The purpose of this research is to find out the development of the batik tulis industry in the Klang Valley from the 1970s until 2018. It aims to study the design and identity of the batik tulis motif and patterns. This research used several methods and approaches for data collection which consisted of interviews, observations, and photo documentation. Three batik tulis manufacturers in the Klang Valley have been selected for this study. The data collected were then analysed using an analytical design approach. The findings showed that each manufacturer of batik tulis has exclusivity in terms of its subject matter as well as assertions in the patterns and designs used. The development of the batik tulis industry has changed in terms of designs according to the demands of batik consumers themselves who prefer differentiation in the design concept of batik products. Most of the batik products in the Klang valley are more focused on the concept of modern and contemporary designs for the sustainability of these batik motif design.
Batik Tulis in the Klang Valley has motif and pattern design that identified its own identity. The purpose of this study is to find out the development of the Batik tulis industry in the Klang valley from year 2000 until 2018. Next, it also to study the design and identity of the Batik tulis motif and pattern in the Klang valley from year 2000 until 2018. This study used several methods and approach for data collection consist of interviews, observations and photo documentation. Three Batik tulis manufacturers in Klang Valley have been identified in carrying out this study. The data were then analysed using analytical design approach. The findings showed that, each product of Batik tulis has a uniqueness in terms of subject matters as well as assertions in pattern and designs used. The development of the Batik tulis industry has been changed in terms of design according to the demand of batik users themselves who want differentiation in the design concept of batik products. Most of the batik products in this Klang valley are more focused on the concept of modern and contemporary design. It involves the use of colours, the type of fabrics and the selection of motifs characterized by flora and fauna in modern style. In conclusion, Batik tulis designs and identity in the Klang Valley from year 2000 until 2018 are still retain the originality of the flora and fauna motifs themselves but have made the design of the traditional style to a more modern and contemporary design. However, the design aspect of Hand drawn Batik products in the Klang Valley today needs to be disclosed to the public so that, it can maintain the textile arts, especially the Batik tulis as a Malay textile heritage.
This study explains the analysis of the semiotics in the painting artworks of the Din Omar, who focuses on the forms of heritage values in his creations. This study is also important for the documentation of the Malay culture, which has customary and culturally-related elements, where the human value is given a touch of heritage elements, as portrayed in the production of the serial works Tepak Sirih Series, Tepak Sirih: Menanti Tetamu siri 5, and Ukiran Indah di Puncak Indah by Din Omar. The study looks into more details the description of the meaning of semiotic approach analysis by Ferdinand De Saussure, which is interview with the curator and analysis of three selected artworks. The researchers are also providing exposure to elements behind the cultural materials, such as the Tepak Siri Series, Tepak Sirih: Menanti Tetamu Siri 5, and Ukiran Indah di Puncak Indah. The findings of the study revealed that the Tepak Sirih series artwork possesses the value of non-verbal communication in community engagements and weddings. The legacy and Malay culture in the Tepak Sirih: Menanti Tetamu siri 5 work carries the meaning of customary wealth in official ceremonies, but not suitable for arbitrary activities. In the Ukiran Indah DiPuncak Indah artwork, Hulu Keris Patah Tiga gives the meaning of a Malay traditional weapon used to complement Raja sehari or the Malay wedding dress. Para pandai besi produced a dagger with a Malay identity and spiritual elements which will not be extinct and is always kept as national treasures. Received: 29 March 2021 / Accepted: 23 June 2021 / Published: 8 July 2021
This study aims to analyse the scope of the development of the Malaysian artworks of Amron Omar and Haron Mokhtar paintings through the application of Erwin Panofsky's iconography analysis that involves three levels which are the pre-iconographical description, the iconographical analysis, and the iconological intepretation. This research paper also evaluates the field of fine arts especially the style in the production of two artworks of two painters namely, Amron Omar's "Pahlawan", from the year 1980, and Haron Mokhtar's "Suasana di Kampung", from the year 2007. The theoretical framework of this analysis emphasises on the qualitative methodology by observing the two selected painting artworks by these two Malaysian artists in the scope of the Malay identity observed among local painters. The result suggests that Malaysian painters do instil the value of Malayness identity and symbols in their artworks. The study also clarifies that local painters who are the product of modern Malaysian painters could also create the opportunity for career expansion among eastern artists as well as the entire circle of Malay painters.
Abstrak Kajian ini bertujuan menganalisis skop perkembangan karya-karya seni oleh Jalaini Abu Hassan dan Fatimah Chik melalui pendekatan Edmund Feldman pada tahun 1967 yang menerangkan empat langkah aras kritikal analisis seperti yang berikut iaitu deksripsi, analisis, interpretasi dan pertimbangan. Kerangka kerja teoritikal yang dianalisis menggunakan teori Edmund Feldman yang diasaskan pada tahun 1967 dengan menekankan metodologi analisis kaedah primari iaitu pemerhatian dua karya seni catan iaitu Pohon beringin yang dihasilkan oleh Fatimah Chik pada tahun 2002 dan karya Tales of the heroes yang dihasilkan oleh Jalaini Abu Hassan pada tahun 2010. Nilai kemelayuan juga terdapat pada makna tersurat terutamanya pada catan Pohon beringin Fatimah seperti simbol segi tiga, wayang kulit Kelantan, filem Melayu Bawang Putih Bawang Merah telah diinspirasikan daripada falsafah catan Pohon Beringin itu dan juga tidak dapat dipisahkan dengan simbol warisan Melayu yang telah divisualkan dalam kalangan masyarakat Melayu sejak zaman nenek moyang kita lagi dan sehingga ke zaman era kemodenan abad ke 21 ini. Dapatan kajian dalam catan Jalaini Abu Hassan menunjukkan terdapat seorang lelaki dengan baju melayu menjelaskan tentang 5 prinsip rukun Islam dan rukun negara dan juga makna tersurat tentang perubatan tradisional Islam yang telah diaplikasikan dalam kehidupan Jailani dan ayahnya. Abstract This paper aims to analyse the development of Malaysian artworks of Jalaini Abu Hassan and Fatimah Chik paintings through the Edmund Feldman 1967 approach which is a theory that describes the description, the analysis, the interpretation and the judgement. The theoretical framework of this approach involved four steps of critical analysis processes. Hence, the methodology emphasized the qualitative methodology by observing two (2) paintings which were Tales of the Heroes from year 2010 and Pohon Beringin from year 2002 artworks by the Malay Malaysian artists, Jalaini Abu Hassan and Fatimah Chik, respectively. The findings suggested that the Malaysian painters expressed the value of the Malay identity and philosophy in their artworks. For example, Jalaini Abu Hassan’s Tales of the Heroes that potrayed a guy in Malay’s traditional costume represented the 5 Pillars of Islam, the National Principles (Rukun Negara) and the literal meaning of the traditional Islamic medicine which were applied in Jalaini’s and his father’s lives. Additionally, the Malay value can also be found literally in Pohon Beringin batik painting by Fatimah Chik such as the triangle symbol. To date, banyan tree has a significant meaning in the Malay heritage which have been visualised in the Malay community since the ancestral era. Other than the canvas painting of Fatimah Chik’s Pohon Beringin, the banyan tree has been adapted in many Malay artworks such as Kelantanese Wayang Kulit and Malay film of Bawang Putih Bawang Merah.
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