional tanpa dipisahi dan tidak lagi terikat pada media, bahan dan proses berkarya. Dalam kecirian "Paskal Modernis" pelukis-pelukis ini bukan hanya menggambarkan keyakinan mereka dalam pengolahan isu-isu dan permasalahan sosio-budaya semasa yang sangat luas, malahan mereka juga menerapkan nilai-nilai dari paradigma barat yang kritikal dalam menghujah persoalan-persoalan. Akhirnya, atas kesedaran inilah akuan terhadap penerapan nilai pandangan seni yang alternatif ini perlu diteruskan dan patut disokong
(Extracted from Vision and Idea - Relooking Modern Malaysian Art, A Summary by T.K. Sabapathy)
Monday, May 17, 2010
Kumpulan Zapin INDERA CEMPAKA SAKTI Tahun 2010
Zapin menurut Profesor Dr. Mohd Anis Mohd Nor, telah melalui suatu pembangunan kesenian seantero Kepulauan Melayu. Orang Melayu khususnya memperkayakan gerak tari dan menambah baik komposisi muzik mereka sehingga berjaya mengangkat kesenian tradisional seni tarian sehingga ke tahap yang sangat tinggi.1
1. Utusan Online (http://www.utusan.com.my/ 03/02/2010)
Apresiasi Persembahan INDERA CEMPAKA SAKTI
Parit Mastar (Intro Sembah)Pekajang (4 baris/bunga)
Simpul Sembah (Tamat Langkah)
Senarai Jenis Tarian Zapin Mengikut Daerah di Negeri Johor
Zapin Kampung Parit Mastar & Zapin Seri Bunian (Daerah Pontian)Zapin Kampung Makam (Daerah Kota Tinggi)
Zapin Lenga, Zapin Putar Alam & Zapin Tulen Tg.Agas(Daerah Muar)
Zapin Dayung (Daerah Kluang)
Zapin Tenglu & Zapin Pulau (Dareah Mersing)
Zapin Pekajang (Daerah Gelang Patah)
Zapin Melayu Johor (Daerah Johor Bahru)
Wednesday, May 5, 2010
Dari pandangan sisi ruang Pengajaran dan Pembelajaran di Bilik Seni SAKTITuesday, May 4, 2010
Using the Color Wheel:
Color Theory Tips for Artists and Painters.
However, if you DO want to add some extra punch to your color, including its complement somewhere in your artwork will help to draw emphasis to it. Also, some plein air painters will cover their canvas with red before painting a landscape so that the greens and blues they put on top if it will really jump out. And as I just mentioned, colors like blue and green both will react similarly to red because in general they’re both opposite to it. Of course, there are still other colors left in the wheel—the Tertiary Colors, commonly known as Intermediate Colors.These six colors fill in the gaps between primary and secondary colors and are made by mixing one primary with one secondary.
As long as you’re painting from nature, most colors that you see won’t be primary or secondary; they’ll be some mix of softer color, like these intermediates.
The reason for that is because things like atmosphere (yes, air has a color!), distance, and lighting will blend with and change the colors of any object.The same rules of complements do apply with these six colors as well, although the effect is usually less dramatic than with primary and secondary colors.Now that we’ve filled out the color wheel, lets look at some other groups of colors that affect art, starting with the Warm Colors. Warm Colors go from Yellow to Red on the color wheel, and will appear to visually come forward in artwork, towards the viewer. No matter the innate color of an object, under bright light or heat (like the noonday sun) an entire scene can actually be colored completely by warm hues.
However, you’ll also want to look for Cool Colors.Those often appear when a blue sky reflects cold light into the shadow areas that the sun can’t touch.You’ll notice that I haven’t classified all of the colors as warm or cool—that’s because a few of them can go either way depending on what colors they’re placed next to.Greens are often cool colors, but against a background of blues, they’ll come forward.And Red-violet (or Magenta) can do the same thing, switching back and forth in different situations. You can always use warm and cool colors to increase depth and space in your paintings. As light travels across a flat surface, it will often be brightest (and warmest) at one end, and fade to cooler hues in the distance. If you’d like to know more about that, check out this article on temperature, value, and intensity in color.
And finally, with all twelve of the colors present, we can start picking out Analogous Colors (or Adjacent Colors).Like it sounds, these are three colors that go well together simply because they’re next to each other on the color wheel. Sometimes they’re also referred to as Harmonious Colors, which makes sense because they’re almost like tones or steps of color, similar to musical notes in a single chord. Designers and interior decorators use adjacent colors quite a bit; they’ll often combine them with one opposite, or complementary color, for a little punch of intensity.
Painters and artists can do the same. Popularity of certain colors comes and goes, but if you’re smart about it you’ll be able to paint in the same color schemes that people are currently looking for to decorate their homes.So next time you start a painting, think about what colors will work best with your subject matter or potential buyers—because the proper use of color will always enhance your final artwork.
Color Theory Tips for Artists and Painters.
Understanding the color wheel and using color theory in your artwork is a good idea for any artist, and especially for oil painters. In this article I’ll go through the basics of color theory (using a traditional artist’s color wheel) and explain ways that oil painters and other artists can make use of that information.In the color wheel pictured above, there are twelve colors. Although they might be self-explanatory, starting from the top and going around clockwise they are: Yellow, Yellow-orange, Orange, Red-orange, Red, Red-violet, Violet, Blue-violet, Blue, Blue-green, Green, and Yellow-green.
I’ll sometimes refer to a few of them by more common names, like Purple (for Blue-violet), Turquoise (Blue-green), or Magenta (which is pretty close to Red-violet). Other names like Light or Dark Orange, or even Chartreuse (for Yellow-green), are sometimes used by artists as well.
There are three Primary Colors which are the most important.
There are three Primary Colors which are the most important.
These colors are of course Red, Blue, and Yellow. If you’re an oil painter, you can get any other color you need just by mixing red, blue, and yellow oil paint. It’s not always easy, however, since no tube of paint contains purely one color. All of them have traces of other colors as well.The primaries are the most powerful colors—in fact, blue and red are known specifically as power colors (think muscle cars), and yellow is the brightest color on the whole color wheel.
Mix any two of those primaries together and you’ll get one of these next three hues: the Secondary Colors.Green, Orange, and Violet fall in between red, blue, and yellow, and each one serves as a Complementary Color to one of the primary colors.
Mix any two of those primaries together and you’ll get one of these next three hues: the Secondary Colors.Green, Orange, and Violet fall in between red, blue, and yellow, and each one serves as a Complementary Color to one of the primary colors.
It is important to know that scientifically there are more requirements for being complementary colors. Complementary colors, when put together, appear brighter or more vivid then when apart.Green and Red, Blue and Orange, Yellow and Purple: each color is enhanced by the closeness of its “opposite.”How does this apply to artists? Well, just because they’re called complementary doesn’t mean you should necessarily use them right next to each other at full strength. That can be rather garish.
However, if you DO want to add some extra punch to your color, including its complement somewhere in your artwork will help to draw emphasis to it. Also, some plein air painters will cover their canvas with red before painting a landscape so that the greens and blues they put on top if it will really jump out. And as I just mentioned, colors like blue and green both will react similarly to red because in general they’re both opposite to it. Of course, there are still other colors left in the wheel—the Tertiary Colors, commonly known as Intermediate Colors.These six colors fill in the gaps between primary and secondary colors and are made by mixing one primary with one secondary.
As long as you’re painting from nature, most colors that you see won’t be primary or secondary; they’ll be some mix of softer color, like these intermediates.
The reason for that is because things like atmosphere (yes, air has a color!), distance, and lighting will blend with and change the colors of any object.The same rules of complements do apply with these six colors as well, although the effect is usually less dramatic than with primary and secondary colors.Now that we’ve filled out the color wheel, lets look at some other groups of colors that affect art, starting with the Warm Colors. Warm Colors go from Yellow to Red on the color wheel, and will appear to visually come forward in artwork, towards the viewer. No matter the innate color of an object, under bright light or heat (like the noonday sun) an entire scene can actually be colored completely by warm hues.
However, you’ll also want to look for Cool Colors.Those often appear when a blue sky reflects cold light into the shadow areas that the sun can’t touch.You’ll notice that I haven’t classified all of the colors as warm or cool—that’s because a few of them can go either way depending on what colors they’re placed next to.Greens are often cool colors, but against a background of blues, they’ll come forward.And Red-violet (or Magenta) can do the same thing, switching back and forth in different situations. You can always use warm and cool colors to increase depth and space in your paintings. As light travels across a flat surface, it will often be brightest (and warmest) at one end, and fade to cooler hues in the distance. If you’d like to know more about that, check out this article on temperature, value, and intensity in color.
And finally, with all twelve of the colors present, we can start picking out Analogous Colors (or Adjacent Colors).Like it sounds, these are three colors that go well together simply because they’re next to each other on the color wheel. Sometimes they’re also referred to as Harmonious Colors, which makes sense because they’re almost like tones or steps of color, similar to musical notes in a single chord. Designers and interior decorators use adjacent colors quite a bit; they’ll often combine them with one opposite, or complementary color, for a little punch of intensity.
Painters and artists can do the same. Popularity of certain colors comes and goes, but if you’re smart about it you’ll be able to paint in the same color schemes that people are currently looking for to decorate their homes.So next time you start a painting, think about what colors will work best with your subject matter or potential buyers—because the proper use of color will always enhance your final artwork.
Painting
Expression of Malaysian culture in painting.
A Malaysian beauty is captured on canvass
An artist diligently at work to complete a Chinese caligraphy.
Perhaps amongst all the arts, painting is the one that has come closest towards the ideal concept of Malaysian art. Since Independence in 1957, there has arisen a strong school of painting which has a vigorous Malaysian character and which is the product of Malaysian painters of all races. Their art expresses and reflects the spirit and personality of a multiethnic and multicultural society, informed by a genuine contemporary sensibility which forms the basis of their search for national identity.
The National Art Gallery, which was set up in 1958, plays a key role as the matrix from which has emerged this national identity and a common avenue for Malaysians to give shape to their feelings and visions. The national gallery assists other states in Malaysia to establish their own art galleries.
An important milestone on the Malaysian art scene was the establishment of the Specialists’ Teacher’s Training Institute (STTI) in Kuala Lumpur in 1960. The best STTI-trained teachers were sent to the United Kingdom for further studies, and upon their return added impetus to the art movement of the 60s. Some of them became active artists, such as Ahmad Khalid Yusof, Reza Piyadasa, Grace Selvanayagam and Chew Teng Beng.
In 1965, the Institut Teknologi Mara (ITM) was created, inaugurating a new era in the field of art education in the country. Its School of Fine and Applied Arts introduced an organised programme of courses in painting, graphic design, textile design, fine metal and industrial arts.
Another landmark development was the establishment of the Malaysian Institute of Art in Kuala Lumpur in 1967. The courses offered at this Beaux-Arts type school were directed towards employment-based activities such as Commercial Art and Interior Design.
During that period, several artists and painters went abroad - to Australia, France, Germany, India, Japan, United Kingdom and the United States, to further develop their style and techniques. The exposure afforded them a unique opportunity for maturing into profound artists with an awareness of special dimensions. These encounters between different cultures gave rise to new dimensions of values in Malaysian art, leaving a massive cultural impact which can be felt till this day.
The 60s also witnessed punchy oil works by Sui-Hoe, Latiff Mohidin and Soo Pieng. These used to hang side by side with delicate Chinese brush paintings by Chung Chen Sun and Chen Wen Hsi at their best; in the company of Ibrahim Hussein’s creative piece or Chia Yu Chian’s charming creation.
A number of Malaysian artists participated in the ‘First Triennial of Contemporary World Art’ in New Delhi in 1968, but did not win any awards. Nevertheless, their effort did not go unnoticed by Howard Taubmann, critic-at-large of the New York Post, who observed:
"Another country that has a right to be pleased with its showing is Malaysia. Its display includes examples of uninspired realism and impressionism, but one also finds provocative attempts to place traditional themes in modern contexts. The Malaysians did not win any prizes, but they may well surprise the next Triennial.
In the early post-Independence years, Malaysian art was also exhibited in Glasgow, Dublin, London, Cologne, Berlin, Hamburg, St. Etienne, and Paris, where it received rave reviews. Robert Barret wrote in the Paris ‘La Quadtidienne’ in 1967 that the works were undeniably sincere, ‘an interesting vision of the world, sometimes a certain philosophical approach but always the will to get away from the beaten tracks in painting and sculpture’.
Contemporary Malaysian painting bloomed in the 90s, with the phenomenon centred in the capital Kuala Lumpur. The artist population, too, has increased manifold, and their styles are varied, utilising diverse art materials and covering a broad range of subjects. Art collectors and enthusiasts have to literally navigate through art galleries and exhibition centres to view and to purchase unique works of art.
In Kuala Lumpur, the Central Market - where artists do crayon portraits of clients in the midst of curious onlookers, would be the most convenient venue to purchase contemporary works; while in Penang, the Universiti Sains Malaysia (USM Art Gallery is highly recommended.
There are also commercial galleries such as the Citarasa Gallery, A.P Gallery and Room at the Top that charge 30 per cent of the sales in an exhibition mounted by them. It is considered reasonable by most artists as the gallery owners organise and stage the entire event, from printing and mailing invitations up to serving refreshments to guests on the big day.
Both the MARA Universiti Teknologi Mara (ITM) and the Malaysian Institute of Art (MIA),hold regular graduate exhibitions, details of which are listed in the national newspapers.
Prestigious exhibition spaces such as the Creative Centre of the National Art Gallery, the Maybank Art Gallery, the Dayabumi Exhibition Hall, the Petronas Gallery, and the lobbies of the Shangri-La and Hilton hotels, are sought after by artists who negotiate for a week or two of show dates. As the schedule for the year is often fully booked, a breakthrough can mean instant fortune for some artists (to the tune of RM 40,000 = about US$10,500).
An established artist like Chuah Thean Teng sells his works in his own premises, a gallery called Ya-hong in Batu Feringghi, Penang. Ibrahim Hussein conducts direct selling of his paintings from his residence which serves as a studio-cum-gallery. Their duo’s successful careers exemplify the virtues of hard work, persistence and self-promotion.
Latiff Mohidin purchased two houses, and converted one into a studio-cum-gallery where he displays his recent works. A perennial outsider on the local art scene, his gallery, which is managed by his wife, has earned quite a reputation mostly by word of mouth.
Regular corporate buyers of art works are the National Bank of Malaysia, Bank Rakyat, Maybank, Bank Bumiputra, Petronas, Esso, Shell and Malaysia Airlines. The Sime Darby headquarters in Kuala Lumpur has 14 paintings by Ibrahim Hussein along its corridors estimated to be worth between RM700,000 and RM800,000 (between US$184,000 to about US$210,000). The National Bank has collected a great number of works over the years that it now has its own gallery to hang them, and has even published two books to show off its collection. EON and Petronas help to educate the public about Malaysian art by reproducing art works in calendars.
The works in the National Art Gallery depict the various developments that have taken place in the Malaysian world of painting. Among them are:
• Creative pieces by pioneers like Yong Mun Sem, Chuah Thean Teng and Datuk Hoessein Enas
• Paintings with Chinese pictorial treatment by Chia Yu-Chian of the Paris School
• Erotic-surrealism by Long Thien Shih
• Pop art by Joseph Tan
• Abstract expressionism by Syed Ahmad Jamal and Cheong Lai Tong
• Conceptual art by Redza Peyadasa
• Islamic revivalism by Sulaiman Esa, Ahmad Khalid Yusof and Zakaria Awang
• Back-To-Roots tradition by Nik Zainal Abidin, the fist to incorporate ‘wayang kulit’ (shadow puppets) tradition into painting surfaces, and
• Worthy pieces of work by Mastura Abdul Rahman and Awang Damit Ahmad.
One of the nation’s top artists is Ismail Latiff who is known for his abstract expressionism works on canvas, marvelously transforming colours into dreams and dreams into colours. Some of his creations have been selected for show in notable exhibitions at home and abroad.
Azman Yusuf renders realistic scenes of fishing boats decked upon a Terengganu beach, richly decorated with floral motifs. Fatimah Chik and Mohd. Najib Dawa opt to exploit triangles in their compositions; while Ruzaika Omar Basaree simply saws geometrical and floral shaped pieces of plywood into a sculpture that hangs like a painting. These artists have integrated elements of folk designs into the works of contemporary art, thus exposing the artificial division of fine and useful arts.
Artist Tan Peng Hooi of Penang built a house with his bare hands using secondhand and discarded material. He raises chickens, pigeons, doves and ducks for food as well as for cash. The animals also serve as the object of his art. Living simply as a solitary painter who cannot envision a life without hardships and heartaches, Tan depends on his friends to introduce him to persons, some of them serious collectors, who have the funds to buy his paintings.
Nirmala Shanmugalingam was one of the first Malaysian painters to do works of socio-political confrontation with the immediacy and drama of real-image collages. Dzulkifli Buyong painted childlike pictures with disturbing humour; Zulkifli Dahlan did caricatures of a nether-like world; and Ismail Zain has set new frontiers with his Non-Painterly Distractions and his computer print-out art of digital collage.
Several books have been written on Malaysian artists and their creative output. An early attempt at interpreting modern Malaysian art is recorded in the book ‘The Arts of Malaya’ by Tony Beamish (Singapore: Donald Moore, 1954).
Dolores D. Wharton lists the leading artists who have contributed to the local art scene by participating in local and internatonal exhibitions, in her book ‘ Modern Contemporary Artists of Malaysia: A Biographical Survey (Kuala Lumpur, 1969)’.
Another book: ‘Modern Artists of Malaysia (Kuala Lumpur: DBP, 1983) is co-authored by Redza Piyadasa and T.K. Sabapathy.
Since its inception, the National Art Gallery has accorded special honour to eight Malaysian artists, namely:
• Peter Harris - (1960)
• Chuah Thean Teng - (1965)
• Datuk Hossein Enas - (1966)
• Cheong Soo Pieng - (1967)
• Abdul Latiff Mohidin - (1973)
• Syed Ahmad Jamal - (1975)
• Tay Hooi Keat (1983) - (1983), and
• Ibrahim Hussein (1986) - (1986).
In its own right, the National Art Gallery attests to the legitimacy of the modernist art commitment in the country. By consciously choosing themes and works of arts, that make way for the tangible development of culture, Malaysian painters have clearly demonstrated to the world their national identity that has its own soul, feelings, poetic bent and raison d’etre.
Expression of Malaysian culture in painting.
A Malaysian beauty is captured on canvass
An artist diligently at work to complete a Chinese caligraphy.
Perhaps amongst all the arts, painting is the one that has come closest towards the ideal concept of Malaysian art. Since Independence in 1957, there has arisen a strong school of painting which has a vigorous Malaysian character and which is the product of Malaysian painters of all races. Their art expresses and reflects the spirit and personality of a multiethnic and multicultural society, informed by a genuine contemporary sensibility which forms the basis of their search for national identity.
The National Art Gallery, which was set up in 1958, plays a key role as the matrix from which has emerged this national identity and a common avenue for Malaysians to give shape to their feelings and visions. The national gallery assists other states in Malaysia to establish their own art galleries.
An important milestone on the Malaysian art scene was the establishment of the Specialists’ Teacher’s Training Institute (STTI) in Kuala Lumpur in 1960. The best STTI-trained teachers were sent to the United Kingdom for further studies, and upon their return added impetus to the art movement of the 60s. Some of them became active artists, such as Ahmad Khalid Yusof, Reza Piyadasa, Grace Selvanayagam and Chew Teng Beng.
In 1965, the Institut Teknologi Mara (ITM) was created, inaugurating a new era in the field of art education in the country. Its School of Fine and Applied Arts introduced an organised programme of courses in painting, graphic design, textile design, fine metal and industrial arts.
Another landmark development was the establishment of the Malaysian Institute of Art in Kuala Lumpur in 1967. The courses offered at this Beaux-Arts type school were directed towards employment-based activities such as Commercial Art and Interior Design.
During that period, several artists and painters went abroad - to Australia, France, Germany, India, Japan, United Kingdom and the United States, to further develop their style and techniques. The exposure afforded them a unique opportunity for maturing into profound artists with an awareness of special dimensions. These encounters between different cultures gave rise to new dimensions of values in Malaysian art, leaving a massive cultural impact which can be felt till this day.
The 60s also witnessed punchy oil works by Sui-Hoe, Latiff Mohidin and Soo Pieng. These used to hang side by side with delicate Chinese brush paintings by Chung Chen Sun and Chen Wen Hsi at their best; in the company of Ibrahim Hussein’s creative piece or Chia Yu Chian’s charming creation.
A number of Malaysian artists participated in the ‘First Triennial of Contemporary World Art’ in New Delhi in 1968, but did not win any awards. Nevertheless, their effort did not go unnoticed by Howard Taubmann, critic-at-large of the New York Post, who observed:
"Another country that has a right to be pleased with its showing is Malaysia. Its display includes examples of uninspired realism and impressionism, but one also finds provocative attempts to place traditional themes in modern contexts. The Malaysians did not win any prizes, but they may well surprise the next Triennial.
In the early post-Independence years, Malaysian art was also exhibited in Glasgow, Dublin, London, Cologne, Berlin, Hamburg, St. Etienne, and Paris, where it received rave reviews. Robert Barret wrote in the Paris ‘La Quadtidienne’ in 1967 that the works were undeniably sincere, ‘an interesting vision of the world, sometimes a certain philosophical approach but always the will to get away from the beaten tracks in painting and sculpture’.
Contemporary Malaysian painting bloomed in the 90s, with the phenomenon centred in the capital Kuala Lumpur. The artist population, too, has increased manifold, and their styles are varied, utilising diverse art materials and covering a broad range of subjects. Art collectors and enthusiasts have to literally navigate through art galleries and exhibition centres to view and to purchase unique works of art.
In Kuala Lumpur, the Central Market - where artists do crayon portraits of clients in the midst of curious onlookers, would be the most convenient venue to purchase contemporary works; while in Penang, the Universiti Sains Malaysia (USM Art Gallery is highly recommended.
There are also commercial galleries such as the Citarasa Gallery, A.P Gallery and Room at the Top that charge 30 per cent of the sales in an exhibition mounted by them. It is considered reasonable by most artists as the gallery owners organise and stage the entire event, from printing and mailing invitations up to serving refreshments to guests on the big day.
Both the MARA Universiti Teknologi Mara (ITM) and the Malaysian Institute of Art (MIA),hold regular graduate exhibitions, details of which are listed in the national newspapers.
Prestigious exhibition spaces such as the Creative Centre of the National Art Gallery, the Maybank Art Gallery, the Dayabumi Exhibition Hall, the Petronas Gallery, and the lobbies of the Shangri-La and Hilton hotels, are sought after by artists who negotiate for a week or two of show dates. As the schedule for the year is often fully booked, a breakthrough can mean instant fortune for some artists (to the tune of RM 40,000 = about US$10,500).
An established artist like Chuah Thean Teng sells his works in his own premises, a gallery called Ya-hong in Batu Feringghi, Penang. Ibrahim Hussein conducts direct selling of his paintings from his residence which serves as a studio-cum-gallery. Their duo’s successful careers exemplify the virtues of hard work, persistence and self-promotion.
Latiff Mohidin purchased two houses, and converted one into a studio-cum-gallery where he displays his recent works. A perennial outsider on the local art scene, his gallery, which is managed by his wife, has earned quite a reputation mostly by word of mouth.
Regular corporate buyers of art works are the National Bank of Malaysia, Bank Rakyat, Maybank, Bank Bumiputra, Petronas, Esso, Shell and Malaysia Airlines. The Sime Darby headquarters in Kuala Lumpur has 14 paintings by Ibrahim Hussein along its corridors estimated to be worth between RM700,000 and RM800,000 (between US$184,000 to about US$210,000). The National Bank has collected a great number of works over the years that it now has its own gallery to hang them, and has even published two books to show off its collection. EON and Petronas help to educate the public about Malaysian art by reproducing art works in calendars.
The works in the National Art Gallery depict the various developments that have taken place in the Malaysian world of painting. Among them are:
• Creative pieces by pioneers like Yong Mun Sem, Chuah Thean Teng and Datuk Hoessein Enas
• Paintings with Chinese pictorial treatment by Chia Yu-Chian of the Paris School
• Erotic-surrealism by Long Thien Shih
• Pop art by Joseph Tan
• Abstract expressionism by Syed Ahmad Jamal and Cheong Lai Tong
• Conceptual art by Redza Peyadasa
• Islamic revivalism by Sulaiman Esa, Ahmad Khalid Yusof and Zakaria Awang
• Back-To-Roots tradition by Nik Zainal Abidin, the fist to incorporate ‘wayang kulit’ (shadow puppets) tradition into painting surfaces, and
• Worthy pieces of work by Mastura Abdul Rahman and Awang Damit Ahmad.
One of the nation’s top artists is Ismail Latiff who is known for his abstract expressionism works on canvas, marvelously transforming colours into dreams and dreams into colours. Some of his creations have been selected for show in notable exhibitions at home and abroad.
Azman Yusuf renders realistic scenes of fishing boats decked upon a Terengganu beach, richly decorated with floral motifs. Fatimah Chik and Mohd. Najib Dawa opt to exploit triangles in their compositions; while Ruzaika Omar Basaree simply saws geometrical and floral shaped pieces of plywood into a sculpture that hangs like a painting. These artists have integrated elements of folk designs into the works of contemporary art, thus exposing the artificial division of fine and useful arts.
Artist Tan Peng Hooi of Penang built a house with his bare hands using secondhand and discarded material. He raises chickens, pigeons, doves and ducks for food as well as for cash. The animals also serve as the object of his art. Living simply as a solitary painter who cannot envision a life without hardships and heartaches, Tan depends on his friends to introduce him to persons, some of them serious collectors, who have the funds to buy his paintings.
Nirmala Shanmugalingam was one of the first Malaysian painters to do works of socio-political confrontation with the immediacy and drama of real-image collages. Dzulkifli Buyong painted childlike pictures with disturbing humour; Zulkifli Dahlan did caricatures of a nether-like world; and Ismail Zain has set new frontiers with his Non-Painterly Distractions and his computer print-out art of digital collage.
Several books have been written on Malaysian artists and their creative output. An early attempt at interpreting modern Malaysian art is recorded in the book ‘The Arts of Malaya’ by Tony Beamish (Singapore: Donald Moore, 1954).
Dolores D. Wharton lists the leading artists who have contributed to the local art scene by participating in local and internatonal exhibitions, in her book ‘ Modern Contemporary Artists of Malaysia: A Biographical Survey (Kuala Lumpur, 1969)’.
Another book: ‘Modern Artists of Malaysia (Kuala Lumpur: DBP, 1983) is co-authored by Redza Piyadasa and T.K. Sabapathy.
Since its inception, the National Art Gallery has accorded special honour to eight Malaysian artists, namely:
• Peter Harris - (1960)
• Chuah Thean Teng - (1965)
• Datuk Hossein Enas - (1966)
• Cheong Soo Pieng - (1967)
• Abdul Latiff Mohidin - (1973)
• Syed Ahmad Jamal - (1975)
• Tay Hooi Keat (1983) - (1983), and
• Ibrahim Hussein (1986) - (1986).
In its own right, the National Art Gallery attests to the legitimacy of the modernist art commitment in the country. By consciously choosing themes and works of arts, that make way for the tangible development of culture, Malaysian painters have clearly demonstrated to the world their national identity that has its own soul, feelings, poetic bent and raison d’etre.
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