ISME COLLOQUIUM 2016 | 1

proceeding

2016Pengukuhan Budi & Jati Diri

JUNE 2016Tanjung Bidara Resort Melaka

Penyelidikan Jaringan Industri & Alumni

II

ISME COLLOQUIUM 201613

PROCEEDING ISME

Penyunting:Ahmadrashidi bin Hasan

Abd. Rasid Bin IsmailRosli Zakaria

DITERBITKAN OLEHFakulti Seni Lukis & Seni Reka, Vitm Melaka.

ISME COLLOQUIUM 20161 4

PROCEEDING ISME

PenyuntingAhmadrashidi bin Hasan, Abd. Rasid Bin Ismail & RosH Zakaria

Reka bentukNorsharina SamsuriHafiz

Diterbitkan oleh:Fakulti Seni Lukis & Seni Reka, UiTM Melaka.

Segala pendapat yang diterbitkan di dalam buku ini merupakan pendapat para pengarangdan tidak semestinya mewakili pendapat penerbit.

ISBN 978-967-0637-20-4

Hak Cipta Terpelihara.Tidak dibenarkanmengeluarkan ulangan mana-mana bahagian artikel, ilustrasi dan isikandungan buku ini dalam apa jua bentuk dan dengan apa cara sarna ada cara elektronik,fotokopi, rakaman, atau cara lain sebelum mendapat izin bertulis dari penyunting danFakulti Seni Lukis & Seni Reka, UiTM Melaka terlebih dahulu.

Cetakan Pertama 2016

lSI KANDUNGAN

lsi Kandungan 3

lawatankuasa Kolokium ISME 2016 5

1. Creative Art Therapy Program: Case Study on Malay Muslim Inmates at 6Sungai Udang Prison in MelakaAzahar Hamn, Rosli Zakaria, Amirruddin Osman, AriffAli, Hishamudin Ahmad,Haslinda Abd Razak, Meor Hasmadi Meor Hamzah

2. Contemporary Islamic Art of Iraq Country: It's Appreciation 15Fatimatuzzaharah Mohd Kidin

3. Standardizing Malaysian Vehicle Registration Number Plate 22M. R. Ruzalia & G. Daimin

4. Using Photographic Images as an Alternative Method To Learning Process In 32Pre-School LevelFarihan Zaharia, Fatrisha Mohamed Yussof, Nurkhazilah Idris, Aidah Alias

5. A Study of The Malaysian Youth Perception Toward 'Muslim Pro' Apps Through 36Smart Phone in Malaysia Using Technology Acceptance Model (TAM)Hafizah Rosli & Dr Ruslan Abd Rahim

6. Interactive Multimedia: HajjEdu Kiosk 42Ilinadia Binti lamil & Zainal Bin Kadir

7. A Visual Analysis: 3D·Computer Graphic with Narrative Structure ofAdhan 50RecitationLili Eliana Mohd Radzuan, Wan Nur khalisah Shamsudin, Mohamed RazeefAbd Razak& Azahar Harun

8. The Role of Visual Communication in Improving Images of Malaysian Secondary 59School TextbooksN. Yusof & G. Daimin

9. The Styles of Illumination In AI-Qur'ans of The Malay World 66N.H.M. Din, D.H.M. Zain, M. Mokhtar

10. Artistik Rhiz : Seni Rupa Kontemporari Malaysia 73Shahariah Mohamed Roshdi ,Dr. Abd. Rasid Bin Ismail & Mohd HaniffMohd Khalid

11. Penilaian Pengunjung Terhadap Pameran Karya Seni "Travelog" 80Pelajar Seni Halus UiTM MelakaAmiruddin Osman, Dr Rosli Zakaria, Shahrul Munir Mohd Kaulan

12. Compilation Theory Of Malay Malay Aesthetics: Concept Malay Beauty In Arts 86Nurkhazilah Idris, Ruzaika Omar Basaree, Fazlina Mohd Radzi, Fatrisha Mohd Yussof,Farihan Zahari & Shaliza Dasuki.

13. Alam Sebagai SUlnber Reka Bentuk Motif-Motif Seni Hiasan Fabrik Masyarakat 95MelayuDr. Abd. Rasid Bin Isn1ail , Shahariah Mohamed Roshdi & Prof. Madya Dr AhmadRashidi Bin Hasan

14. Geometri dalam Rekabentuk Naskhah Dala'il al-Khayrat: Suatu Kajian Awal 104A. Abdullaha*dan S. Silahb

15. Exploring An Art Photography Movement In Malaysia (1900-2000) 112Raziq Abdul Samat, Wan Nor Ayuni Wan Mohd Zain, Shafirah Shaari,Dona Lowii Madon, Aidah Alias & Mohd Fakhrul Rodzi Abd Ghapur

16. Penghayatan Budaya Kebangsaan Dalam Karya Animasi Malaysia 116Pasca-MerdekaShaliza Dasukia, Nurkhazilah Idrisa, Nurhasliza Abdulahbdan Norhazalen Haji Saadc

17. Appreciating Islamic Contemporary Art ofAfghanistan Country 125NurulSyazlina Bt Che Yusof, Nor Kamalia Bt Mohamed Saat, Prof. Dr. Dzul HaimiMd Zain, Dr. Mumtaz Hj Mokhtar

18. Describing Advertising Approach By Ministry Of Health Malaysia For Public 130Service AnnounementCampaign: Case Study On Anti Dengue Campaign InPress AdNorsharina Samsuri, Anith Liyana Amin Nudin

19. Penyimpanan Dan Pendokumentasian Karya KreatifDi Fssr, UiTM Melaka 135Haslinda Abdul Razakl, Nur Hasliza Abdulah2,Azni Ranim Han1zah3, Nurul Izza AbAziz4, Wan Nor Ayuni Wan Mohd Zain5, Noor Hafiza Ismai16

20. Stail Abstrak ArcaAwam Kuala Lumpur: Refeleksi Terhadap Tegahan 144Agama Islam MembinaArca Berbentuk Figura Bernyawa.Dr. Rosli Zakaria

21. Kartun Editorial Internet Indie Melayu: Kritikan Politik Dan Sosial Melalui 159Rangkaian Sosial Facebook Bertemakan Pribahasa Lama MelayuFazlina Mohd Radzi, Shahariah Mohamed Roshdi, Nurkhazilah Idris

22. Creativity and Inspiration Woven Technique By Using Excessive Plastic Bag 167Azni Hanim Hamzah,a , Salina Abdul Mananb , Noor Hafiza Ismaila , Nurhikma MatYusufa , Nurul Izza Ab Aziza

23. Sustainable Furniture Design: An Alternative Approach To Enhance Learning 174Process In Autism ClassroomINurhikma Bt Mat Yusof, 2Rosaliana Bt Rahim, 3Ridzuan Adli Bin Azidin

JAWATANKUASAISME 2016

Penaung I PM Dr. Mohd Adnan Bin Hashim

Penasihat 1 I Dr. Rani Diana Binti Othman

Pengerusi I Dr. Azahar Bin HarunTimbalan Pengerusi Cik Nurhikma Binti Mat Yusof

Ketua Projek I PM Dr. Ahmadrashidi Bin HasanPen. Ketua Projek Dr. Rosli Bin Zakaria

Setiausaha

IPuan Shaliza Binti Dasuki

Timbalan SU 1 Cik Nurkhazilah Binti IdrisTimbalan SU 2 Cik Fazlina Binti Mohd Radzi

(Penerimaan Abstrak & Kertas Kerja)

Wakil Bendahari Fssr I Puan Azni Hanim Bin Hamzah

Editor

IDr. Abd. Rasid Bin Ismail (Ketua)Dr. Rosli Bin ZakariaPM Dr. Ahmadrashidi Bin HasanDr. Azahar Bin Harun

Tempat & Kemudahan I Puan Shaliza Binti DasukiCik Noar Hafiza Binti Ismail

Jk Dokumentasi

IEn. Raziq Bin Abdul SamarEn. Meor Hasmadi Bin Meor HamzahEn. Mohd HanifBin Mohd OmarCik Aidah Binti Alias

Jk Seranta & Publisiti I En. Ridzuan Adli Bin AzidinCik Nurhikma Binti Mat Yusof

Jk Penyambut Tetamu

IEn. ArifBin Ali

& Protokol Tuan Haji Abd. Wahab Bin MuhammadPuan Shahariah Binti Mohd. RoshdiCik Rosaliana Binti Rahim

Jk Sijil & Cenderamata I Puan Nur Hasliza Binti AbdullahPuan Nurul Izza Bin Ab. Aziz

Jk Jemputan I Puan Haslinda Bin Abd. Razak

Jk Teknikal & Logistik I En. Hisammudin Bin AhmadEn. Rafuzan Bin Jaafar

Jk Pereka

IPuan Norsharina Binti Samsuri (Ketua)Puan Anith Liyana Binti Amin NudinPuan Fatrisha Binti Mohamed Yussof

Jk Pendaftaran I Cik Fazlina Binti Mohd RadziPuan Azni Hanim Bin HamzahCik Siti Sarah Binti Adam Wan

ISME COLLOQLTIUM 2016186

COMPILATION THEORY OF MALAY AESTHETICS:CONCEPTS OF MALAY BEAUTY IN ARTS

INurkhazilah Idris, 2Ruzaika Omar Basaree,3Fazlina Mohd Radzi, 4Fatrisha MohdYussof5Farihan Zahari & 6Shaliza Dasuki

*corresponding author: nurkhazilah@uitm.edu.my

Abstract

This research is compilation theory of Malay aesthetics point up from several scholars which is AI­Ghazali, Abdullah Mohamed (Nakula), Sulaiman Esa, Syed Ahamad Jamal, Ruzaika Omar Basareeand Zakaria Ali. This research is looking at the theory Malay aesthetics which the beauty. conceptof art and it is hoped that this research would reach out to the public and further provide a bridgelinking the public's understanding with matters related to the visual arts, enlightening the theory ofMalay aesthetic principles along with greater appreciation on Malay element ofmeanings behind phi­losophers effort and thus encourage public appreciation and understanding on the concept of beautywithin the Malay ideology context on visual arts. Findings from this research are hoped to be as sig­nificant contribution to the Malaysian Art history and as part of Malay Muslim ideologies.

Keywords: Compilation Theory, Malay Aesthetics, Concepts ofBeauty, Arts

INTRODUCTION

Malay aesthetic was based on a collective expression of a refined sensibility towards the idea ofmod­eration and humility. In order to understand the Malay concept of aesthetic, we need to go back intime and view how the Malay race came about. We need to know they really were and where did theycome from? It is amazing to note that according to the latest anthropological report:

"Malay lvere on this land since tiJne inunelnorial. Theycertainly did not lnigrate here hundreds of thousandsofyears ago, but very lnuch earlier. Although they lnayshare a strong genetic ties to the people of northernAsia, i.e. at Yunan in China ... "

(Tan,2001)

The Malay concept of Beauty is based on the philosophy of the Malay woodcarving, where Beautyis related to the concept ofTruth and Goodness. The Malay concept of Beauty also corresponds withal-Ghazali's notion of the beautiful, which is referred to the outer and the inner aspects of beauty.In other "vords Beauty is not only perceived through the five senses, but its appreciation goes evenbeyond the soul. The Philosophy of the Malay wood carving based on the concept of the motif awanlarat:

tUlnbuh berpuncapunca penuh rahsiatajam tidak lnenujah lawanlnelilit tidak melnaut kawantetapi melingkar penuh mesra

(Derahman, 1983)

ISME COLLOQUIUM 2016187

(translation)Grew from a sourceOf a very secret one (divine)It grew without hatred to its foeNor exploiting its friendBut full of grace and intimacy

(Mohamad Khalil Arnran, 2012)

Moreover, Syed Zulfilda S. M. Noor in his study about the concept ofMalay aesthetics pointsthat:

"Secara keseluruhaan, estetika berlnakna suaht cawangan falsafah yangcuba lnenjelaskan tentang keadaan, bentuk, dasar atau konsep kecantikanatau keindahan terutalnanya dalaln perihal kesenian. Iajuga n1erupakansatukajian bagaimana tindak-balas atau respons yang l1Jujud daripada elnosi danlnental bertindak terhadap keindahan sesuatu hasil seni. Jelas bahawa este­tika adalah berkenaan sesuatu yang cantik".

(Syed Zuljilda S. M Noo~ 1992)

The beneficially of understanding the Malay aesthetic philosophy was able to understandmore in deep about the elements of beauty and arts. Besides that, further the knowledge and executethe meaningful about objective elements that resurrect the element of beauty among human and theobjective factors will influence the appreciation towards the beauty. Other than that, it also can furtherand execute the understanding· of subjective elements that is influential on human ability in way torelish the beauty aspect. By understanding the Malay aesthetic philosophy n1ethod, it can strengthenthe appreciation towards beauty on arts and national culture also able to appreciate on another arts andculture. Through that, the international relation can become more intimate.

Furthermore, it also can encourage people to have the fine feeling toward \vork of arts andbring up an understanding of existence and connection between arts, life etiquette, culture and soci­ety. Moreover, the aesthetic philosophy also can stabilize the ability for arts criticize and in the sameway able to develop an arts appreciation among society.

Therefore, by using Malay aesthetic philosophy method in way to analysis the work of artscan firm the morality, good manners, humanities and believes in God anl0ng Malaysia society. Look­ing at the aesthetic philosophy of art in Islan1ic approach written by Mohamed Ali Abdul Rahman(1983) Falsafah Seni Dan Estetik, he says:

"Dalam bahasa Arab Ibnu Kesenian itu disebut sebagai "al-Fann". Dalalnilmu ini jugalah terdapat Ilmu Estetik Islam yang merangkumi tentang konsepkeindahan. Keindahan ini banyak disebutkan dalaln AI-Quran dan dalaln HadisRasullullah. Konsep keindahan dalaln Islaln. Hadis tersebut dipetik berbunyi:

'Allah itu Maha Indah dan Ia Inenyintai Keindahan '. "(Hadith Muslim: 147; Ibn Majah : 10; Ahmad Ibn Hanbal : 4)

The concept of art appreciation of beauty in Islamic· philosophy had relation to the verticalrelation which is between human and God (Allah S.W.T) and horizontal relation which is betweenhUlnan and human. AI- Ghazali also had his own interpretation to the concept ofbeauty. His definitiontowards the beauty is parallel with 'perfection'. Every perfectionist will give the scent of satisfactionto the audiences (Mohamed Ali Abdul Rahman, 1983).

ISME COLLOQUIUM 2016188

Reference to the International Conference at the Hashemite Kingdom of Jordan, PrincessWijdan Ali has talked about the AI-Ghazali and Aesthetic state that, the concept of beauty has pre­ceded that of aesthetics by several centuries, if not millennia. Beauty is the quality or cumulativequalities in a person or thing that gives pleasure to the senses or pleasurably exalts the mind or spirit.Since the beginning of time man has tried to include beauty in his life. The Ain Ghazal statues foundnear Anl111an in Jordan go back to 7000 B.C. and are believed to be the earliest sculpted figures inthe world. Their eyes are nlade of sea shells and defined by a black line showing that, since a veryearly stage in his development, man possessed an aesthetic sense and attempted to add an element ofbeauty to his creativity (Princess Wijdan Ali, 2001) By this statement, clearly show that the aestheticphilosophy was one of the important theories in arts especially in process of development artworksand appreciation towards the work of arts.

The value of aesthetic and beauty also includes the aspect of aesthetic experiences, aestheticcreativity, aesthetic appearances,· aesthetic emotions and intuition, symbolism in aesthetic, apprecia­tion towards beauty and al1s, aesthetic and morally, influential religion towards aesthetic and the un­derstanding of art and non art (Djelantik, 1999).

Concept of Beauty by AI-Ghazali

Being one of the most spiritual philosophers of Islam and one of the greatest jurists, theologi­ans and Shufi thinkers of all time, al-Ghazalis awareness of beauty is of a Sufi perception that couldonly relate to God the Beautiful. For him everything in the universe is created by God, each createdthing reflects Gods majesty and beauty. Therefore each event in mans life also reveals Gods way ofguiding us.

AI-Ghazali stated that there are three types of beauty. The first is external physical beauty(dhahir). The second type is moral beauty (batin) that relates to a person character. The third type ofbeauty that al-Ghazali describes is the spiritual. It is the most sublime because it is directly connectedto the Almighty and is attained through ecstasy. According to al-Ghazali:

"The heart oj/nan has been so constituted by the Abnighty that, like aflint, itcontains a hiddenfire lvhich is evoked by lnusic and harn-zony and renders manbeside hiJnselfwith ecstacy. These har/nonies are echoes ojthat higher world 0/beauty which lve call the world o/spirits; they relnind lnan o/his relationship tothe world andproduce in hiJn an elnotion so deep and strange that he himselfispowerless to explain it. "

Malay Concept Beauty ofArts by Abdullah b. Mohamaed (Nakula)

According to Nakula, the concept of Divine Essence (dhat) constituted the basis of Malaythoughts and Philosophy. He also pointed out that the Malay concepts ofthe seven hierarchies ofBe­ings Martabat tujuh ,vas firmly enlbedded in the design concept of the awan larat of the traditionalMalay woodcarving (Nakula, 1979). This concept of the Martabat tujuh was in fact based on the suficosmological doctrine ofwahdal al-wujud. The seven hierarachies ofbeing referred to by the Malaysare al-Martabatul-Ahadiah, Martabatu1-Wahdah, al-Martabatul-Wahidiah, Martabat 'Alami Ghaibil­ghaib, Martabat 'Alami-Ghaib, Martabat 'Alami-sy-Syahadah and Martabatul-Insan (Nakula, 1979).

Nakula also explained that there are four stages that constitute the journey to God, namely (a) thelevel of Divine law, sha 'ria; (b) the level of mystical path; tari' qa; (c) the level of Civine truth, ha­qiqah' and (d) the level of gnosis, nla'rifa (Sulaiman Esa, 2001).

The creative expression of the Malay craftsman was in fact an act of total devotion and sub-

ISME COLLOQUIUM 2016189

mission to God, the Creator of the Universe. Most of the art forms ofthe Malay tradition crafts de­rived from elements of nature, which reflected the harmony that existed between man and his o\vnenvironment In the world ofMalay woodcarving, nature was the major source of inspiration. The artforms were the result of a transformation ofnature to art. In other words, nature was transfornled intoart through changes in features that conform to suitable motif patterns, which emphasized aspects ofbeauty and norms of traditional culture. It was actually based on nature's plant forms, which werecarved according to design patterns that emphasized the principle of harmony.

The act of designing and making the woodcarving involved a process of deliberately, select­ing, assembling and arranging the design motifs according to the concept of awan laratwhich stressedthe characteristics of a steady movement that emanated from a particular source which slowly andnaturally evolved in equilibrium and harmony. Constrained by the bounds of moderation, these veg­etal designs hardly protruded but instead suggested a pose of the idea ofhumility.

The teaching of Islam that emphasizes the love for nature also provides guidance for man toseek beauty in the natural world, which God has created. As an example, the rich tropical forest foundin the Malay world offered a variety of plants \vith the lTIultitude shapes of shoots, leaves, flowersand fruits which became a source of inspiration to the craftsman to works on the design motifs of thewoodcarving. The vegetal itnages of leaf-shoots, foliage and flowers \vere chosen to symbolize vigor,strength, growth and femininity. In a way Islam has very much influenced and shaped the philosophyand style of the traditional Malay woodcarving.

Concept of Malay Aesthetics by Sulaiman Esa

Sulainlan Esa, a well-known Malaysian artist wrote that:

{{... it 11laS the Sufis' interpretation oj~the Quranic concept oftalvhid - the UnityofBeing as expressed in lvahdat al-1vlt}ud - that has been decisive in shapingthe form and spirit oftraditional Malay art. "

(Sulaiman Esa, 2000)Sulaiman Esa pointed out that there are six principles that constitute the Malay concept of the

beautiful, which are one, halus (refinement) \vhich signifies aesthetic qualities like that of subtlety,complexity and intricacy. Tvvo, is lembut (flexibility) which refers to the process and approach of theart product and also to the artistic sensibility of the artworks. Three is seimbang (balance), which isequated to the idea of symmetry where order, harmony and unity are closely linked to the idea ofsymmetry where order, harmony and unity are closely linked to the sacred laws of the cosnlOS. Fouris kesatuan (unity), which seeks to integrate and unify all the elements ofmotif, design and color andtransform them into an orderly composition with a sense of totality and wholeness. Five is berguna(functionality) which is identified with use and at the sanle time served the intended function. Six issymbolism, which are used here are influenced by Sufis symbols especially that ofthe sacred and theabsolute which served as man's remembrance of God. Man has to go through the journey of symbolsin order to make his journey towards God (Sulaiman Esa, 2001).

Concept of Malay Aesthetics by Syed Ahmad Jamal

Syed Ahmad Jamal stated in book Rupa dan Jiwa:

{{Estetika bererti sesuatu yang berkaitan dengan deria pengamatan terhadapsesuatuperkara atau suasana yang lnenekankan aspek kesenian atau keinda­han, bukan menekankan aspek kegunaanya. "

(Syed Ahnlad Janlal, 1992)

ISNIE COLLOQUIUM 2016190

The word esthetics according to Syed Ahmad Jamal means something that sensitivity valueof feeling, moment and beauty. It is had the feeling of something whereas focusing in artistic aspects.Process of esthetics requires object to be isolated from its environment and deemed to be its charac­ters that we realize it's inter relationship and roles. According to Syed Ahmad Jamal:

"Dalaln proses peniklnatan estetika, sesuatu benda itu diasingkan daripadakeadaan sekitarnya, dia111ati vvujud tersendiri, sesungguhpun kita sedar dengankaitan dan perananya. "

(SyedAhmadJama~ 198~

Concept of Malay Aesthetics by Ruzaika OInar Basaree

Malay concept of Beauty:

1. Spiritualism or Mysticism emphasizing Divine principles or ethical norms based on religiousbelief of higher spiritual values.

2. Unity depicting hannony that organizes and unifies all elelnents of design and motifs into acomplete whole composition.

3. Symbolism based on signification and connotation representing the viewpoint that highlightshidden meaning.

4. Refinement demonstrating the finesse or delicacy signifying aesthetic qualities such as intricacy, subtlety and conlplexity.

5. Symmetry regarding regularity or orderly, which is equated with the idea of geometricalframework.

6. Flexibility depicting gracefulness and fluidity, which refers to refined artistic sensibility andskilfulness of the work.

7. Functionality that deals with usefulness or utility, which stresses the functional or utilitarianaspect of a work of art beside beauty.

(This is a revised version based from the study made by Zakaria Ali and Sulainlan Esa)

Concept of Malay Aesthetics by Zakaria Ali

The theory of five principles aesthetic philosophy that constitute the Malay aesthetic conceptof the beautiful that pointed by Zakaria Ali can be defined which one, berhalus (finesse) which wasthe spiritual process that extract from nature. Finesse refers to the appropriate choice of form andmaterial. Judging fi·om the extrinsic qualities of Malay traditional arts, finesse refers to the delicacyof the objects as well as the choice of media. For instance, it is not appropriate to execute a carvingin a Malay traditional house by using metal. It would reflect an insensitive attitude towards the natureof the objects as well as the materials.

Two, is berguna (usefulness) which is identified \vith use and at the same tilne served the intendedfunction. The principles of usefulness in Malay refer to the functions of certain art objects. In Malaytraditional arts, objects such as tudung saji (food cover) and a coconut peeler (kukur kelapa) are notmerely created for pleasure or beauty, but also for certain purpose in daily life. In that context, Malaytraditional arts are both beautiful and useful.

ISME COLLOQUIUM 2016191

Three is bersatu (unity). Looking to the principle of unity in term of Malay heritage it wasrepresents the intricacy and delicacy of nl0tifs, pattern in Malay traditional arts such as those foundin Batik, wood carving and architecture. In visual arts the unity principles of Malay aesthetic can beseen by the intricacy and delicacy of form and content in the works of art. The unity principles wasused here for seek to integrate and unify between form and contents. With application .of this unityprinciple can made the theme and narrative been able to communicate more clearly.

Four is berlawan (contrast) which refers to the process and approach of the art product withadding another aesthetics quality to this berlawan design who can ll1ake it more flexibility, balanceand harmony. The elements of contrast in Malay traditional arts refer to the various qualities whichcreates a sense ofharmony. This can be analysed through the varying surface ofwood carving or eventhe varieties offlora and fauna motif in batiks. It is also illustrated through colors and shapes. In visualart, contrast is the element that created by using elements that conflict with one another. An artist canemploy contrast as a tool, to direct the viewer's attention to a particular point of interest within thepiece. Five is berlambang (symbolism), which are used here for seek to integrate and unify betweenform and contents. The principle of symbolism reveals the symbolic meaning of certain objects. Inthat context, Malay traditional arts does not only function physically but· it also embodies certainmeanings related to history, culture and belief of the Malays.

This theory will be used as an underlying in this study. Khalil Amran (2012) point out that:

"The aesthetic principles proposed by Ali encoJnpass abnost every aspect ofdesign jroJn lnaterial and technique, jilnction and user consideration, visualintergrity to culture, history and beliefs. "

CONCLUSION

In conclusion, the studies of theoretical background ofMalay aesthetics possess high analyti­cal and intrinsic n1eanings that can be as land-marked a significant contribution to the Malaysian Arthistory. From this context, scholars invite Malaysian society to think in a different light particularlyin intellectualizing the way the general public would react to the significant lneanings that will foundemphasized through this theoretical. In addition this article also to highlight and describing to soci­ety about the beauty of theory Malay aesthetics and Islamic aesthetics where it can be use as one ofmethod in arts appreciation proses in visual arts.

ISME COLLOQUIUM 2016192

BIBLIOGRAPHY

Book

Abdullah bin Mohamed (Nakula) (1990). Batik Kita : Falsafah Motif-Motif DanSejarahnya. Kelantan: United Selangor Press, Sdn Bhd. p. 27.

Abdullah bin Mohamed (Nakula). (1979). Bentuk-Bentuk Bangunan Masjid KunciMemahami Kebudayaan Melayu. Kuala Lumpur: Kementerian Kebudayaan Beliadan Sukan Malaysia. p. 10-17.

Abdullah bin Mohamed (Nakula) (1990). Warisan Kelantan IX. Kelantan: United SelangorPress, Sdn Bhd. p. 21.

Coomaraswamy A.K. (1985). History ofIndia and Indonesian Art. New York: DoverPublication Inc. p. 200.

Aziz Deraman (1984). The Development of culture, Communication and Education inMalaysia. Kuala Lumpur: Manistry of Culture, Youth and Sports Malaysia. p. 3.

Djelantik (1999). Estetika: Sebuah Pengantar.Bandung: Masyarakat Seni PertunjukanIndonesia. p. 12-14, 99-100.

D' Zul Haimi Md. Zain (2009). Syed Ahmad Jamal: Pelukis. Kuala Lumpur: Balai SeniLukis Negara. p. 125-127.

Edmund B. F (1994). Practikal Art Criticism. New Jersey: Prentice Hall. p. 23-41.

Mohamad Khalil Anlran (2012). Malay Aesthetics.

Mohamed Ali Abdul Rahman (2007). Falsafah Seni Dan Estetik. Kuala Lumpur:Perpustakaan Negara Malaysai. p. 6, 12, 20.

Mohamed Ali Abdul Rahman (2008). Modem Malaysian Art : Manifestaton of MalayForm and Content. Shah Alam: University Publication Centre (UPENA). p. 54, 48.

Mohd. Taib Osman. (1997). Islamic Civilization in the Malay World, Edited by. KualaLunlpur Dewan dan Pustaka and the Research Centre for Islanlic History, Art andCulture, Istanbul. p. xxv (introduction).

Muhammad MuntazAli (1994). Islam and the Western Philosophy of Knowledge.Petaling Jaya: Pelanduk Publications. p. 16.

Muliyadi Mahamood (2004). Seni Lukis Moden Malaysia: Era Perintis Hingga EraPluris. Kuala Lumpur: Utusan Publications & Distributors Sdn Bhd. p. 2, 14-15, 17.

Mohamed Najib Ahmad Dawa (2008). Susur Masa. Kuala Lumpur: Balai Seni LukisNegara. p. 193-194

Osman Bakar (1991). Tawhid and Science. Secretariat for Islanlic Philosophy andScience. Kuala Lunlpur: Nurin Enterprise. p.65.

ISME COLLOQUIUM 2016193

Oxford Advance Learner's Dictionary of Current English. (1983). p. 15.

Princess Wijdan Ali R.H (2001). International Conference on al-Ghazali's Legasy: ItsContemporary Relevance (24-27 Oktober 2001). The Internatioal Institute ofIslamic Thought and Civilization (ISTAC). p. 1.

Reader's Digest Great Encyclopedic Dictionary. (1974). p. 454.

Ruzaika Omar Basaree (2003). Art, Mathematics & Philosophy: A Study of theGeometrical and Cosmological Principles in Traditional Malay Art and Design.Kuala Lumpur: Deparment of Science and Technology Studies,Universiti Malaya. p. 116.

Redza Piyadasa. Sabapathy T. K. (1983). Modem Artists of Malaysia. Kuala Lumpur:Dewan Bahasa dan Pustaka. p. 87, 88, 89.

Sabapathy T. K. (1994). Syed Ahmad Jamal: A Historical Overview 1954-1994. KualaLumpur: Nanyang Gallery ofArt Sdn. Bh? p. 35, 30, 40.

Sabapathy T. K. (1994). Vision and Idea: ReLooking Modem Malaysian Art. KualaLumpur: National Art Gallery. p. 27, 54.

Sharifah Fatimah Zubir (1984). Simbolisn1e Dalam Kesenian Islam. Kuala Lumpur: Balaiseni lukis Negara.

Sulain1an Esa (1992). The Islamic Roots ofTraditional Malay Art, in the art catalogue ofIdentiti Islan1 Dalam Senirupa Malaysia.

Sulaiman Esa (2001). Islamic Roots oftheeared Malay Philosophy of Beauty, asappeared in Insyirah - The Art of Sulaiman Esa from 1980 to 2000. I<.ualaLumpur: Petronas. p. 65, 67, 67, 73.

Syed Ahmad Jamal (1987). Seni Lukis Malaysia 57-87. Kuala Lumpur: Balai Seni LukisNegara. p. 13.

Syed Ahn1ad Jamal (1989). Estetika Seni Rupa Melayu. Kuala Lun1pur: Arkib NegaraMalaysia. p.1.

Syed Ahmad Jamal (1992). Rupa dan Jiwa. Kuala Lumpur: Dewan Bahasa dan Pustaka.p. 9,25.29.

Syed Ahmad Jamal (2007) Kuala Lumpur: Editions Didier Miller. p. 59.

Seyyed Hossein Nars (1995). The Oxford Encyclopedia of the Modem Islamic World,ed. John L. Esposito, Vol. 3. New York: Oxford University Press. p. 328.

Syed Muhammad Naguib aI-Atlas (1969). Preliminary Statement on a General Theoryof the Islamization of the Malay-Indonesian Archipelag. Kuala Lumpur: Dewan Bahasadan Pustaka. p. 200.

Syed Muhammad Naguib al-Attas (1984). Islam Dalam Sejarah dan Kebudayaan

ISNIE COLLOQUIUM 2016194

Melayu. Kuala Lumpur: Penerbit UKM. p. 3, 7,8.

Wan Hussein Azmi (1997). Islam di Terengganu - Ketibaan dan Perkembangan HinggaAbad Ke XII M, in Pesaka IV. Terengganu: Lembaga Muzium Negeri Terengganu. p.14.

Zainon Ismail (1985). Getaran Jalur dan Warna. Petaling Jaya: Fajar Bakti Sdn. Bhd.Kuala Lumpur: Balai Seni Lukis Negara. p. 21-22.

(1992). Konsep Estetika Melayu: Satu Pengenalan Kuala Lumpur: KementerianKebudayaan Kesenian dan Perlancongan (19-21 Mei 1992) Asian&pasific developnlentcentre. p. 2.