Relevant bibliographies by topics / Painting, Malaysian

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Painting, Malaysian'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Painting, Malaysian"

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Abdul Rahim, Rosliza, Mumtaz Mokhtar, Verly Veto Vermol, and Rafeah Legino. "Iconography Underpinning Malaysian Portrait Painting." Environment-Behaviour Proceedings Journal 6, SI5 (September 1, 2021): 119–24. http://dx.doi.org/10.21834/ebpj.v6isi5.2936.

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Malaysian portrait paintings were introduced in the 1930s where local artists started using the subject in their art-making. In art, portraits are generally known as the likeness of a person, especially a face and shoulders, but in fact, there are more ways to define portrait and painting. There is a lack of understanding and interpretation on the subject. Consequently, this study aims to trace the chronology of the development of Malaysian portrait paintings. The stylistic and contextual issues, including its formalistic format, media, themes and styles, and artists, are also examined in this study using a mixed-mode of research method. Keywords: Portraits; Painting; Iconography eISSN: 2398-4287 © 2021. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BY-NC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v6iSI5.2936
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Chiu, Ling-Ting. "A New Page of Literati Painting from Singapore and Malaysia: A Study of Chen Wen Hsi and Chung Chen Sun." Translocal Chinese: East Asian Perspectives 15, no. 1 (July 1, 2021): 93–130. http://dx.doi.org/10.1163/24522015-15010006.

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Abstract In the early twentieth century, Chinese literati painting was embroiled in arguments on the relationship between ancient and modern or east and west. Therefore, the artistic practices of Wu Changshuo, Chen Shizeng, Qi Baishi, Xu Beihong and so on, were in response to this development. However, with the occurrence of World War ii and changes in the post-war situation, literati painting underwent further, new changes in different regions. This article intends to discuss the overseas Chinese painters Chen Wen Hsi and Chung Chen Sun as examples in exploring the new development of literati painting in Singapore and Malaysia in the second half of the twentieth century. Chen Wen Hsi was born in Jieyang County, Guangdong Province in 1906. He studied at Shanghai Fine Arts College and Xinhua Art College. He went to Singapore and held an exhibition in 1948. In 1950, he taught at The Chinese High School, and the following year also began teaching Chinese ink painting at Nanyang Fine Arts College. Chung Chen Sun, a native of Mei County, Guangdong Province, was born in 1935 in Malacca, Malaysia. In 1953, he entered the Department of Art Education of Nanyang Academy of Fine Arts, which was founded by Lim Hak Tai. Chung was inspired by predecessors such as Cheong Soo-pien, Chen Wen Hsi and Chen Chong-swee who had pursued the Nanyang style. In 1967, Chung founded the Malaysian Academy of Art. Their styles of painting not only incorporate the Eastern aesthetics and Western theory but also include diverse elements. Their paintings wrote a new page in the history of literati painting during the Cold War era.
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Abdul Rahman, Mohamed, A. K. M. Mohiuddin, and Hanani Abdullah. "Painting Process Improvement through Six Sigma Approach in a Malaysian Vehicle Assembly Company." Advanced Materials Research 1115 (July 2015): 596–600. http://dx.doi.org/10.4028/www.scientific.net/amr.1115.596.

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Painting is an important process in the automotive assembly to give more attractive appearance to the vehicles and to provide the layer of protection against corrosion and weathering. The objective of this paper is to identify and analyze the factors affecting the quality of painting process at Company RST’s Paint Shop. The paint shop was unable to perform the painting process satisfactorily and deliver the painted vehicle bodies as per customer specifications. The study concentrated on the fiber defect detected at Top Coat Area as the major problem of paint deficiency. Using activities like Genba investigation, data collection, trials and data analysis, the root causes of the problem were identified. Six Sigma DMAIC approach was utilized in conducting the improvement activities. Through designed experiments conducted to determine the best parameter setting of the spray gun used in the painting process, it was found that 3.5 bars for air pressure and 450 ml/minutes for fluid delivery resulted in the lowest paint defect. The use of Six Sigma DMAIC approach had succeeded in helping the company to minimize paint fiber defect per unit (DPU) from 10 to less than 3 DPU. The results from the study have provided an insight on successful deployment of DMAIC through application of its various statistical tools and techniques, and as the systematic problem-solving framework on solving actual industrial issues such as automotive painting problem.
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Supriyono, Trihanawati, and Mohd Puad Bebit. "Process Creative: From four style of paintings in Sabah." Environment-Behaviour Proceedings Journal 5, SI3 (December 28, 2020): 117–22. http://dx.doi.org/10.21834/ebpj.v5isi3.2541.

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The creative process usually refers to the creation of something new and unique. This paper discussed the process creation of the four genres in painting that is applied by visual artists in Sabah. Researchers used the theoretical framework approach from the updated model of process creation in the visual art-making domain to explain the operation of producing intellectual property in visual art mainstream. This research involved interview process for 20 artists from Northern Borneo, Sabah. The outcome of this research explained the differentiation between four approaches of painting genre in the form of the creative process involved. Keywords: Process creative, the genre of painting, Sabah's painting eISSN: 2398-4287© 2020. The Authors. Published for AMER ABRA cE-Bsby e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI3.2541
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ABDULLAH, AHMAD HAKIM, YUHANIS IBRAHIM, and RAJA ISKANDAR RAJA HALID. "ANALISIS INTRINSIK SIMBOL BUDAYA MELAYU DALAM KARYA CATAN MODEN TERPILIH JALAINI ABU HASSAN DAN FATIMAH CHIK." International Journal of Creative Future and Heritage (TENIAT) 9, no. 1 (March 31, 2021): 52–68. http://dx.doi.org/10.47252/teniat.v9i1.398.

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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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Kimwah, Junior, Humin Jusilin, and Zaimie Sahibil. "Kain Hitam Cave (Painted Cave) Niah, Sarawak: The Relationship of Boat-Shaped Coffin and Rock Painting." Environment-Behaviour Proceedings Journal 5, SI3 (December 28, 2020): 319–25. http://dx.doi.org/10.21834/ebpj.v5isi3.2576.

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This paper discusses the relevance that exists in a cave used as a place of residence since the time of Neolithic. This archaeological site contains important artefacts that show modern civilization (homo sapiens) at the end of the Neolithic period. This research focuses on the cultural development of the ancient people through the discovery of artefacts in the Kain Hitam Cave. Preliminary findings show that ritual activities have been practised. Initial conclusions indicate that the ancient people practised animism. The linkages between the two aspects are essential in giving new insight into the cultural elements they were practising years ago. Keywords: Kain Hitam Cave; boat-shaped coffin; cave painting; culture and interpretation. eISSN: 2398-4287© 2020. The Authors. Published for AMER ABRA cE-Bsby e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia. DOI: https://doi.org/10.21834/ebpj.v5iSI3.2576
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Mokhtar, Mumtaz. "A Conceptual and Technical Discussion on Digital Painting as New Media Art: Introducing Some Malaysian Works." ITB Journal of Visual Art and Design 4, no. 1 (November 2013): 67–83. http://dx.doi.org/10.5614/itbj.vad.2013.4.1.8.

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Leihitu, Irsyad. "TRADISI DAN SIMBOL YANG SERUPA: STUDI PERBANDINGAN PADA GAMBAR CADAS MUDA DI INDO-MALAYSIA." AMERTA 38, no. 1 (June 30, 2020): 31–48. http://dx.doi.org/10.24832/amt.v38i1.31-48.

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Abstract. The Similarity of Traditions and Symbols: Comparative Study of Recent Rock Art in Indo-Malaysia. As an ancient art, rock art, in general, is always associated with the prehistoric hunter-gatherer communities in the upper Paleolithic period or about 40,000 years ago. However, it was later discovered that the tradition of drawing/painting inside the cave was still practiced by modern hunter-gatherer communities in the 19th century, especially in the Indo-Malaysian region. This article seeks to conduct a comparative study of "recent" rock art in Lenggong Region, Perak, Peninsular Malaysia with the new findings of "recent" rock art from Bukit Bulan Region, Sarolangun, Jambi, Sumatera Island, Indonesia. The method used is a comparative analysis that seeks similarities from attributes such as techniques, motifs, sizes, and characters. The results show that both recent “young” rock art in the two regions are somehow alike. Also, contextual studies show the existence of similar traditions and behavior between modern hunter-gatherer communities in both regions. Abstrak. Gambar cadas sebagai kesenian purba pada umumnya selalu dikaitkan dengan manusia prasejarah, yakni pemburu-peramu pada masa paleolitik atas atau sekitar 40.000 tahun yang lalu. Setelah itu, belakangan telah diketahui bahwa tradisi menggambar di dalam gua masih dilakukan oleh masyarakat pemburu-peramu modern pada abad ke-19, khususnya di wilayah Indo-Malaysia. Artikel ini dimaksudkan untuk melakukan studi perbandingan terhadap gambar cadas “muda” di Kawasan Lenggong, Perak, Semenanjung Malaysia, dengan temuan baru berupa gambar cadas “muda” di Kawasan Bukit Bulan, Sarolangun, Jambi, Pulau Sumatra, Indonesia. Metode yang digunakan adalah analisis komparatif untuk mencari kesamaan dari atribut, seperti teknik, motif, ukuran, dan karakter. Hasilnya menunjukkan bahwa banyak kesamaan atribut pada gambar cadas “muda” pada kedua situs. Selain itu, kajian kontekstual juga menunjukkan adanya tradisi dan pola perilaku yang serupa antara masyarakat pemburu-peramu modern di kedua wilayah tersebut.
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Effendy, Sigit Mulyansyah, Nadira Elkalam, and Isami Kinoshita. "The Role and Potential of Art for New City Landmark: Case of Kampung Pelangi, Semarang, Indonesia." Environment-Behaviour Proceedings Journal 3, no. 9 (November 22, 2018): 148. http://dx.doi.org/10.21834/e-bpj.v3i9.1541.

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Over the last few years, revitalization through painting in the slum area become popular in some cities in Indonesia. The attractive colors and illustrations have escalated the village on social media, especially for youth. The study focuses on investigating the roles of art in Kampung Pelangi potential for city landmark. Interviews and observations were done as a preliminary study, and survey online intended to understand the university students’ perception as a youth representative. The results have investigated that despite art has brought the dominant visual in the landscape, the unity with the existing landmark is needed to bring harmony to enhance the current image of the city.Keywords: New urbanism; landmark; the role of art; student’s perceptioneISSN: 2398-4287 © 2018. The Authors. Published for AMER ABRA cE-Bs by e-International Publishing House, Ltd., UK. This is an open access article under the CC BYNC-ND license (http://creativecommons.org/licenses/by-nc-nd/4.0/). Peer–review under responsibility of AMER (Association of Malaysian Environment-Behaviour Researchers), ABRA (Association of Behavioural Researchers on Asians) and cE-Bs (Centre for Environment-Behaviour Studies), Faculty of Architecture, Planning & Surveying, Universiti Teknologi MARA, Malaysia.https://doi.org/10.21834/e-bpj.v3i9.1541
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Tan, Noel Hidalgo, and Stephen Chia. "Current Research on the Rock Art at Gua Tambun, Perak, Malaysia." Bulletin of the Indo-Pacific Prehistory Association 31 (May 26, 2012): 93. http://dx.doi.org/10.7152/bippa.v31i0.9967.

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The rock art site of Gua Tambun in Perak, Malaysia was first reported by J. M. Matthews in 1959, following the discovery of the rock paintings by a British military officer. An estimate of more than 80 forms of animals, humans, geometric designs and many other indistinct and vague forms of paintings were reported to be found on the walls of the rock shelter. Since then, no further in-depth research of the rock art has been reported, while time and weather have eroded and faded the paintings even more. In early January 2009, the site was revisited by the authors to document and to study the rock art in detail. The rock art was documented using a combination of close-range, high-resolution digital photography and digital image analysis was used to reconstruct and recompose the faded images. Samples of the material used for painting the rock art were also collected for chemical analysis and dating. This paper presents the preliminary findings of the research, which include more than 500 forms of rock art found at the site.
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Dissertations / Theses on the topic "Painting, Malaysian"

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Ahmad, Izmer. "Tracing the mark of circumcision in modern Malay/sian art." Thesis, 2008. http://hdl.handle.net/1828/1211.

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This dissertation examines the trace of circumcision in modern Malay/sian art. The term ‘Malay/sian’ is used in this dissertation to refer to Malaysians of Malay descent with Islamic affiliation. This research is premised on the hypothesis that the cultural politics that defines the works produced by artists of Malay-Muslim affiliation is constituted by the discourse of the body. This research takes the task of locating this hypothesis in a selection of paintings by these artists. I argue that circumcision, which in Malaysia is understood as the obligatory and identifying mark of the Malay-Muslim (male and female, to varying degrees), is a significant trope underlying the themes of the graphic mark, the body and social power in the production of personal, ethno-religious and national identities.
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Books on the topic "Painting, Malaysian"

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Tan, Chee Khuan. Lukisan pelukis-pelukis perintis daripada koleksi persendirian =: Paintings of pioneer artists from private collections. Leboh Farquhar, Pulau Pinang, Malaysia: Lembaga Muzium Negeri, 1992.

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Khuan, Tan Chee. Penang artists, 1920 to 1990. Penang: Art Gallery, 1990.

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Lembaga Muzium Negeri, Pulau Pinang, ed. Chong Hon Fatt: Retrospective. Penang, Malaysia: Lembaga Muzium Negeri, Pulau Pinang, 2012.

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Malaysia, Bank Negara. Puspaseni: Lukisan pilihan di dalam koleksi Bank Negara Malaysia = a selection of paintings in the collection of Bank Negara Malaysia. [Kuala Lumpur]: Bank Negara Malaysia, 1989.

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Tan, Chee Khuan. Social responsibility in art criticism, or, Why Yong Mun Sen is the father of Malaysian painting. Bellisa Row, Pulau Tikus: Art Gallery, 1998.

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Ali, Zakaria. Northern vantage: 11 Malaysian artists. Pulau Pinang, Malaysia: ArtGrup Penang, 2004.

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Rahman, Mohamed Ali Abdul. Modern Malaysian art: Manifestation of Malay form and content. Shah Alam: Biroteks, Universiti Teknologi MARA, 2000.

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Tan, Chee Khuan. Eight pioneers of Malaysian art. [Singapore]: Marshall Cavendish Editions, 2014.

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Teng: Satu penghargaan = an appreciation. [Kuala Lumpur]: Balai Seni Lukis Negara, 2008.

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Mahamood, Mulyadi. Choong Kam Kow: Retrospektif : merentasi budaya, melintasi era = Choong Kam Kow : retrospective : cross culture, trans era = Zhong Jingou : hui gu zhan : kua wen hua, kua shi ji / penulis tamu, Prof. Dr. Mulyadi Mahamood [and six others]. Kuala Lumpur: Balai Seni Visual Negara, 2014.

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Book chapters on the topic "Painting, Malaysian"

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Mohamed, Sallehuddin, Mumtaz Mokhtar, Dzul Haimi Md Zain, and Abd Rauf Hassan. "The Application of Qur’anic Verses in Malaysian Contemporary Islamic Painting and Fashion: 1991–2016." In Contemporary Management and Science Issues in the Halal Industry, 1–28. Singapore: Springer Singapore, 2019. http://dx.doi.org/10.1007/978-981-13-2677-6_1.

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Yahaya, Nur Farahain, Juliana Manan, Mohd Suhaimi Tohid, and Rafeah Legino. "Development of Contemporary Painting in Malaysia." In Proceedings of the 2nd International Colloquium of Art and Design Education Research (i-CADER 2015), 533–42. Singapore: Springer Singapore, 2016. http://dx.doi.org/10.1007/978-981-10-0237-3_52.

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Abdullah, Alina, Nur Izaura Razis, and Sumardianshah Silah. "Symmetry in Malaysian Paintings: A Compositional Analysis." In International Colloquium of Art and Design Education Research (i-CADER 2014), 603–11. Singapore: Springer Singapore, 2015. http://dx.doi.org/10.1007/978-981-287-332-3_62.

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Roslan, Syazalia, Rafeah Legino, and Muliyadi Mahamood. "Identification of Sarong Pattern Within the Context of Malaysia’s Contemporary Painting." In Proceedings of the Art and Design International Conference (AnDIC 2016), 411–19. Singapore: Springer Singapore, 2018. http://dx.doi.org/10.1007/978-981-13-0487-3_45.

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"Paintings in the Exhibition on Malaysian Art." In Unfettered Ink, 31–34. National Gallery Singapore, 2017. http://dx.doi.org/10.2307/j.ctvk12rnb.12.

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Conference papers on the topic "Painting, Malaysian"

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Othman, Aniza, Tengku Siti Meriam Tengku Wook, and Shereena M. Arif. "The analysis of colour appearance categories of landscape paintings for Malaysian users." In 2017 6th International Conference on Electrical Engineering and Informatics (ICEEI). IEEE, 2017. http://dx.doi.org/10.1109/iceei.2017.8312397.

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