(Image courtesy by Rosli Zakaria)
Artwork: Mapping Al Aqsa
Artist: Ramlan Abdullah
10 May 2021, the Israel's military airstrikes carnage the Gaza Strip barbarously, ceaseless act of cruelty where not only execute atrociously towards the Palestinian's, however such barbarism were done in total blatant, upon disregarding all International laws, in the name of humanity.
Within the holy month of Ramadan, such act of brutality tarnish, and torment the character, as well as credibility of the global established humanitarian agencies, especially the United Nations Security Council (UNSC).
In solidarity, the Malaysian Prime Minister, Tan Sri Muhyiddin Yassin, expressed Malaysia's concern on such barbarism executed in the name of war. The Malaysian Prime Minister stated:
'Malaysia demands Israel immediately cease its aggression against Palestinians in the Occupied Territory, including in the Gaza Strip...The continued excessive use of force by the Israel against the Palestinian people, especially during the holy month of Ramadan, is unjustifiable and unacceptable and something which Israel must be held accountable for'
Nevertheless, Tan Sri Muhyiddin Yassin, futher remarked:
'Malaysia also reiterates its grave concern over the heinous ongoing incursion and attacks by Israel against the Palestinian civilians and worshippers in the Al-Aqsa Mosque since May 7, 2021, as well as forced evictions of Palestinians from their homes, including those in the Sheikh Jarrah neighborhood of East Jerusalem...Malaysia also reaffirms its position that the creation of an independent State of Palestine through the two-state solution, based on the pre-1967 borders, with East Jerusalem as the capital of Palestine, is the only viable solution to the Palestine-Israel conflict'
Such barbaric situation as the 10 May 2021, took the attention as well as awareness of global citizens and netizens, together providing undivided humanitarian support, for the Palestinians.
Nevertheless, the situation, continuously pursued response and reactions, from artistic communities globally, as well as locally, especially from Malaysia, registering their solidarity upon such act of brutalism, and barbarism by Israel.
Image courtesy by Rosli Zakaria
Malaysian National Visual Arts Gallery (NVAG), has been providing significant platform, in raising attention and awareness on Palestinian Solidarity, through the unconditional support, towards establishment of exhibitions such as, 'Pameran SeniLukis Palestin (1987)', and 'Pameran Amal (2009)', respectively decades ago.
It is upon such creative spirit of concurrent exhibitions, which nurtured interesting as well as signifant artworks such as 'Pencerobohan (1987)' fairly translated as 'Intrusion', by Hashim hassan, where the artist, through personification of an animal subject (bird), interprets the intrusion of the Israeli towards the Palestinians land, through conventional symbolism such as the 'Star of David', representing the Israeli flag, as well as the 'White Pigeon', representing world humanitarian peace agencies such as the United Nations (UN), as if flying blindfolded, unacknowledging such barbarism and brutalism presented.
Image courtesy by Rosli Zakaria
Consequently, the 'Pameran Amal (2009)', continued to enlist Professional Malaysian artist such as Syed Ahmad Jamal, Raja Zahabudin Raja Yaacob, Ramlan Abdullah, Mad Anuar Ismail, Rosli Zakaria, and others respectively. The artworks connotes towards the Palestinian solidarity, their sacrificed trials and tribulations, especially towards Al-Aqsa, within significant artworks as 'Mapping Al-Aqsa' (Ramlan Abdullah, 'Juxtaposition Aqsa' (Syed Ahmad Jamal), as well as 'Doa Buat Al-Aqsa' (Rosli Zakaria).
The 'Pameran SeniLukis Palestin (1987)', as well as 'Pameran Amal (2009) exhibition, portrayed the unfolding freedom of truth, celebrated upon the ability of humankind to produce art and consume beauty, resolving as the 'Zeitgeist'.
G.W.F Hegel in his writings on Phenomenology of Spirits, remarks 'beauty' as an expression of the human desire for freedom, which sets standards for what is beautiful. 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 unraveled spirit, of its respective time.
Guernica (1937), by Pablo Picasso
In the history of western art, it is within the desire for freedom, resulting from the brutality of war, which produced significant artworks such as 'The Third of May (1808)', by Francisco Goya, 'Soft Construction with Boiled Beans-Premonition of Civil War (1936)’, by Salvador Dali, as well as, among the significant artwork 'Guernica (1937), by Pablo Picasso.
In the social history of art, German art historian Arnold Hauser in his writings The Philosophy of Art History (1959), 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.
It is upon this inborn capacity of creative individuals, such as artists, in confronting situations where they find themselves, evoking curiosity as well as creativity in the artworks produced. Such artworks pierces and provokes the viewers emotional feelings, upon comprehension and apprehension of the artist expression, as well as interpretation of a situation presented. Whereby, it is upon such artistic purpose why art always deserves a respective place in the history of humankind.
The Austrian Art historian, Alois Riegl, in his writings 'Late Roman Art Industry (1901)', established the concept of 'Kunstwollen', as an inner determination, an artistic or aesthetic urge. Such determination dictates the artist, towards not only epitomizing the spirit of one's time, however consequently progressing towards creativity, resistance, as well as liberation of one's will in producing artworks.
It is upon such determination of will, in which Modern artist such as Van Gogh, Cezanne, Matisse, 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.
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', respectively.
Nevertheless, 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.
However, in the traditional society of the Malay World, Kunstwollen is reasonably equivalent towards, the Malay term 'Semangat Budi'. ‘Semangat’ is fairly translated by Malaysian official Institute of Language and Literature (Dewan Bahasa dan Pustaka), as referring towards 'Spiritual', 'Spirit', as well as 'Will'.
Semangat Ledang (1999), by Syed Ahmad Jamal
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.
In the Malay traditional society, Kunstwollen or Will-to-Art resolves between the aesthetic and morality of the Malay values and principles, embedded upon its fundamental Weltanschauung or Worldview.
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 and cosmology to aesthetics and morality.
Cosmology, 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.
Significantly, during the 'Scientific Revolution' of the west, the 'Copernican Revolution' progressed alarmingly, reorienting the method, procedures, and protocols of scientific discoveries.
Before Nicolaus Copernicus championed the Copernican Revolution, Europeans of the west, understood the astronomical model of the universe as Geocentric, upon the theory of Ptolemy of Greek, describing the earth as the center of the universe.
However such Geocentric theory were disputed, in favor of a Heliocentric Theory by Copernicus, describing the sun as the center of the universe, surrounded by circulating planets including earth.
Simultaneously, the western 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.
Nevertheless, such model as the Copernicus Heliocentric theory, were clearly stated in the Quran, almost a 1000 years before its establishment. Precisely, the Quran describes the planets as moving in orbits, surrounding the sun, unveiling night and daylight, where the sun is at the center of the Universe. As stated in the verses of Surah 21:33, and Surah 36:40, inside the Holy Quran, respectively:
"(God is) the one Who created the night, the day, the sun and the moon. Each one is travelling in an orbit with its own motion" (Surah 21:33)
"It is not permitted to the Sun to catch up the Moon, nor can the Night outstrip the Day: Each (just) swims along in (its own) orbit (according to Law)" (Surah 36:40)
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.
Unsurprisingly, the Copernican Revolution correlated towards the verses from the Holy Quran, which was postulated as Occationalist, towards the wills of Allah.
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).
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).
Nevertheless, 'Semangat Budi' resolves beyond the phenomenal realm, transcendent upon space (Aspatial), as well as time (Atemporal).
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. The Will-to-Form significant artworks as evidence in 'Pameran SeniLukis Palestin (1987)', and 'Pameran Amal (2009)' exhibition respectively.
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.
It is within the 'Semangat Budi’, Syed Ahmad Jamal, describe concepts such as 'Museum without Walls'. Where Malaysian artworks continues to pierce, reciprocally, through the doors of Al-Aqsa, respectively.
Hence, the 'Pameran SeniLukis Palestin (1987)', and 'Pameran Amal (2009)' exhibition, established by Malaysian National Visual Arts Gallery (NVAG), is viewed as a significant approach towards Palestinan Solidarity, the artworks by artists such as, Syed Ahmad Jamal, Raja Zahabudin Raja Yaacob, Ramlan Abdullah, Mad Anuar Ismail, Rosli Zakaria, and others respectively, does not only transmit the voices of its maker, however amplifies altogether, the response as well as reactions from the Malay World, in particular Malaysia, defying towards such act of barbarism, demonstrated by Israel.
In a nutshell, it is the utmost responsibility of Malaysian artistic community, to stand together in the name of 'Semangat Budi', upon launching more significant exhibition and artworks, taking local as well as global attention towards the barbarism, demonstrated by Israel, especially one, such as the 10th May 2021 devastated situation.
'Keep on Charging!'
MUSADDIQ MOHAMAD KHALIL
Department of Liberal Studies
UiTM Alor Gajah
PACAQ- UITM RIG 2021
Comments
Post a Comment