SEMANGAT BUDI

Artwork: Tribute to Merdeka (2020)

Artist: Mohamad Khalil Amran

The artistic purpose as well as aesthetic principle of 'SEMANGAT BUDI', resolves around the corpus of knowledge, contingent towards the philosophical weltanschauung or worldview of the Malay World.

Before we proceed, let us define SEMANGAT + BUDI, as described by the Malaysian official Institute of Language and Literature (Dewan Bahasa dan Pustaka). 

The Malay word ‘Semangat’ is fairly translated as 'Spiritual', 'Spirit', as well as 'Will'. On the other hand, the Malay word 'Budi' is fairly translated as 'Seed', 'Deed', as well as a 'Cultivate' form.

Thus, Semangat Budi as an artistic purpose is reasonably understood, as the 'Will-to-Form', reflecting towards the German art term ‘Kunstwollen’.

Alois Riegl, the celebrated Austrian art historian, in his writings 'Late Roman Art Industry (1901)', was the first to frame the concept of 'Kunstwollen', where he describes it as an inner determination, of artistic or aesthetic urge. 

Such determination as Kunstwollen dictates the artist, towards not only epitomizing the spirit of one's time (Zeitgeist), however consequently progressing towards creativity, resistance, as well as liberation of one's will in producing artworks. 

Metamorphosed as celebrating the superiority of 'To-Make-Will', over its inferior 'To-Make-Skill', both identical towards its respective artistic purpose, as well as practice.

The Austrian born Art historian, E.H Gombrich, in his writings 'Art and Illusion: A Study in the Psychology of Pictorial Representation (1960)', remarks Kunstwollen as the 'Will-to-Form'. 

However the American Art historian, Mayer Schapiro, in his writings 'Style (1953)', remarks Kunstwollen as an active process in which new forms arise from the artist's will to solve specific artistic problems, the underlined matter lies in who or what is doing the urging, willing, or intending, where Schapiro assumes it is the artist.

It is upon such determination of will, in which Modern artist such as Van Gogh, Cezanne, Matisse, Monet, Picasso, Duchamp, Dali, as well as many others find themselves, establishing movements which subsequently metamorphosed, the existence of Modern Art, in the Art historical cannons, of the west.

In the discipline of western philosophy, the philosophical body of knowledge, as well as worldview of the Malay World, can be dissected and dismantled upon the three areas of philosophy, such as 'Metaphysics', 'Epistemology, and 'Axiology'. Such will or spirit of Semangat Budi in the Malay World, is unraveled beneath the 'Ontology' and 'Cosmology' of the Malay Weltanschauung, within the area of Metaphysics.

The American anthropologist, Clifford Geertz, in his writings 'Ethos, World-View and the Analysis of Sacred Symbols (1957)', remarks that sacred symbols lies in their power to relate ontology, as well as cosmology to aesthetics and morality. 

Hence, formation of symbiotic symbols such as Semangat Budi, consequently establishes the relationship between Man representing as Microcosm, and the Universe representing as Macrocosm, envision upon the Metacosmic worldview of the Malay World Cosmology.

Seeking meanings as well as making sense of our universe, is contingent towards 'Theism', understood as the system of beliefs, where we find and submit ourselves. The term theism was introduced by Ralph Cudworth (1617-1688), which derives from the Greek word Theos, referring towards 'God'. 

Semangat Budi resolves around the several major theism practiced upon the Malay World , such as 'Pantheism', 'Anismism', 'Polytheism', as well as 'Monotheism', encapsulating the transcendental corpus of knowledge, upon a Tawhidic Weltanschauung, or Islamization of Knowledge (IOK), as in the works 'Islamization of Knowledge (1982)', by Professor of Religion, Temple University, Ismail Al-Faruqi. 

Pantheism is the belief that everything shares the same spiritual essence, where individuals do not have unique spirits or souls. Whereas Animism values the uniqueness of each and every individual soul of animals, plants, and natural forces, collectively. As well as, imposing subsequent moral imperatives in treating agents of each individual souls respectively. 

While animist believe everything to be spiritual in nature, they do not necessarily see the spiritual nature of everything as existing uniformly or unitedly (Monism), as the way pantheist do.  

In the Classical Western World, celebrated pantheist deities such as Zeus (King of Gods and Humans), Hera (Goddess of Marriage and Family, Apollo (God of the Sun, Music, and Poetry), Athena (Goddess of Wisdom and War), Ares (God of War), Aphrodite (Goddess of Love and Beauty), as well as many others, resolves as the cornerstone of the Greek Gods and Goddesses, unified under Zeus.

However, classical Malay World, as animist, on the other hand valued each individual souls of humans, animals, plants, natural forces collectively interdependent between one another.

In valuing 'Individualism', the Western World viewed the demarcation between man, and his universe independant. Whereas, in valuing 'Collectivism', the Malay World viewed interdependent connections between Man and his universe, upon imposing subsequent moral imperatives in treating agents of each individual souls respective, as well as collectively before the becoming of Islam. This is evident, upon the beliefs and ceremonies, conducted towards such beliefs of the 'Semangat Laut' (Sea Spirit), 'Semangat Hutan' (Forest Spirit), 'Semangat Padi' (Harvest Spirit), 'Semangat Puteri' (Goddess Spirit), 'Semangat Gunung' (Mountain Spirit), as well as many more. 

Such significant term as ‘Semangat’ can be found in the artwork 'Semangat Ledang (1999)', by the National laureate, Syed Ahmad Jamal, representing the spiritual essence and presence of Mount Ophir, locally known as Gunung Ledang.

Unsurprisingly, the study of our universe, has been significant towards Philosophy of the Western World. Thales of Miletus, the celebrated Greek Mathematician, asserted that the universe is created from a single ‘fundamental substance’, which he postulates as water, upon valuing Monism.

Western philosophical approach on cosmology, were more towards the ontological perspectives of Idealism as well as Realism. The celebrated Greek philosopher Socrates, and Plato, postulate reality upon Idealism, describing the 'World of Forms', as superior over such 'World-of-Sense'. The World of Forms by Plato, is transcendent to space (Aspatial), as well as transcendent to time (Atemporal). 

On the other hand, Protagoras of Abdera, dismissed such Idealism as the 'World of Forms', upon favoring the 'World of Sense', relative to Realism, where Protagoras states:

'Of all things the measure is Man, of the things that are, that they are, and of the things that are not, that they are not'

Such argumentation presented by Protagoras, reassured the microcosm view of the universe (cosmos) by the western civilization, where concepts such as 'Man as the Center of the Universe' as well as ‘Man as the Measure of all Things’ were apparently celebrated, precisely represented in the artwork 'Vitruvian Man (1490)', by the celebrated Renaissance masters, Leonardo Da Vinci.

However, questions of Aesthetics upon the Malay World, fairly at times disputes the ontology of Idealism and Realism, in favoring what the Western World would coined as Occasionalism. Described as a philosophical theory about causation, which states that created substances cannot be efficient cause of events. Instead, all events are taken to be caused directly by God. 

The Occationalist Islamic Philosopher labelled by the Western World, Algazel (Abu Hamid Al-Ghazali), upon one of his major writings 'The Incoherence of the Philosopher' (Tahafut al-falasifa)', remarked philosophy as incompatible with the Islamic teaching, as elaborated by Hillel Ofek in 'Why the Arabic World Turned Away from Science', upon recognizing nature as entirely subjected to God's will: "Nothing in nature", Algazel wrote, "Can act spontaneously and apart from God".

Cosmology from the worldview (ontology) of the Malay World, is viewed as a resolving harmony between both microcosm (Independent) as well as macrocosm (Interdependent) existence within the cosmos (universe). 

Professor Ismail Al-Faruqi, in his writings 'Tawhid: Its Implications for Thought and Life (1982)', stated:

"Islam demands of man to search for and understand the pattern of God in nature, not merely those which constitue the natural sciences, but equally those which constitute nature's general order and beauty"

Syed Ahmad Jamal, Malaysian National Laureate, in his writings 'Rupa dan Jiwa (1992)', remarks that such philosophical embodiment of aesthetic intention dictates the manifestation level of the artist's creativity and mastery. furthermore, he argued, to the Muslim artists, the visual imageries are expression to the act of devotion for Allah, the Creator of the universe, for he is beautiful and who loves beauty.

'Semangat Budi' emerging from the Malay World, is evident upon Aziz Deraman's monograph: Islam Dalam Kebudayaan Melayu (1967) poetry:

Tumbuh berpunca

Punca Penuh rahsia

Tajam tidak menikam lawan

Tegak tidak memaut kawan

Tapi melingkar penuh mesra

The poetry manifest the harmonious aspects of any given traditional Malay ornamental arts as well as crafts, where the Kunstwollen (Will-to-Form) is within the collective spirit of togetherness (Cosmology), and the collective spirit of belonging from the one and only, Almighty creator of the universe (Ontology).

Nordin Selat's writings 'Sistem Sosial Adat Perpatih (1975)', embraced ‘Semangat Budi’, as the seed of all good deeds, upon his poetry:

Yang kurik itu kendi

Yang merah itu saga

Yang baik itu budi

Yang indah itu bahasa

The poetry manifest the resilient aspect of 'Budi', fairly translated as 'Seed', 'Deed', as well as 'Cultivate', by Malaysian official Institute of Language and Literature (Dewan Bahasa dan Pustaka). 'Budi' in 'Semangat Budi', represents the undivided act of good deed, which is timeless, and poignant towards the hearts and souls of its receiver. 

Such Will-to-Form, pierce the aesthetic emotion of viewers, as well as encapsulates an immersive aesthetic experience, which separates Art over other objects in culture.  

The British Art Critic, Clive Bell in his book 'Art (1914)', remarks 'Significant Form' as a shared quality in objects of art which provokes the aesthetic emotion, where he further described, as lines and colors combined in a particular way, certain forms and relations of forms, which stir our aesthetic emotions, thus enlightens our aesthetic experience. 

Clive Bell further remarks, the existence of two respective qualities in the world of art, which is 'Significant Form', and 'Descriptive Painting'. The former moves the aesthetics emotion, whereas the latter describes information or sensual pleasure of the physiological, inferior towards such of the inner psychological.

It is upon such Will-to-Form, as the Semangat Budi', which elevates art beyond its physiological purpose, transcended towards the inner psychological leverage of being extra-uitilitarian. Injecting and Infecting synergy, moving creativity, resistance, as well as liberation infectiously, as stated by the celebrated Russian Novelist Leo Tolstoy, in his writings ‘What is Art? (1897)’. 

Within the comprehension and apprehension of 'Semangat Budi', later then, can we bridge the ontology as well as cosmology of the Malay World harmoniously, relative towards the essence and presence of a Tawhidic Weltanschauung, as established in the writings of 'Tawhid: Its Implications for Thought and Life (1982)', by Ismail Faruqi, professor of religion, Temple University.  

Subsequently, Ismail Al-Faruqi, in his writings 'Urubah and Religion: An Analysis of the Dominant Ideas of Arabism and of Islam as its Heights Moment of Consciousness (1962)', stated:

"In answer to the question, what is Islam, we may then say that Islam is a body of values constituting an ideal realm, a transcendent supernal plenum of value at the center of which stands God"

Dr Dzul Haimi Md. Zain, a former Islamic art professor, explained the '4 Stage Creative Model Process', in Islamic art, which were 'Imitation', 'Denaturalization', 'Stylization', as well as 'Abstraction', respectively. This process is upon the representation of the subject, content, and form of any Islamic Art.

Thus, the Islamic artist reveals the creator of the universe, realizing his finite-presence of beauty in such natural realm, revealing purpose, seeking the infinite-essence of beauty upon such spiritual realm, beyond the natural. Devoting oneself, one with his creator. Allah who is the creator of such beautiful Universe.

However, Aesthetics apart from the Malay World, reasonably can be categorized into two, which is 'Aesthetic Objectivity', and 'Aesthetic Subjectivity'.

Aesthetic Objectivity is regarded as an individual preference or taste sensually as well as sensuously, for example I love orange juice, and you love apple juice, our personal preferences dictates our decision making in choosing between orange or apple juice. Nevertheless, 'Aesthetic Subjectivity' is regarded as a collective preference or common taste, sensually as well as sensuously, for example even though my preference is orange juice, and yours is apple juice, however we both still find it commonly satisfying, upon consuming fruit juices, on such a hot day, as of today. 

In the western cannons of Enlightenment, such ideas as 'Transcendental Idealism' and Categorical Imperative' by Emmanuel Kant, upon his writings of 'Critique of Pure Reason (1781), provides the relative state of 'Aesthetic Objectivity'. Explaining ‘Categorical Imperative’, Kant argued that rational beings can never be treated merely as means to ends; they must always also be treated as ends themselves. It is upon human beings who interrogate or frame nature into phenomena, objectively. Such ideas acts as evidence and prove, in how the Western World valued Individualism as one of the most important aspects of an Artist's individual expression, upon the uniquely identical ideas, feelings, and emotions, dictating the Artist's style and character. Such situation is relative to the prose "Beauty Lies In The Eyes Of The Beholder", by Plato, the classical Greek philosopher, or commonly referred as “Beauty is in the Eyes of the Beholder”.

Nevertheless, such ideas as 'Zeitgeist', by G.W.F Hegel, upon his writings of 'Phenomenology of Spirits (1807)', provides the relative state of 'Aesthetic Subjectivity'. Hegel argued 'beauty' as an expression of the human desire for freedom, which sets standards for what is beautiful. In addressing aesthetics as a philosopher, Hegel viewed the freedom of spirit in the history of humankind, as an unfold series of dialectical opposition which resolves as the 'Zeitgeist', or the spirit of its time. Such ideas acts as evidence, in how the Classical Greek valued the Collectivism of Beauty-Ideals, within the aspects of symmetry, proportion, and harmony.

In fact the word 'Aesthetics', originated from the Greek 'Aisthetikos', fairly resembling the word, 'perceive' or 'perception'. Hence, nowadays we generally understand Aesthetics as 'Beauty', or philosophically on axiology theories, related to the study on the nature of value, and valuation in Art.

Particularly, 'Beauty-Ideals' of symmetry, proportion, and harmony first emerged in Ancient Greek. They considered these ideal aspects or properties of beauty, to be intrinsic as well as extrinsic to all beautiful things. Such representation value of beauty is fairly represented as a beautiful 'sound-mind', fairly symbolizing crowned beauty pageant contestant, such as 'Miss Universe', synonymous towards the connotations  of 'Beauty with Brains'.

'Aphrodite' for the Greeks, were the goddess of love and beauty, the manifestation of her statue, serves as representation of physical perfection as well as symbolizing the female beauty. Aphrodite had her own celebration, called 'Aphrodisia' celebrated especially by the citizens of Athens, despite the prominent 'Olympics' festival celebration, upon honoring Zeus, as the father of the Greek gods and goddesses. Hence, the Greek valued Aesthetics, as a holistic and well-rounded approach, upon the nature of its valuation collectively, which is still presented up until today. 

Despite such collective valuation of Aesthetic Subjectivity, there were also Greek School of thoughts, emphasizing such focus on Aesthetic Objectivity. 

Aurora Winwood, in her writings 'The Cult of Beauty in Ancient Greece and Modern Media (2016), remarks the Pythagorean School of thought taking objective stance on the fundamental value of beauty, moreover focusing on the order and symmetry, as an indication of beauty. Such thinkers sought a strong connection between beauty and mathematics, in which Aurora argued nothing that the eyes was more attracted, to beauty as a form of order. Aurora further remarked Pythagoreans, held that while ugliness is the expression of disorder and a lack of rational proportions, beauty is considered an objective expression of cosmic truth.

However, Greek philosophers including Socrates, Plato, and Aristotle believed that proportion and harmony were essential to beauty in different ways. Such properties of symmetry, proportion, and harmony, is evident upon the celebrated Greek architectural columns, such as Doric, Ionic, and Corinthian, respectively. Nevertheless, Hippocrates, the Greek physician, often referred by the Western World as 'Father of Medicine', emphasis the importance of moderation (harmony) and balance in consuming medication as well as treatment.

As much as the Greek's sought for Aesthetic principles such as symmetry, proportion, as well as harmony, upon indicating such valuation of beauty. Nevertheless, the Malay's upon writings of Dr Zakaria Ali, who is a celebrated art historian professor, upon 'Thoughts on the aesthetics of Malay Artifacts (2006)', remarked several subjective Aesthetic principles shared as a common collective taste, indicating the valuation of beauty, from the Malay World Weltanschauung (Worldview), such as Berhalus (Finesse), Berguna (Useful), Bersatu (Unity), Berlawan (Contrast), as well as Berlambang (Symbolic). 

There is no such specific recipes for Aesthetic beauty, however there are principles of Aesthetic beauty which could be universalize, under a particular Weltanschauung or Worldview, where such beauty is conform as the Zeitgeist, or the unfolding freedom of beauty, upon creating, developing, thus cultivating meanings of culture, in a given society or community we find ourselves.  

Pamela Sue Anderson, in the writings of 'Encyclopedia of Religion (2005)', defines beauty as a 'property' of an object that produces an aesthetic pleasure, this pleasure is a subjective response to beautiful objects connoted as 'Beauty'. It is within such connection between beauty and pleasure which dictates the human desire to be beautiful and obtain beauty. However Ruth Lorand, in the 'New Dictionary of the History of Ideas: Beauty and Ugliness (2005)', remarks such attraction to beauty is universal and impacts choices and cultural developments.

Syed Ahmad Jamal, Malaysian National Laureate, in 'Rupa dan Jiwa (1992)', emphasized the concept of 'Form and Soul' in Malay Aesthetics. Reasonably describe as the finite physical form of an artwork which is limited to our sense, and the infinite metaphysical or spiritual form of an artwork which is beyond the limitation of our sense, penetrating towards the form of our souls, unconditioned as well as unconfined, by aspects such as time, space, and cause.

Respectively, German philosopher Emmanuel Kant, in his work  'Critique of Pure Reason (1781), remarks such aspects of 'timeless', 'spaceless', as well as 'causeless', upon describing the 'Noumena Realm', which Kant further argued in his work 'Critique of Judgment (1790)', where reasonably he addresses beauty as not on the object that we view, nevertheless beauty is upon the Transcendental Idealism, between the 'Noumena' (Realism) and 'Phenomena' (Idealism), where we framed beauty upon purpose and pleasure. This is where at the point of critical Aesthetic judgment, Kant further describe aspects, such as 'Purposive without Purpose', or the final with no end. 

Hence, Emmanuel Kant, demonstrated in the 'Critique of Pure Reason (1781), 'Critique of Practical reason (1788)', and 'Critique of Judgment (1790)', that Aesthetics should be as objective, in regards toward aspects of its attributes or properties, as well as subjective, in regards towards aspects of its universality, where he proclaimed his idea of Transcendental Idealism, as significant in regards to matters of Aesthetics in art.

Interestingly, relative towards the concept of the 'Noumena Realm' by Emmanuel Kant, such approaches are fairly demonstrated upon the purpose of Islamic Art. Where beauty is not only in the eyes of its beholder, however beauty is more than what meets the eyes of the beholder, beyond the limitation of humankind's limited senses. 

Upon the Tawhidic Weltanschauung, Islamic Art nourishes the view which beauty is not in an object at sight, however distinguishingly, beauty is far beyond, in seeking such object at sight, as a beautiful creation, created by the almighty creator. This identical approach in creativity, dictates the process of art and design, upon a higher value, of not merely instrumental or utilitarian in nature, nevertheless extra-utile, upon the purpose of  devotional act, realizing as well as materializing spiritual forms of connection between the creation and creator.

In the social history of art, German art historian Arnold Hauser in his writings The Philosophy of Art History, remarks his leading principle which the behavior of individuals is the product both of their inborn capacities and of the situation in which they find themselves. 

Thus, consequently the Aesthetics of the Malay World, especially Malaysia, clearly is identical towards the principle foundational of a Tawhidic Weltanschauung (Worldview), dictated since the hegemony of the Kingdom-of-Melaka, present up until the Constitution-of-Malaysia, as of today. Precisely underlined by the federal constitution, as well as the 'Malaysian National Cultural Policy (1971)', emphasizing the 3 principles: 

1) The national culture must be based on the indigenous culture of this region (Malay Archipelago).

2) Suitable elements from the other culture may be accepted as part of the national culture.

3) Islam is an important component in the formulation of the national culture.

Such worldview as the Tawhidic Weltanschauung, is metamorphose upon its envisage 'Will-to-Form' (Kunstwollen), identically manifested as SEMANGAT BUDI, of the Malay World.

'Budi' in 'Semangat Budi', represents the undivided act of good deed, which is timeless, and poignant towards the hearts and souls of its receiver. Such Will-to-Form, pierce the aesthetic emotion of viewers, as well as encapsulates an immersive aesthetic experience, which separates Art over other objects of material, as well as non-material culture.  

A simple seed of creativity envisioned by Semangat Budi, creates an endless ripple of possibilities. Good seeds makes good crops, the problem is how do we produce good seeds? 

The answer resides beneath our ability as well as capacity 'To-Make-Will', where Semangat Budi is an active process in which new forms arise from the artist's will to solve specific artistic problems. For good seeds of deeds, cultivates the most out of good societies, as well as communities. 

In a nutshell, upon envisaging as well as envisioning the vistas of 'SEMANGAT BUDI', such 'Will-to-Form' can be encapsulated within the Malay Proverb:

'Benih yang baik kalau dicampak ke darat menjadi gunung, dan jika dicampak ke laut menjadi pulau'

Fairly translated as, 'If you plant a good seed on land, it becomes a mountain, subsequently, if you plant a good seed on sea, it becomes an island'. For one can never underestimate the power of good deeds, especially creative seeds, in cultivating Semangat Budi!

'Keep on Charging!'

MUSADDIQ MOHAMAD KHALIL

Department  of Liberal Studies

UiTM Alor Gajah

PACAQ- UITM RIG 2021