Perkembangan Galeri Seni Persendirian di Malaysia: 1940 - 1960



Proses perkembangan seni lukis moden negara telah dipengaruhi oleh beberapa faktor, antaranya ialah penubuhan dan kewujudan galeri-galeri seni persendirian. Pada peringkat awalnya Pulau Pinang merupakan lokasi yang popular untuk sektor industri kreatif ini. Kajian ini melihat secara kronologi penubuhan sebanyak mungkin galeri seni persendirian bermula dari era 1940-an sehingga 1960-an di Malaysia. Galeri seni persendirian mempunyai peranan penting dalam proses perkembangan seni lukis negara. Aktiviti yang dijayakan oleh galeri seni persendirian memainkan peranan besar dalam kerjaya seorang pelukis. Objektif kajian ini adalah untuk mendokumentasikan secara kronologi penubuhan galeri seni persendirian dan kegiatan yang telah dijayakan. Kaedah pengumpulan maklumat melalui pelbagai bahan penerbitan oleh galeri-galeri persendirian telah dijalankan. Bermula dengan dua buah galeri yang diasaskan oleh dua tokoh pelukis perintis di era Kolonial British di Pulau Pinang, industri berasaskan kreatif ini berkembang ke Kuala Lumpur sejajar dengan fungsinya sebagai pusat ekonomi dan pentadbiran negara. Sejumlah lapan galeri dikesan menjalankan kegiatan berkaitan dengan seni lukis, ini membantu proses perkembangan seni lukis tempatan pada ketika itu.


Kata kunci: Galeri Persendirian, Pameran, Promoter Seni.



The Theme, Style, And Humor Malaysian Popular Magazines in Malaysia Gila – Gila, Ujang and Gempak (1978 – 2015)



Due to the emergence of digital technology and the popularity of social media, many local cartoon magazines, including Ujang and Gempak, have ended their publications. The decline is because people have many options and access to digital and free cartoons. The inclination and tendency to change from the sociocultural aspect affect the cartoon theme, style, and humor. This study aims to critically analyze the style, theme, and humor of cartoons in magazines like Gila-Gila, Ujang, and Gempak. This study was conducted through contextual analysis of the selected samples of cartoons. Feldman’s method of art criticism comprising the strategies of description, analysis, interpretation, and judgment and Gombrich’s theory of style were applied to the cartoons. The Gila-Gila cartoonist selected for this research is Rejabhad. The cartoonists from Ujang and Gempak are Sukun and Zuan, respectively. The findings of this study show that each cartoonist has his style, theme, and humor while instilling sociological, cultural, economic, and religious aspects as well as having the Malay and Malaysian essence. Humor can be generated by many methods either in communication or persuasion. Therefore, in the future, it may strengthen the role of cartoons and cartoonists in the new publications of local cartoon magazines.


Keywords: Theme, Style, Humor, Gila-Gila, Ujang, Gempak



Form & Symbolism of Rings from Perbadanan Adat Melayu dan Warisan Negeri Selangor



A ring is regarded as part of jewellery, material culture, or artefact that carries beliefs, values, concepts, and the identity of a civilization. Therefore, it has enormous societal importance and is regarded as a symbol of national heritage art. Although they have been around and existed in Malaysia for a long time, as well as being kept and displayed in museums as national treasures, however, it is still a challenge to obtain a source of reference for detailed information connected to jewellery owing to a lack of reading resources. This study aims to examine and document the form and symbolism of rings from Perbadanan Adat Melayu Dan Warisan Negeri Selangor (PADAT) collection. The findings from this study will be able to contribute in-depth insights on rings as a source of reference and guidance for future needs for jewellers, designers, scholars, the public, researchers, including other related disciplines, and the young generation while preserving the traditional values and simultaneously promoting the aesthetic appreciation. Focusing on five rings from PADAT, this study describes the various characteristics of ring form based on multiple elements such as motif and material, as well as its relation to the symbolic meaning, employing the theory of Ferdinand de Saussure of Semiotics.


Keywords: Form, Jewellery, Material Culture, Ring, Symbolism.



The Applicability of Awan Larat Motif on Modern Typeface Representing The Malay Identity



The selection of typeface is more than merely picking aesthetically pleasing typefaces; it is a crucial aspect of any digital design. In Graphic Design to have aesthetic appeal, it must have a clear visual hierarchy, a well-balanced design, and an overall tone that is consistent throughout. Other media such as wood carving patterns, murals, and graffiti art may also incorporate such typefaces. The design idea shall govern the precise patterns and motifs that could be applied to the typeface to make it more visually pleasant to the eye. One of the popular traditional ornaments in wood carving worn in Malaysia, known as Awan Larat. However, this traditional ornament, becoming increasingly irrelevant in the contemporary world. This is occurring due to technological improvements and a general lack of interest and appreciation on the side of the new generation of Malay population. The aim of this research is to determine that the Awan Larat motif can be adopted on a modern font representing the Malay identity on typefaces. As a result, the researcher was able to demonstrate how well the element of the Malay identity could blend with a modern font. This font can be used for a variety of purposes, including book and magazine covers, advertising, logos, and signage, among others. By using appealing fonts as a source of inspiration for native Malay components, it is possible to indirectly contribute to the development of Malay identity both inside and outside of Malaysia. It is hoped that this research will provide a better understanding of the significance of using this traditional motif in a modern typeface to raise awareness of the Malay people's cultural heritage values.


Keywords: Awan Larat, Motif, Typeface, Malay Identity



Identifying the Concept of Space in Paintings with Malay Ornament Design



Space provides an essential quality in visual art, as it encompasses the arrangement of basic principles of art with other elements of design that transform the idea into creative aesthetic values. Misinterpreted decorative painting composition as flat space has created a misunderstanding of the depth approach in utilizing motifs and patterns. This study was conducted to examine comprehensively the concept of space that emphasized Malay ornament design as well as techniques and approaches. Twenty-eight decorative paintings from National Art Gallery, Malaysia permanent collections have been selected as sampling. Observation and tracing methods were used to further investigate the types of space that were explored in these paintings. As a result, three types of space were identified and shallow space was frequently present in these decorative paintings. Subsequently, this study will increase the understanding and diminish misjudgment of space with decorative painting composition, especially through the application of Malay ornament design.


Keywords: Concept of space, Paintings, Malay ornament design