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.

This study will highlight the elements of Islamic values and Malay traditions in the artworks of 20th and 21st-century Malaysian artists, namely Mastura Abdul Rahman, Haron Mokhtar, and Ruzaika Omar Basaree by discussing the elements of Malay values and Islamic traditions in respect of their artworks. The analyses focused on the artworks from 1980 to 2014, specifically Haron Mokhtar’s “Zahir Mosque”, Ruzaika Omar Basaree’s “Siri Dungun” and Mastura Abdul Rahman’s “House of Harmony” and “ Interior No. 29”. These artists’ works were delivered according to the manifestation of the National Cultural Policy 1971, which highlighted the Islamic and local identity as the main idea and theme of the artworks of local artists. This study has used qualitative methods, which are documentation and observations of each work in the artists’ catalogue as a process of collecting primary data. Meanwhile, secondary data were gathered through referencing academic works like books, journals, and magazines on Islamic values and Malay traditions in visual arts paintings. The analyses found that these works used Islamic art elements, like the “Thuluth” khat in “Zahir Mosque”, as well as the combination of colour and flora motifs on “Siri Dungun”. At the same time, they feature cultural elements, such as “congkak” and “Labu sayong” and traditional Malay ornamental design, which represent the Malay culture and philosophies.

Perjalanan seni visual Malaysia terus berkembang hasil usaha artis lama dan bakat-bakat baharu dari pelbagai generasi, latar belakang kaum dan agama dan pendidikan yang berbeza. Tempoh 50 tahun bagi seni visual Malaysia boleh dianggap berada pada tahap matang dan perlu dinilai secara serius (Zain, 2009). Aktiviti seni visual saling berhubung kait dengan perubahan-perubahan sosial yang berlaku sama ada lokal mahupun perubahan global. Karya yang terhasil mampu menjadi cerminan kepada perubahan sosial yang berlaku dalam masyarakat dan perlu difahami secara mendalam. Dalam menganalisis sesebuah karya seni, adalah penting untuk tidak terus memberikan, huraian sebaliknya perlu menyesuaikan diri dengannya terlebih dahulu (Hauser, 1959). Kajian ini bertujuan untuk mengenal pasti hubungan karya seni dan perubahan sosial berdasarkan teori sosiologi Arnold Hauser (1959). Dua karya dari Bakat Muda Sezaman (BMS) akan dijadikan sampel bagi merungkai aspek “bentuk” dan “makna” berpandukan teori kritikan seni Feldman (1994). Hasil perbincangan akan menjelaskan perubahan sosial yang berlaku dan kesannya terhadap karya seni visual BMS.   Malaysia’s visual arts journey continues to evolve as a result of the efforts of old artists and new talents from various generations, racial and religious backgrounds, and different educations. The period of 50 years of Malaysian visual arts can be considered to be at a mature stage and needs to be seriously evaluated (Zain, 2009). Visual arts activities are interrelated with social changes that occur both locally and globally. The resulting work is able to be a reflection of the social changes taking place in society and needs to be understood in depth. In analyzing a work of art, it is important not to continue to give a description should it be necessary to adapt to it first (Hauser, 1959). This study aimed to identify the relationship of artwork and social change based on the sociological theory of Arnold Hauser (1959). Two works from Contemporary Young Talent (BMS) will be used as samples to unravel the aspects of "form" and "meaning" based on the theory of art criticism Feldman (1994). The results of the discussion will explain the social changes that have taken place and their impact on BMS visual artwork.