KAJIAN PERBANDINGAN

HASIL KARYA JEPUN DAN

MALAYSIA

OLEH

KUMPULAN 4
1. ASATOH DELFRIN
2. BORHAN BIN BIATAN
3. MOHAMMAD ISA BIN HADJARAT
Tajuk : Niagara Falls Tajuk : Windy Day
Tahun : 1925 Tahun : 1970 an
Jenis : Catan Air Jenis : Catan Air
Ukuran : 11 x 16.25 inci Ukuran : 15 x 22½ inci (38.5 x 57 cm.)
Pelukis : Hiroshi Yoshida (Jepun 1876 – 1950) Pelukis : Abdullah Ariff (Malaysia 1904-1962)

PERSAMAAN PERBEZAAN
•Tema •Sejarah
•Sumber Ilham •Pengkarya
•Patriotik •Tahun Dihasilkan
•Unsur Seni •Saiz Karya
•Prinsip Rekaan •Bahan / Media Yang Digunakan
•Teknik Catan •Sapuan Berus
•Media / Bahan
Tema
Kedua-dua karya yang dihasilkan mengambil tema alam
semulajadi.
Sumber Ilham
Kedua-dua pengkarya menghasilkan karya masing-masing
dengan mengambil sumber ilham dari dalam dan luar Negara.
Patriotik
Kedua-dua pengkarya mempunyai semangat patriotic yang
tingggi dalam penghasilan sesuatu karya
Unsur Seni
Kedua-dua karya ini menitikberatkan unsur-unsur seni seperti
garisan, warna, ruang, jalinan dan bentuk.
Media dan Bahan
Penggunaan warna air pada kedua-dua karya
Prinsip Rekaan

Kedua-dua karya mengambil kira aspek ruang, imbangan dan

harmoni.
Teknik Catan

Menggabungjalinkan pelbagai tenik catan, contohnya;

i. Basah Atas Basah
ii. Basah atas Kering
Sejarah

Sejarah perkembangan karya seni lukis negara Jepun banyak dipengaruhi

oleh zaman pemerintahan yang berbeza mengikut dinasti-dinastinya.
Sebagai contoh pada zaman pemerintahan Maharaja Meiji, konsep karya seni
lebih kepada cetakan kreatif berbanding pada zaman Sosaku Hanga yang
menekankan unsur figura dan alam semulajadi. Manakala perkembangan
seni lukis di Malaysia banyak dipengaruhi oleh penjajah-penjajah yang
datang ke negara ini seawal kurun ke-15 lagi. Pedagagang-pedagagang cina
yang telah bertapak di Pulau Pinang turut member kesan kepada revolusi
seni lukis tanah air kita.
Pengkarya

Perbezaan kedua-dua pelukis amat nyata sekali terutamanya dari sudut

fahaman politik, agama dan ideologi.
Hiroshi Yoshida
Kebanyakan hasil karya beliau banyak berunsurkan kebaratan. Sikap beliau
yang suka menjelajah menyokong kenyataan tersebut. Beliau pernah ke
India hanya semata-mata untuk melukis lanskap-lanskap di Negara
tersebut. Bagaimanapun, beliau bersemangat anak Jepun sejati. Buktinya
dapat dilihat dengan jelas melalui karya-karya lukisan beliau yang
menerapkan unsur-unsur lukisan Jepun seperti awan, air, api dan angin.
Abdullah Ariff
Lukisan-lukisan beliau banyak berunsurkan lanskap-lanskap yang terdapat
di dalam Malaysia itu sendiri. Contohnya Bumi Bahagia Lombong Bijeh
Malaya, Coconut Trees dan Monsoon.
Tahun Dihasilkan
Hasil Karya “ Niagara Falls “ oleh Hiroshi Yoshida dihasilkan pada
tahun 1925

Hasil Karya “ Windy Day “ oleh Abdullah Arif dihasilkan sekitar

tahun 1970an.

Saiz Karya
“Niagara Falls bersaiz 11 x 16.25 inci
“Windy Day” bersaiz 15 x 22 ½ inci
The shin hanga ( 新版画 ?, lit. "new prints") art movement in early 20th century
Japan, during the Taishō and Shōwa periods, revitalized traditional ukiyo-e art
which had its roots in the Edo and Meiji periods (17th–19th century). It
maintained the traditional ukiyo-e collaborative system (hanmoto system)
where the artist, carver, printer, and publisher engaged in division of labor, as
opposed to the sōsaku hanga (creative prints) movement which advocated the
principles of "self-drawn" (jiga), "self-carved" (jikoku) and "self-printed"
(jizuri), according to which the artist, with the desire of expressing the self, is
the sole creator of art.
The term shin hanga was coined in 1915 by Watanabe Shōzaburō (1885-1962),
the most important publisher of shin hanga, with the aim of differentiating shin
hanga from the commercial mass art that ukiyo-e had been, though it was
driven largely by exports to the United States. The movement flourished from
around 1915 to 1942, though it resumed briefly from 1946 through the 1950s.
Inspired by European Impressionism, the artists incorporated Western
elements such as the effects of light and the expression of individual moods,
but focused on strictly traditional themes of landscapes (fukeiga), famous
places (meishō), beautiful women (bijinga), kabuki actors (yakusha-e), and
birds and flowers (kachōga).
Terdapat kepercayaan bahawa pengembara- pengembara Eropah dan Inggeris telah
meminta pelukis-pelukis negeri-negeri Selat yang berketurunan Cina atau Melayu untuk
melukis gambaran kehidupan tempatan yang bermotifkan flora dan fauna. Pihak
Inggeris telah memperkenalkan genre lukisan/ catan lanskap dalam aliran Realisme,
zaman Pre-Raphelites, Turner dan Constable. Sumbangan golongan Cina kepada
perkembangan seni Malaysia dan Singapura berpunca daripada pendatang dan pelawat
Cina seperti Xu Beihong yang telah bermastautin di Pulau Pinang untuk beberapa
tahun. Aktiviti-aktiviti seni yang awal di Pulau Pinang bermula apabila pengasasan
Pulau Pinang pada tahun 1786 oleh Sir Francis Light di bawah Syarikat Hindia timur.
Perkembangan seni lukis moden boleh dikesan sehingga tanuh 1920an semasa
kumpulan penang Impressionist ditubuhkan. Kumpulan ini terdiri daripada ekspatriat
Eropah yang kebanyakannya merupakan surirumah bangsa Inggeris. Disebabkan
sikap-sikap kolonialistik pada masa itu, pelukis-pelukis tempatan Pulau Pinang tidak
dibenarkan menyertai Penang Impressionist. Dua orang pelukis tempatan yang
diterima menganggotainya ialah Puan Lim Cheng Kung dan Abdullah Ariff. Pelukis
pertama yang mengadakan pameran seni lukis di Malaysia adalah Ooi Hwa yang telah
mempamerkan karya-karyanya di Pulau Pinang pada tahun 1927. SITC (Sultan Idris
Training College) ditubuhkan pada tahun 1922. Mata pelajaran Pendidikan Seni diajar di
samping subjek-subjek lain.

http://www.senivisual.com/2008/07/seni-visual-malaysia.html
Hiroshi Yoshida (1876-1950) was 44 years old, with a very successful career as a painter
already behind him, when he met Watanabe Shozaburo who persuaded Yoshida make his
first woodcut. He subsequently became one of the most prolific and, at least in America, the
best known of the shin hanga artists.  As a young man, he had been one of the founders of
the Taihei yoga-kai, the ''Pacific Painting Society'' formed in opposition to the dominant
Hakuba-kai, or ''White Horse Society'' in 1902, and had won third prize in the first Bunten in
1907. He enjoyed traveling and had been to Europe and Africa, and twice to America, before
he was thirty. Ed Robeson reports that Yoshida, having seen India prints by Bartlett, decided
to make a trip to India to paint foriegn scenes. He also loved hiking and mountain climbing.
All of these interests are reflected in his paintings, prints, and books (he was also
something of an author).
Unlike most of the other shin hanga artists, whose roots were in traditional Japanese
painting, Yoshida was essentially a Western-style painter heavily influenced, as most of his
generation was, by the French Impressionists. In his strong sense of design and mastery of
effective placement, however, he seems very Japanese. His debt to Hiroshige, in particular
is evident in his feeling for the particularities of place and his shrewd eye for arresting
vantage points. Yoshida's association with Watanabe lasted only for two or three years,
after which he decided to become his own publisher.

http://www.theartofjapan.com/ArtistBio.asp?At=HiroshiYoshida
Abdullah Ariff was born in Penang in 1904. He was a self-taught artist and was an art teacher at the Anglo-Chinese
School,Penang (presently known as Methodist Boy's School). In the 1920s, there was no local art group and the only
organised art group at that time consisted of expatriate Europeans (mostly English housewives ) who called themselves the "
Penang Impressionists ". Asians were not allowed to join the exclusive group which was a reflection of the prevailing
colonialistic imperialism then. However Abdullah Ariff was admitted into the group in the mid-30s because his services as an
art instructor were needed. The " Penang Impressionists " disbanded before the beginning of the 2nd World War, never to be
reformed.

Abdullah Ariff was acknowledged with Yong Mun Sen, as a pioneer of watercolour painting in Malaysia. He was especially
well-known for his meticulous masterful handling of the medium. Compared to Mun Sen, his works are more 'European' in
outlook and approach, and his paintings appear to have more crowded details. A dedicated teacher, he was well-respected
amongst the artistic community in the northern states.

There was a break in his stay in Penang as he went to Kuala Lumpur in 1945 to work as a cartoonist for The Straits Echo. He
returned to Penang in 1947 and became active in politics and was a committee member of UMNO. In 1955, he served as a city
councillor and had the rare distinction of having a road in Penang named after him ( Jalan Abdullah Ariff ), an honour that no
other artist in Malaysia has been accorded since. In 1955, he established the Ariff Advertising Agency.

In 1954, he held one-man shows at North Carolina, and the Mint Museum of Art at Charlotte, New York, U.S.A. In 1955, he
participated in the "United Society of Artists" group exhibition at the galleries of the Royal Society of British Artists, London.
There, he was elected to Fellowship of the Royal Society of Art (F.R.S.A.) England.

In 1956, he was invited to take part in "Le Salon" of the Society of French Artist at the galleries at Grand Palai des Champs-
Elysees, France.

In 1957,one of his paintings was chosen as a personal gift to be presented to Tungku Abdul Rahman,Malaysia's first Prime
Minister on the occasion of the Merdeka (Independence) celebrations.

Abdullah Ariff passed away in 1962, leaving behind a legacy of excellent watercolour paintings. According to one of his ex-
student, Tan Lye Hoe, Abdullah Ariff's philosophy of art is "Art knows no barriers"