Traditional graphic arts, a variety of practices
As most craftsmen are Muslims, Malaysian handicrafts are strongly influenced by Islam. Religion forbids the representation of any human (or animal) form in art. Consequently, most graphic creations are based on geometric patterns or natural elements such as leaves and flowers.
Batik is an ancestral textile art very important in Malaysian tradition, made using wax dye to create original patterns. Malaysian batik is quite different from the equally renowned Indonesian Javanese batik. Patterns are broader and simpler, and require paint to be applied with a brush. Colors also tend to be lighter and brighter.
Kolam is a type of drawing made with rice flour, chalk, chalk powder or colored rock, either natural or synthetic. It is often seen at the Hindu festival of Deepavali and other celebrations. In the past, kolam was always made with flour to attract small animals such as ants and birds, who would nibble on them over time. Traditionally created by women, it is believed to bring prosperity and harmony to the home.
Calligraphy, mainly practiced by Chinese and Muslim communities on the occasion of festivities, or as a daily practice with a religious or spiritual vocation, is a fairly common art form in Malaysia. Today, more modern styles are becoming popular among art lovers.
Woodcarving, at the heart of Malaysian spirituality
Endowed with an abundance of wood thanks to its tropical forests, Malaysia is renowned for the art of woodcarving. Engraved panels, keris handles, Orang Asli spiritual sculptures, Chinese religious carvings, traditional masks... the country offers a vast range of decorative objects using this material. For aboriginal peoples, masks play a major role, symbolizing supernatural forces and showing respect for ancestral divinities. For the Mah Meri, one of the Orang Asli peoples, they are also a way of bringing folk tales and legends to life. During celebrations, dancers wear these masks to honor the spirits. In the Chinese tradition, divinities take the form of carved wooden idols. These are still very much in demand today to decorate the altars of temples and homes, which means that woodcarving techniques have been well preserved.
Modern art, between local expressions and Western influences
Migration and the Western education system played an important role in the birth of modern art in Malaysia, which we place around the 1920s, with pioneering artists such as Yong Mun Sen, Abdullah Ariff, Lee Kah Yeow, Khaw Sia, Tai Hooi Keat and Kuo Ju Ping, to name but a few. Modern works of art are formed in a break with traditional forms of artistic expression. As part of this process of development of modern Malaysia, art nevertheless continues to highlight the style of each group and the social and historical context in which it takes place. As we shall see, there is a strong group tradition in Malaysia, with artists coming together in associations to promote their work.
Watercolor is particularly developed, notably in the Penang region, with a group of Impressionist-inspired artists. The brushstroke is free and spontaneous, the line wet, fresh colors and local landscapes are the main theme. The arrival of refugee Chinese artists in Malaysia played an important role in the development of painting from the 1930s onwards. In 1938, the Nanyang Academy was inaugurated, whose founding painters promoted a style combining European and Asian characteristics. Yong Mun Seng (1896-1962), one of the founders of this school, is undoubtedly the most important and representative artist of the movement. Initially trained in calligraphy and influenced by the Chinese landscape tradition, the artist combined these influences with watercolor and oil painting, resulting in singular works halfway between East and West. His work can be admired at the Penang State Museum. Other important names from this period are Cheng Soo Pieng, Chen Wen His and Georgette Chen. The recurring themes of their work are scenes of daily life, such as bathing, drying clothes, fishing, folk games, myths and local landscapes.
After the war, two other important groups marked the history of Malaysian painting. First, the Wednesday Group, founded in 1954 in Kuala Lumpur and led by Briton Peter Harris (1923-2009). Its members see art as a means of expressing the intimate self. These artists, such as Patrick Ng, Ismail Mustam, Syed Ahmad Jamal and Dzulkifli Buyong, to name but the most important, used a variety of techniques and styles, although oil painting predominated and bodies were often at the center of the image. The other major group of the 1950s was Angkatan Pelukis Semenanjung (APS), which saw art as a means of cultural expression. Founded in Kuala Lumpur in 1956 by Hoessein Enas (1924-1995), this group focused particularly on portraiture, used to reflect national identity through traditional dress and activities. Landscape is given a secondary place.
Contemporary art challenges ethnic barriers
The father of Malaysian contemporary art, Ibrahim Hussein, born in 1936 and deceased in 2009, was for many years at the forefront of the avant-garde scene, even appearing alongside Andy Warhol in the heyday of Pop Art. His style, based on collage and print, was a perfect match for his preferred subjects, which were often highly politically engaged.
The two main groups of artists to mark the beginning of Malaysian contemporary art are Anak Alam and Persatuan Pelukis Malaysia. Anak Alam (Abdul Latiff Mohidin, Zulkifli Dahalan, Ali Rahamad or Abdul Ghafar Ibrahim...), formed in 1974, is based on the idea of freedom and experimentation, and blends the visual arts with other genres such as poetry and performance. The Persatuan Pelukis Malaysia group was launched in 1980 at the National Art Gallery. Its founding father is Syed Ahmad Jamal, who advocates the development of art in line with the country's cultural aspirations, seeks to improve the social and material situation of artists and encourages the promotion of art in the country through cooperation with the government.
Other internationally acclaimed contemporary artists include Chuah Thean Teng and Khalil Ibrahim for their batik paintings, Chang Feeming for his superb watercolours, Ahmad Zakii Anwar for his portraits, and Chong Siew Ying for his dreamlike canvases.
Malaysian contemporary art is constantly reinventing itself, and is increasingly committed to transcending the country's cultural, ethnic and religious boundaries to promote harmony between different populations. To admire it, we recommend the National Museum of Visual Arts (Balai Seni Visual Negara) in Kuala Lumpur. Here you'll find all the artistic variety that has crossed the country since independence: calligraphy, pop art, textile painting and more.
Photography, a developing practice
Photography was introduced to Malaysia in 1864 by two Westerners, K. Feiberg and E. Ferman Sachtler. Ferman Sachtler. The first photographic studios were set up in Penang, with family portraits proving particularly popular. Today, these images provide a glimpse of life in colonial times. The fusion of Western codes and the tradition of Chinese portraiture, very important in Confucian families, gave rise to a singular pictorial style. From the 1980s onwards, a number of changes took place, moving towards a greater emphasis on the photographer's subjectivity and freedom. Today, the genre is considered an artistic discipline in its own right, as evidenced by the work of internationally renowned artists such as Sanjit Das, who skilfully documents the lives of Southeast Asian peoples, and Yee I-Lann, who explores local historical narratives and myths.
Street art, an art form that is becoming more and more accepted
Initially seen as a "delinquent art", street art has been growing in popularity in Malaysia over the past few years. The colorful murals are even seen as a means of revitalizing neglected neighborhoods, attracting many local and foreign talents. Today, there are many places to admire these murals, from Kuala Lumpur to Kuching. The streets of the state district of Penang are the most famous, featuring gigantic images: trompe-l'œil, 3D effects, optical illusions... interactivity is the order of the day. One of the most popular frescoes is Uncle Roti, painted in honour of a much-loved local baker, commissioned by the National Art Gallery and the Department of Culture and the Arts. It is located in the Georgetown district, as are the vast majority of these mural nuggets. For those interested, this website lists most of the murals in the region: www.penang-traveltips.com/penang-street-art.htm
Singapore also holds its own in terms of street art. We particularly recommend Aliwal Street, close to the Aliwal Art Center. The walls have been skilfully painted by Singaporean artist Slacsatu for the 2019 Aliwal Urban Art Festival. It's also an opportunity to stroll through a Malay-Muslim neighborhood with a fascinating history. In addition to its murals, Singapore is also home to numerous outdoor sculptures and installations, so you can spend whole days enjoying contemporary art and the great outdoors! For example, at the bottom of Tekka Lane, next to a huge fresco by Psyfool, you'll find Tan Teng Niah's kaleidoscopic house. Keep your eyes peeled as you make your way down to the Indian Heritage Center, and you'll find even more wonders along the way! The Bugis-Bras Basah district, HQ of Singapore's art students, is also brimming with murals and, between the Bencoolen MRT station and the Nanyang Academy of Fine Arts, features original benches in the shape of little houses designed by former students.
