The National Art Gallery of Malaysia

The National Art Gallery of Malaysia

The National Art Gallery of Malaysia

　　

“Art expresses and reflects the spirit and personality of the people who make a nation. Malaya has many artists whom she may be justly prod, but it is only in an Art Gallery that the public can see and enjoy their works, and unless the best works of our artists are purchased for a National Collection, they can rarely be exhibited. The foundation of independence has been well-laid, and it is the responsibility of the present generation of Malayans to build on them a nation which will gain some of the inspiration from a fine collection of works of art, worthily housed and accessible to all.” -- Statement of purpose, included in the first exhibition catalogue, published by the National Art Gallery of Malaysia, in August, 1958

The National Art Gallery of Malaysia was declared open by the first Prime Minster of Malaysia, Tunku Abdul Rahman Al-Haj, on 27 August, 1958, almost one year after the nation achieved its independence on 31August, 1957. Its beginnings were marked by quite humble circumstances as was reflected in the small, two storey edifice that marked its initial home, sited at 109, Jalan Ampang in Kuala Lumpur. The Gallery had, in fact, been allocated the use of only half of this small two-storey building by the young nationalist government. The Gallery had also began its humble existence with only four art works, donated by art lovers, as its permanent art collection. The historic opening of the Gallery was marked by the first, hurriedly assembled, inaugural exhibition of art works produced by Malaysian artists drawn from all over the country. For the Malaysian artists and art lovers, it was a momentous occasion as it had marked the official, government recognition of our artists and their contributions. Bearing in mind that modernist art activity in this country had emerged during the 1920s, with the emergence of small amateur art groups in the Straits Settlements, working in relative isolation, the historic opening of the National Art Gallery in 1958, had marked an important milestone in the young, independent nation’s history. The young nation now had its own national art museum. And, given the new post-independence contexts of the times, wherein it was officially realised that art could play an useful function in the construction of national culture consciousness as well as enhancing the reputation of the nation internationally, the Gallery’s formation had also marked a significant development, vital for this nation’s new sense of confidence. The Gallery has, happily, lived up to its heavy responsibilities ever since then.

It is useful to look back at some of the circumstances that had contributed to the birth of the National Art Gallery in 1958. The formation of the Malayan Arts Council in 1952 by a group of enlightened expatriate and local culture enthusiasts, during the pre-independence periods, was significant and had anticipated the subsequent formation of the Gallery. Bearing in mind the British colonial government general indifference to the promotion of the arts in British Malaya, the effort made this enlightened group of persons to convince the colonial government of the need to support the Malayan Arts Council, even of belatedly, was quite extraordinary. Among the individuals who had contributed their efforts to the Arts Council may be included the expatriates Mubin Stepphard, Frank Sullivan, Peter Harris, Noel Ross, Bill Elmsley and the locals Dato Nik Ahmad Kamil, Dato Zainal Abidin Abas, Kington Loo, Yong Pung How, and P.G. Lim. The Arts Council was dedicated to the support of Art, Music and Drama. It was set up as a non-profit organization, initially with no grants but not long after its founding, the colonial government, then under General Sir Gerald Templer, was persuaded to give grants for its running costs. He Arts Council was, for many years, the only organization which sponsored national-level art exhibitions in Kuala Lumpur. The popular venue for these exhibitions was the British Council Hall, sited along Young Road, located near the present National Mosque area. The first ever national-level art exhibition was held in 1954 and it was called the Malayan Open Art Exhibition, held at the British Council Hall. In early 1957, the Arts Council was responsible to for Malaysian’s first ever international participation in the First Southeast Asian Art Exhibition held in Manila, Philippines. The two artists chosen by the Council to attend this exhibition, as Malaysia’s official representatives were Tay Hooi Keat and Syed Ahmad Jamal. The first prize award went, however, to a younger Malaysian artist, Patrick Ng Kah Onn, one of the Malaysians whose work was also shown at this historic regional exhibition.

The idea of starting a National Art Gallery was first mooted to Tunku Abdul Rahman Al-Haj in 1956, by the dedicated committee members of the Arts Council. The role played by two men, Mubin Sheppard and Frank Sullivan, was especially important. Sheppard was a much respected civil servant in the government service and was at time setting up plans for the formation of the national Museum. Sullivan, was the Tunku's press secretary, a post he already held prior to independence. Their personal persuasion had convinced the Tunku that the establishment of a National Art Gallery should be given priority. The proposal was made to the Federal Cabinet by the Tunku and it was passed, The Gallery was placed under the then Ministry of Culture and Welfare and it would be given funds by this ministry. The Gallery's first Working Committee included Mubin Shepphard, Frank Sullivan, Runme Shaw, Ghazali Shafie, Puan P.G. Lim, Ungku Abdul Aziz, Peter Harris, Mohamad Hoessein Enas, Yong Peng Seng, Ikhmal Hisham Albakri and S. Nayagam. Ungku Abdul Aziz was appointed the first Chairman of the Working Committee and Frank Sullivan was appointed the gallery's Secretary. A number of officials from the various government agencies were also included. This Working Committee had operated until 1963 when a proper Board of Trustees was finally appointed by the new Ministry of Culture, Youth and Sports. The members of the committee automatically became members of the Board of Trustees. Ungku Abdul Aziz was appointed the first Chairman of the Board and Puan P. G. Lim was appointed the Deputy Chairman. At the Gallery's first Board meeting held in June 1963, the Tunku presented a $25,000 gift to the gallery's Board of Trustees "to get off to a good start" and also promised a plot of land near the Lake Gardens for the building of a more permanent gallery in the future. Mr. Runme Shaw of the Shaw Brothers Foundation donated a gift of $250,000 to the gallery towards starting the building fund.

For the Malaysian artists, the formation of the Gallery was to prove most consequential indeed. It had marked the new government's official recognition of a modernist art tradition in his country. For the first time there was an official body to systematically promote major art exhibitions and art competitions, collect and document the works of local artists, and more significantly, advance the works of Malaysian artists in the international arena from the mid-1960s onwards. Exhibitions of Malaysia Art were sent to Europe, Australia and New Zealand during the 1960s and the 1970s. The works of Malaysian artists were also sent to represent Malaysia in major international art exhibitions, such as the India Art Triennial at New Delhi, the Sao Paolo Triennial in Brazil and the Tokyo Art Bienniale in Japan. Syed Ahmad Jamal’s painting the Bait won the second prize at the Indian Art Triennial in 1960. Artists from the United States and Europe had also participated in that exhibition. Other Malaysian artists would follow in his footsteps in the decades ahead and bring international recognition and honours to the Malaysian nation. In 1971, Ismail Zain was appointed as the new Director of the Gallery, replacing Frank Sullivan, who had been retired. The position of the Director had now been designated a permanent governmental appointment. The National Art Gallery has never looked back since that earlier period of its humble beginnings and the rest is now history.

For the first twenty-five years, the National Art Gallery was located at its original site along Jalan Ampang. As its activities increased, it was realized that the gallery space in that small building was inadequate. A new larger art gallery was now needed. On May 21, 1984, the Gallery officially opened is new premises at the former Hotel Majestic building, located at No.1, Jalan Hishamuddin in Kuala Lumpur. The hotel building had been offered to the Gallery by the government and t was specially renovated for its new purposes. This new building was also to be a temporary home until a permanent gallery could be built. The opening ceremony was officiated by Yang Berhormat Datuk Seri Dr.Mahathir Mohamad, the country's fourth Minister. The Director of the gallery at this time was Tuan Syed Ahmad Jamal. The much larger space of this six-storey high National Art Gallery now allowed for the display of most of the permanent art collection in thirty-seven renovated rooms, located on four floors. The Gallery's permanent art collection now stood at a little more than one thousand art works. For the first time, the Malaysian public and foreign visitors could appreciate more fully the innovative qualities of our modern artists' creative efforts. The gallery would remain at this new location until 1998.

The 1990s had marked a decade when the country was going through an unprecedented economic boom and much development. The decade had witnessed the emergence of many commercial art galleries and art colleges. It had also witnessed the appearance of new corporate and private art collectors. Many significant exhibition catalogues and art historical publications were published as well by the Gallery. Participation of our artists in major international exhibitions, sponsored by the gallery, had become commonplace. Our artists continued to win international awards and honours. Foreign art museums were now buying the works of our artists for their permanent art collections. The significant role played by the National Art gallery in promoting modern Malaysian art both locally and internationally had continued.

The momentous construction of the present, permanent national Art gallery building, located along Jalan Temerloh, off Jalan Tun Razak in Kuala Lumpur was began during the mid-1990s. Formal occupation of this building took place in September 1998. The official opening of this new, permanent four-storey gallery building by Yang Berhormat Datuk Seri Dr. Mahathir Mohamad, Prime Minister of Malaysia, took place on September 25, 2000. The Gallery now boasts five large exhibition galleries, an auditorium for public lectures, a library and resource centre, a restaurant and special facilities for administration as well as storage and restoration purposes. A special commerative exhibition entitled Rupa Malaysia – Relooking Modern Malaysian Art was curatored by Redza Piyadasa to mark the Gallery's official opening and it featured 137 major works, executed in diverse media and produced by four generations of artists. It showcased the truly outstanding achievements of Malaysia's modern artists. This significant historical exhibition was well received by the Malaysian public and international visitors and lasted for more than a year, until 31 December 2001.

The official opening of the new and impressive permanent National Art Gallery building by the Prime Minister had indeed marked a meaningful, historic point of "arrival" for the Gallery, which had begun its humble existence forty-three years earlier. The new gallery boasts more exhibition space and a much bigger staff than ever before. The present Chairman of the Board of Trustees is Yang Berbahagia Tan Sri Kamarul Ariffin bin Yassin and the present Director of the Gallery is Puan Wairah Marzuki. The present Board of Trustees is the thirteenth in the Gallery's history. The present number of art works in the Gallery's permanent art collection numbers more than two thousand five hundred significant art works. The National Art Gallery of Malaysia, like the Malaysian nation, had indeed travelled a long, colourful and illustrious journey and has finally achieved its maturity. Today the Gallery enjoys a stature as one of the significant modern art museums in the Asia-Pacific region. 　　

preface

Preface

"The modernist impulse in Malaysia painting and sculpture has a pedigree much older than that signaled by the launching of the Gallery in 1958. Even so, it could be argued that the history of the "hot centre" of modern Malaysian art very nearly corresponds with the history of the Gallery. Indeed, the opening of the Gallery was a self-conscious declaration that the notion of the modern in the visual arts had arisen in the national consciousness. This view is reinforced by the fact that many of the seminal achievements legitimizing modern Malaysian art, both at home and abroad, have occurred mainly during the lifetime of the Gallery." -- Krishen Jit, in the Introduction of the book, Vision and Idea - Re-looking Modern Malaysian Art, 1994.

The idea of the modern art museum was originally a Western one and it was imported by the non-Western world. The arrival of the modern art museum in the non-Western countries followed in the wake of the new, secularistic art traditions that had inevitably appeared, as a consequence of the historic, modernising process that had taken place. In the case of modern Malaysia, the emergence of the National Art Gallery had been a belated one. It was established only in August 1958, one year after the achievement of the country's independence. The colonial British government had not found a useful political role for art in this country and had thus not officially encouraged artistic activity nor the building of any art museums. The formation of the National Art Gallery by the new, young nationalist government in 1958, was therefore a significant event in that its very appearance, as stated by Krishan Jit in the above quotation, had signalled ＂a self-conscious declaration that the notion of the modern in the visual arts had arisen in the national consciousness."

Bearing in mind that our pioneering modern artist had originally founded the new modernist art tradition without any institutional support whatsoever, the Gallery's formation had been especially significant and timely. The Gallery would become the legitimizing agent for the new modern Malaysian artistic tradition. And any art tradition must need its recognition and validation. The Gallery would undertake the task of systematically promoting artistic activities and promoting Malaysian artists, both locally and internationally, in the decades that followed its formation. It would also become, in time, the official national repository and guardian of the nation's finest modernist art productions. We may be reminded that the Gallery had begun its humble existence with only four hurriedly donated art works in its permanent art collection in 1958. Today, it boasts an impressive collection of more than two thousand and five hundred art works as well as an impressive new, permanent building. And indeed, it has fulfilled a vital and impressive role in nurturing our modernist art movement to its full maturity. And this role becomes especially vital in non-Western countries where secularistic art contexts are still relatively new and all the necessary support systems are not yet fully in place. That the Gallery has become the "hot centre" of modern art activity in this country is not surprising, in retrospect. That had been its original purpose as envisioned by the small number of enlightened men and women, all genuine art lovers, who had worked so hard to help it come into existence, during the late 1950s.

The primary purpose of this publication is to introduce to our local art lovers, tertiary students and the public-at-large, both local and foreign, a sampling of outstanding art works that have been produced by our modern Malaysian artists. The works featured here have been drawn from the Gallery's own permanent collection. Eighty significant art works produced by four generations of artists were chosen. Bearing in mind, the many art colleges and other tertiary educational institutions that exist in this country today and also, the sizeable number of Malaysian middle class today, publications such as this, undertaken by the Gallery, can further encourage appreciation and understanding of modern Malaysian art. In envisaging the book, it was decided that it should be written in an easy, readable style that will appeal to the interested layman as well as to the serious researcher. There are many people in our society today who are curious enough to want to know about the Gallery and about modern Malaysian art. It was decided that the book should be, first and foremost, usefully informative and illuminating. It was decided that the book could be conceived as a healthy cross between an art historical publication and an attractively enticing coffee table books. Its main purpose is to fulfill a vital educational function. Of course, it should also serve as a useful promotional exercise for the Gallery and win still more friends for the Gallery.

The choice of the word "Masterpieces" as it appears in the title of the book may inspire some discomfort and debate in some quarters and this is to be welcomed. Recent art critical pursuits, inspired by the post-modernist model, for instance, have tended to question the institution of the art museum and any kind of attempts made to construct a hierarchical order in the discussion of art works. We may be reminded here that the post-modernist trait to resist and dismantle hierarchies is only possible because properly constructed art traditions and art historical contexts already exist! Institutions like the National Art Gallery of Malaysia and other national museums take it upon themselves to project a vital sense of history, context and tradition. And, it is expected by the public that such an art institution embody standards of excellence in the acquisition of its permanent collection. It is with these thoughts in mind that a number of pertinent questions may be asked, namely: Is the Gallery's collection meritorious? If so, in what way? Can these eighty chosen works withstand prolonged and close scrutiny? Do they mirror the excitement, flavour and history of our own modernist tradition? It is my belief that these chosen works, when viewed within the contexts of the times when they were created and also when viewed within the overall story of an evolving modern Malaysian art tradition, are indeed significant and outstanding art works. They reveal the diversity, complexity and richness of artistic expressions in a multi-ethnic and multi-cultural nation. These indeed are some of "our own" masterpieces. And a young, dynamic nation like Malaysia needs her own artistic masterpieces and artistic heroes that her citizens can be truly proud of. These selected works are unique when they appeared here at a particular time in our history and they have helped reaffirm the story of our unique and complex culture journey as a multi-ethnic nation thus far.

Whether we like it or not, we may be reminded that the moment an art work slips through the door of the art museum and is displayed in its spaces, or is collected by a national art museum, it immediately assumes an aura, a marvelousness and a distinctness that was not there when it was on the artist's studio floor. Marcel Duchamp's famous found object, the urinal, which set out to determine the Western art establishment and destroy establishment values in its own day exists today, quite paradoxically, enhanced in an art museum collection, exuding its own mythically aura. Duchamp's urinal is today viewed quite differently from its original state as a mundane object or even when it was first projected in a controversial exhibition in Paris. That is exactly what art museums tend to do to art objects. Whether art museums will ever become insignificant or stop fulfilling their legitimizing function in the construction of artistic traditions and myths can be speculated upon. It seems unlikely that art museums will ever become redundant. We may be reminded that even as there are today art critical position drawn in invalidating institutions like art museums, never in the history of mankind have museums been built with such frequentness and passion everywhere as is being witnessed today. And, in non-Western contexts, where secularistic art activity is still relatively new and all the necessary support systems are not yet fully in place, the role of the national art museum will continue to occupy a special position and it will continue to feature significantly. Art traditions and artists will need to gain respectability and be properly validated and a legitimizing institution such as the National Art Gallery of Malaysia public's perception of artists and their significant contributions. To discount this significant fact is to shoot oneself in front!

In planning the format of this book, it was decided that the chosen art works would be presented under four distinct categories: (1) Place/ Environment / Things; (2) Mythology/ Belief/ Tradition; (3) Society/ The Self/ Memory; (4) Abstraction/ Concept/ The New Real. Each section contains twenty art works that relate to the specific themes and issues that have been worked out. These categories are not intended to be used or read in exclusive terms. They have been selected with the aim of enabling the framing of art works within broad, cognitive categories, which in turn leads to the way we construct and perceive the world, communities and ourselves. They should enhance ways of looking and seeing. It was decided that the arrangement of the works should emphasize a chronological order of presentation, wherever relevant, in order to allow the reader a sense of the actual historical contexts and the times in which the works were produced, thereby revealing as well the peculiar problems faced by each generation of artists in their search for pertinent forms and artistic meanings. By and large, formalistic and stylistic pursuits have dominated our artists' attention. It was only in the late 1980s that post-modernist tendencies appeared within the local art scene in any significantly influential way. Bearing in mind the essentially multi-ethnic and multi-cultural realities of the Malaysian situation, it is only to be expected that the artistic approaches would be diverse and often reflect influences that betrayed the artist's own ethnic background and personal preferences. Yet other artists have borrowed freely from the diverse multi-cultural influences existing in their midst. If the beginnings of the movement had been dominated by the role of Chinese artists, it was because that community had been initially better placed economically and better exposed culturally to accept the new modernist art influences. The emergence of Malay and other indigenous artists as a strong artistic force was only possible during the 1950s and after. The number of Indian artists has remained relatively small even if their contributions have been significant.

Lastly, it may be pointed out that a population that knows and appreciates its significant artists and their major artistic productions is indeed a more informed, culturally enriched one. It is hoped that this publication will contribute towards achieving this objective. It is hoped that this book will bring to the reader many meaningful moments of pleasure as well. More significantly, it is hopes that this book will help inculcate in all Malaysian a genuine sense of national pride in the outstanding achievements of our visual artists.

REDZA PIYADASA
KUALA LUMPUR

Wajah- Wajah Malaysia Diabadikan Dalam Lukisan

Oleh Soraya Jamal

Sempena sambutan bulan Kemerdekaan

SHAH ALAM, 28 Ogos (Bernama) -- Lukisan seperti juga manuskrip, buku dan foto, boleh dijadikan bahan dokumentasi sejarah dan rujukan bagi mendapatkan informasi tentang perkara berkaitan dengan sejarah, budaya dan persuratan.

Selain itu, lukisan juga dapat merakam semangat dan jiwa zaman yang dilukiskan, di samping ekspressi diri pelukis itu sendiri.

Menyedari perkara ini, satu pameran lukisan bertema Wajah-Wajah Malaysia diadakan di Myarthost Gallery oleh sekumpulan pelukis bebas bermula 16 Ogos lepas.

Pameran ini bercerita mengenai kisah masyarakat Malaysia dan apa yang menjadikan mereka orang Malaysia.

Ramai yang lupa susur galur asal mereka bila terlalu mengejar kemodenan tetapi anak Malaysia sebenar akan selalu ingat yang kita tidak akan berada di sini kalau bukan kerana asal usul kita.

Pameran ini menampilkan pelukis-pelukis dari kalangan komuniti myarthostgallery.com seperti Hariri Yusof, Taib (AUR), Md Nor Bidin, Adi Sakinah Omar, Nur Yasmin Mohd Nordin dan Rasyidah Maharam @ Zulkepli dan disokong oleh seniman terkenal Azman Yusof dan Latif Maulan.

KEPELBAGAIAN

Tidak semua orang dapat melihat suasana dan kepelbagaian wajah-wajah Malaysia, terutamanya anak muda, jelas Hariri Yusof, 42 tahun.

"Contohnya potret wanita petani, beca dan kanak-kanak bermain wau. Mungkin 10 tahun akan datang, ini semua sudah tidak ada," katanya sambil berharap dengan adanya lukisan seperti ini, kekayaan budaya rakyat Malaysia dapat dipelihara.

Apa yang dipaparkan dalam pameran ini memberi makna dan sesuai dengan tema Wajah-Wajah Malaysia, katanya.

Pameran yang sudah dirancang semenjak Februari lepas ini sengaja memilih lukisan yang bercirikan realisme supaya masyarakat senang memahami.

Di Malaysia, lukisan bercirikan realisme kurang mendapat tempat, malah cukup kurang galeri yang menyokong karya seperti ini. Galeri Myarthost antara yang memberi tempat kepada pelukis dari genre ini, jelas Hariri.

Lebih 20 lukisan yang dipamerkan kebanyakan juga dihasilkan oleh bakat pelapis yang masih belum menonjol dan boleh diketengahkan bakatnya bagi memberi peluang kepada generasi muda.

Lebih istimewa lagi, walaupun di bawah satu tema yang sama, medium yang digunakan para pelukis berbeza seperti cat air, cat minyak, akrilik dan arang.

LAMBANG JATI DIRI DAN SEMANGAT

Hariri, yang juga merupakan seorang guru, memilih tajuk 'impian' dan kanak-kanak sebagai subjek utama dalam koleksi lukisannya.

"Ia menunjukkan satu kelahiran baru. Dari muda lagi dah ada impian. Kanak-kanak juga mesti diterapkan semangat nasionalisme. Ada satu lukisan bayi yang memegang keris. Itu bagi saya lambang jati diri dan semangat. Dunia semakin lama makin berubah, semakin banyak cabaran. Kalau tiada jati diri kita rapuh," jelasnya yang mengambil masa purata seminggu untuk menyiapkan satu karya.

Seorang lagi pelukis yang terlibat dalam pameran ini Rasyidah Maharam @ Zulkepli, 28, pula memilih subjek yang menggambarkan kepelbagaian masyarakat dan etnik di Malaysia.

Faktor kesesuaian dengan medium pilihan turut diambil kira oleh pelukis yg berasal dari Johor ini.

"Saya selesa menggunakan arang kerana suka dengan penggunaan warna yang terhad. Ia melambangkan kehidupan saya yang sederhana," jelasnya.

Rasyidah yang melukis potrait wanita kadazan dan anak orang asli untuk pameran ini tidak pernah mendapat pendidikan formal dalam bidang senilukis.

Malah ini baru kali kedua Rasyidah menyertai pameran. Ketika percubaan pertamanya di Pameran Terbuka Galeri Shah Alam 2009, Rasyidah menerima Anugerah Khas Juri dan ini membakar semangatnya untuk lebih banyak berkarya.

"Saya terharu sebab bakat saya diterima. Sebenarnya saya dah 8 tahun tak melukis. Semenjak menyertai myarthostgallery.com dan mendapat nasihat dan tunjuk ajar dari Latif Maulad, baru ada keyakinan sedikit. Saya nak terus bergiat aktif dalam pameran, lagipun penglibatan wanita dalam bidang ni sangat sedikit," katanya.

PENGALAMAN HIDUP LUAR NEGARA

Sementara itu, pengalaman hidup di luar negara menjadikan dua pelukis muda Adi Sakinah Omar, 19, dan Nur Yasmin Mohd Nordin, 24, semakin cinta dan yakin pada keunikan Malaysia.

Adi Sakinah yang kini menetap dan belajar di Glasgow, Scotland, UK berkata kalau di luar negara, rakyat Malaysia lebih bersatu.

"Mungkin sebab di sana orang agak racist. Mereka tak biasa hidup berbilang kaum," katanya yang pertama kali didedahkan suasana berpameran di Malaysia.

Sakinah yang sering menyertai pameran di Glasgow berasa sungguh bertuah dapat menyertai pameran ini justeru mengukuhkan lagi jati dirinya sebagai rakyat Malaysia.

Memilih untuk melukis potret ibunya dalam pakaian petani serta potret adiknya, lukisan-lukisan ini seperti mengingatkan dirinya kepada tanah kelahiran. Sekalipun mereka sekeluarga tinggal di luar negara, ciri-ciri anak Malaysia tidak pernah berubah.

Ini turut dipersetujui Nur Yasmin yang mengatakan rakyat Malaysia mudah menyesuaikan diri di luar negara kerana kita sudah biasa hidup rukun damai dalam suasana berbilang kaum dan pelbagai agama.

Graduan sains bangunan dari New Zealand ini lazimnya melukis pemandangan untuk dijual ketika masih belajar dahulu.

"Untuk pameran kemerdekaan ini saya tukar buat potret sebab ia lebih bermakna. Salah satu lukisan saya ialah potret seorang anak orang asli. Kalau dilihat, lukisan tu kasar. Saya guna banyak pallete knife dan warna-warna primitif. Saya nak tunjukkan betapa daif dan kasar hidup anak orang asli," kata Nur Yasmin yang juga pengarah projek untuk projek perumahan orang asli di Ulu Kinta.

Sengaja saya ketengahkan mereka supaya kita sedar ada lagi dari kalangan kita belum maju dan tidak merdeka dari kemiskinan. Apalah erti kemerdekaan kalau tidak bebas daripada kemiskinan, jelas Yasmin lagi.

-- BERNAMA

naifnya seni untuk catan

NAIF menurut Kamus Dewan terbitan Dewan Bahasa dan Pustaka (DBP) bermaksud terlalu lurus atau betul bendul. Ia menggambarkan tentang kejujuran yang dikaitkan dengan pemikiran serta perbuatan seseorang.Sayangnya, apabila naif dikaitkan dengan seni catan, ia kurang mendapat perhatian ramai kerana sifat karya seni itu yang diterjemahkan sebagai kebudak-budakan, tidak serius dan terlalu mudah gaya pengkaryaannya.

Bahkan, seni catan gaya naif juga dianggap sebagai tidak mencabar dengan alasan ia boleh dilakukan, direkacipta oleh sesiapa sahaja, sedangkan hakikatnya seni itu turut mempunyai ramuan-ramuan formalistik yang harus dipelajari oleh para pengkaryanya.

Menyedari hakikat itu, pelukis terkenal, Yusof Gajah telah menganjurkan pameran berkumpulan seni catan naif, Malaysian Naive Art Showcase 08 di Pasar Seni, Kuala Lumpur bermula 8 Mei sehingga 25 Mei ini bagi memperkembangkan lagi seni catan tersebut yang dikatakan tersisih daripada penggemarnya.

Menurut Yusof yang dikenali sebagai Bapa Pelukis Naif Malaysia, seni catan naif cukup penting kerana pelbagai gaya, idea, pemikiran dan latar budaya setempat boleh diketengahkan menerusi sesuatu karya yang kononnya dikatakan naif itu.

"Kita kena ada lukisan yang berwajah Malaysia. Seni catan naif banyak menyumbang ke arah itu. Ini kerana, seni catan naif mempunyai arah pemikiran dan temanya yang tersendiri terutamanya tentang alam dan budaya persekitaran pengkaryanya.

"Ciri-ciri kejujuran mudah terserlah kerana para pengkarya seni catan naif memaparkan apa yang mereka rasakan. Apatah lagi, kebanyakan pengkarya seni catan naif biasanya bukan daripada kalangan pelukis yang profesional.

"Misalnya, mereka mungkin boleh jadi daripada kalangan kerani tetapi mempunyai minat yang mendalam dan tajam idea dalam bidang lukisan," katanya ketika ditemui pada pameran Malaysian Naive Art Showcase 08 yang telah dirasmikan oleh duta Norway di negara ini, Arild Braastad baru-baru ini.

Pameran berkumpulan pelukis seni catan naif itu merupakan kali ketiga dianjurkan di mana kali pertama telah diadakan pada 1998 dengan mempa- merkan karya empat pelukis iaitu Yusof Gajah, Zila Zain, Shima dan Azmi S.H.

Sementara, pameran berkumpulan pelukis seni catan naif kedua dengan tema berjudul Appear Innocent pula telah diadakan pada 2001 dengan disertai oleh pelukis seperti Yusof Gajah, Mat Dollah dan Adeputra.

Bagaimanapun, kali ini seramai 37 pelukis seni catan naif telah menyertai Malaysian Naive Art Showcase 08 dengan mempamerkan lebih 100 buah lukisan yang dijual dengan harga antara RM550 hingga RM150,000.

Gaya penceritaanKepelbagaian citra naif dapat dilihat daripada kemeriahan pesta warna-warni yang kelihatan bagaikan tidak berkesudahan dengan menampilkan pelbagai imej landskap seperti banjaran gunung, bukit-bukau, hutan-rimba, ladang pertanian, sungai, tasik dan laut.

Gaya penceritaan secara visual turut menambah keragaman citra gaya naif, misalnya suasana kehidupan di bandar dan luar bandar yang boleh mengimbas kenangan serta pengalaman para pengamat sesebuah karya tersebut.

Karya-karya catan naif juga mudah untuk diidentifikasikan kerana gambaran yang diutarakan biasanya mewakili sebahagian daripada pengalaman yang pernah atau sering dilalui oleh anggota-anggota masyarakat.

Persembahan visual gaya penceritaan seperti ini lazimnya mampu untuk mencetuskan kenangan-kenangan silam dalam bentuk nostalgia emotif yang memudahkan kefahaman serta apresiasi terhadap sesuatu karya gaya naif.

Turut dipaparkan menerusi pameran ini ialah unsur-unsur pribumi Melayu nusantara yang ketara menerusi identiti rumah tradisional serta bangunan dan kedai yang dibina sebelum meletusnya Perang Dunia Kedua.

Selain itu, turut ditonjolkan ialah mesej tentang kesedaran terhadap penjagaan alam sekitar termasuklah peri pentingnya pemuliharaan sungai sebagai antara nadi kehidupan seperti yang dicatan menerusi karya berjudul Sungai Warisan Kita hasil sentuhan pelukis Nur Azmi Mokhtar, 28.

"Boleh dikatakan semua lukisan saya ada elemen sungai yang menggambarkan betapa pentingnya peranan sungai dalam kehidupan manusia, haiwan dan tumbuh-tumbuhan. Justeru, sungai harus dipelihara daripada pencemaran bagi meneruskan kesinambungan kehidupan.

"Dengan adanya keutuhan sungai sebagai sumber yang penting ia secara tidak langsung dapat menyatukan manusia, haiwan dan tumbuh-tumbuhan dalam suatu wadah perkongsian kehidupan yang harmoni," ujarnya.

Selain unsur alam dan persekitaran, seni catan naif turut menjadi medium mengekspresikan perasaan dan pengalaman seseorang pengkarya ketika mengimbau zaman lampaunya.

Pendekatan itu contohnya, telah digunapakai oleh Asmadi Abdul Wahab, 32 atau Adi menerusi lukisannya berjudul I Love My Cat yang menceritakan tentang kucing sebagai binatang kesayangannya semasa kecil.

"Semasa zaman kanak-kanak, saya seorang yang pendiam dan pemalu. Saya lebih banyak berkawan dengan kucing yang menjadi haiwan peliharaan saya. Elemen itulah yang saya ekspresikan menerusi lukisan ini," katanya.

Malah, seni catan naif juga mengetengahkan objek yang ada kaitannya dengan gaya kehidupan seharian masyarakat setempat biarpun ia tidak dilalui sendiri oleh pengkaryanya.

Zulkhairi Kamaruddin misalnya, memaparkan objek sampan yang kabur daripada segi pemandangan dan olahan gaya lukisannya tetapi ia cukup jelas identiti penting dalam kehidupan nelayan-nelayan kecil.

seni catan...batik

seni catan...batik

Sejarah
Batik merupakan satu bidang kraftangan yang unggul di Malaysia. Sejak abad ke 15 Masihi lagi manusia telah menemui kaedah pembuatan batik secara tradisional. Pada masa dahulu, masyarakat Melayu menggunakan ubi kentang sebagai alat pengecap tetapi kini kain batik telah diusahakan dengan menggunakan alat-alat moden. Batik mula diperkenalkan di negara kita khususnya di negeri Kelantan sejak tahun 1910 lagi. Batik berasal dari Indonesia dan terbit dari perkataan Jawa 'tik' yang bermaksud menitik atau menulis titik-titik. Ambatik pula bermaksud melukis, menulis, mewarna atau menitik. Di alam Melayu, sejenis batik yang dipanggil Batik Pelangi telah diperkenalkan sejak tahun 1770-an lagi. Di Malaysia kebanyakan kilang perusahaan batik banyak terdapat di Kelantan dan Terengganu.

Motif
Motif adalah corak-corak hiasan yang digunakan dalam proses melukis atau menerap batik. Bentuk-bentuk motif batik dihasilkan dalam dua bentuk utama iaitu Motif Organik dan Motif Geometrik. Motif Organik berunsurkan alam semulajadi seperti awan larat, tumbuh-tumbuhan, bunga-bungaan, dan haiwan.
Rupabentuk Kain Batik Sarung
Contoh Motif Organik.
Motif Ayam Motif Bunga Buluh Motif Bunga Kerak Nasi Motif Bunga Kotak Bercampur Motif Bunga Orkid Motif Bunga Raya Motif Daun Sireh Motif Geometrik Motif Pucuk Rebung Motif Rama-rama Motif Siput Motif Ayam
Contoh Motif Geometrik.
Motif Pucuk Rebung Motif Bunga Kotak Bercampur Motif Bunga Buluh
Motif Bunga Raya Motif Siput Motif Pucuk Rebung
Corak
Corak kain batik bermaksud bagaimana motif-motif yang dipilih dicorakkan di atas kain batik tersebut.
Antara corak-corak yang sering digunakan.
Corak Berdiri Corak Jalur Corak Melintang Corak Menyeluruh Corak Menyerong Corak Tompok-tompok Corak Ulangan Batu-bata Corak Ulangan/Selang seli
Blok penerap batik
Proses Membuat
Alatan yang biasanya digunakan untuk membuat batik.
Blok penerap Campuran lilin Kain Pencelup Sebuah Meja
Kain benang kapas berwarna putih merupakan yang sesuai untuk membuat batik. Selepas diterap dengan lilin pertama, ia akan dicelup dengan warna yang gelap sedikit. Setelah itu, ia akan diterap untuk kali kedua dan kemudian dicelup dengan warna yang lebih gelap. Proses ini akan diteruskan hingga habis. Kain ini akan direbus dalam air yang mengandungi soda. Apabila direbus, warna-warna yang berlainan akan kelihatan. Kain batik ini kemudiannya akan dijemur hingga kering. Kain-kain batik yang sudah kering, akan digosok, dilipat dan dibungkus untuk dipasarkan.
Penjenisan Kain Batik
Batik terbahagi kepada tiga jenis.
Batik Blok
Kain putih akan diterapkan dengan corak batik yang menggunakan blok corak. Blok corak diperbuat daripada kayu atau logam. Proses ini dilakukan berulang-ulang dengan mengikut susunan yang tertentu sehinggalah selesai. Di mana blok itu telah dicelupkan terlebih dahulu ke dalam pewarna sebelum ditekapkan di atas kain tersebut.
Proses menerap kain menggunakan blok corak
Batik Conteng
Alat canting digunakan bagi melakar corak batik dengan lilin panas di atas kain putih. Setelah kerja-kerja melakar selesai, proses mewarna mengikut kesesuaian corak dilakukan dengan menggunakan berus cat, dimana bahagian-bahagian yang terkena lilin itu tidak akan meninggalkan kesan warna apabila proses mematikan warna di lakukan. Lilin akan cair dan tanggal menjadikan bahagian-bahagian ini berwarna putih sebagai benteng.
Proses mencanting kain
Batik Skrin

Batik skrin ini tidak kurang hebatnya jika dibandingkan dengan batik blok dan conteng. Hanya kaedah melakar corak dan cara menerapkan warna sahaja yang berbeza. Corak batik dibentuk di atas skrin yang diperbuat daripada kain polyster yang berpengidang. Skrin dilekapkan di atas kain putih, proses pewarnaan dengan melalukan warna di atas corak tadi dengan menggunakan sekuji. Cara begini akan diulang beberapa kali dengan corak yang berlainan untuk mendapatkan corak batik yang lengkap. Ini disebabkan satu skrin untuk satu warna sahaja.
Penggunaan
Penduduk di negara kita menggunakan batik secara meluas. Batik digunakan untuk membuat baju, kain sarung atau batik lepas. Sebagai contoh, pakaian seragam pramugari kapal terbang MAS dibuat daripada batik. Batik juga digunakan dalam majlis-majlis formal dan majlis keramaian. Selain dibuat pakaian, batik juga digunakan sebagai hiasan seperti alas meja, cadar, sarung kusyen, tudung kepala, alas televisyen dan lain-lain lagi. Batik boleh dibeli dengan harga yang murah dan berpatutan. Batik begitu digemari pelancong-pelancong asing kerana coraknya yang menarik dan unik. Ia sering dijadikan buah tangan untuk dibawa pulang ke negara masing-masing.