i

Kulit CoverMembaiki Jaring Mending Nets2011

Koleksi Collection ofUniversiti Malaya

Penerbit

MUZiUM seni asia

Universiti Malaya, KUala lUMPUr

rekabentuk katalog

Mohd Fairus ismail

Percetakan

Jabatan Penerbitan, Universiti Malaya

Galeri seni Universiti Malaya

aras 5, bangunan Canseleri

Universiti Malaya

50603 Kuala lumpur

Malaysia

tel. : 603-7967 3780 / 3805

Faks : 603-7967 3985

E-mel : umag@um.edu.my

azizras@um.edu.my

isbn 978-983-99191-2-7

Cetakan 2012

© Galeri Seni Universiti Malaya

Hak cipta terpelihara. tidak dibenarkan mengeluar

ulang mana-mana bahagian teks, ilustrasi dan isi

kandungan buku ini dalam apa jua bentuk dan

dengan apa jua cara, sama ada secara elektronik,

fotokopi, mekanik, rakaman atau cara lain

kecuali dengan keizinan bertulis daripada Ketua,

Galeri Seni Universiti Malaya, Aras 5, Bangunan

Canseleri, Universiti Malaya, 50603 Kuala

Lumpur, Malaysia.

isikandungan

Pengenalan abD aZiZ rasHiD Ketua Muzium seni asia & Kurator Galeri seni Universiti Malaya

nota Kurator JUHari saiD

Introduction ABD Aziz RAshiD Head Museum of Asian Art & Curator University of Malaya Art Gallery

Curator Note JuhARi sAiD

10

20

isikandungan contents

Senarai Karya

biodata Pelukis

Penghargaan

List of Artworks

Artist’s Biodata

Acknowledgement

32

48

50

10

pengenalan Menjejak Nama dan Karya Batik: ismail Mat Hussin

Semasa catatan ini saya tuliskan, saya

berpeluang atau sempat berjumpa dengan

Ismail Mat Hussin sebanyak dua kali, pertama

semasa beliau datang ke Kuala lumpur sekitar

Ogos 2011, semata-mata untuk menyerahkan

dua buah lukisan batik yang kami tempah dan

sekali lagi semasa pameran beliau berlangsung

di Galeri Seni Universiti Malaya. Perlu saya akui,

pengetahuan saya tentang beliau dan seni batik

amat dangkal.

Semasa saya menerima arahan Tan

Sri Naib Canselor yang prihatin terhadap

kelangsungan serta tumbuh suburnya seni di

Universiti Malaya, saya memulakan pencarian

At the time of this writing, I have had

the wonderful opportunity of meeting Ismail Mat

Hussin twice. The first time was in August 2011,

when he paid a visit to Kuala Lumpur to deliver

two paintings which we had commissioned; and

the second time was during his exhibition at

University of Malaya Art Gallery. Such being the

case, I cannot claim to have extensive experience

of the artist and his batik art.

When I received the request from our

Tan Sri Vice-Chancellor, who is committed to the

continuity and flourishing of art at the University

of Malaya, I proceeded to search for 30 of our

leading national artists. The aim was to acquire

Tracing The Artist and Batik Art of Ismail Mat Hussin

11

30 karyawan seni atau pelukis penting negara.

Tujuannya ialah satu - dapatkan karya-karya

mereka untuk diabadikan di Galeri Seni Universiti

Malaya. Nama Ismail antara yang mula-mula

muncul dari skrin Google. Lantas saya menelefon

Encik Juhari Said, salah seorang artis residen di

Galeri seni.

“Beliau adalah artis yang selalu tampil

sederhana, tapi hasil batik di tangan beliau –

tiada tandingannya di abad ini” balas Juhari.

Dua pelukis batik tempatan disebut-

sebut menjadi penanda aras lukisan batik iaitu

mendiang Dato’ Chuah thien teng dan Khalil

their artworks and preserve them for posterity at

the Art Gallery. Ismail was one of the artist that

cropped up on my Google screen.

I immediately call Juhari Said, one of our

resident artist.

“You’ll find him most humble and

modest. Yet, when batik goes through his hands,

you’ll find no better batik artist this century.”

Those were Juhari’s words that day.

The benchmark often cited for batik art

remains the works of two artists: Khalil Ibrahim

and the late Dato Chuah Thien Teng. In the Art

pengenalan abd aziz rashid K

introduction

12

ibrahim. Dalam rak rujukan Galeri seni, kedua-

dua nama yang terakhir ini memang telah

dibukukan. Kenapa dengan ismail? sekali lagi

saya harus bersetuju dengan pendapat Juhari,

kenapa nama ismail jarang di permukaan.

Beliau seorang yang sibuk berkarya dan beliau

terlalu jauh dari sorotan media Kuala lumpur,

menyebabkan namanya selalu dikesampingkan.

Pada waktu yang lebih kemudian, baru saya

ketahui, Galeri bernasib baik memiliki hasil

karya beliau kerana hampir setiap karya yang

dihasilkan “tidak sempat untuk dijemur” telah

ada tuan punyanya!

sejumlah maklumat dari buku dan

sumber internet menjadi taruhan apabila

Juhari said sekali lagi bersedia dengan cabaran

- mengumpul sejumlah lukisan ismail dari

beberapa kolektor seni, tetapi hanya dari

kalangan staf Universiti Malaya.

Pada peringkat awal, perasaan pesimis

masih menguasai diri saya – bolehkah daripada

dua buah lukisan batik kepunyaan Galeri

dijadikan umpan, menyebabkan kolektor UM

Gallery reference shelves, there are a number of

citations mentioning these two luminaries. Yet,

where was Ismail? I have to concur with Juhari,

the name Ismail Mat Hussin rarely surfaces in art

commentaries.

The simple fact is that the artist, while

prolific in his work, has lived far away from

the media hive of Kuala Lumpur. The result of

which his name often escapes the attention of

art writers. It was only later that I realised how

fortunate it was for the gallery to own Ismail’s

work, seeing that his paintings barely have time

to dry before a new collector comes along and

carts them away!

Armed with some research gathered

from books and Internet resources, Juhari Said

faced the challenge of finding out and gathering

Ismail’s works from private collectors. Except,

with one unusual limitation—the collectors had

to be from among University of Malaya’s staff!

I have to admit that I had initially

allowed some pessimism to set in. Can just

13

terpanggil untuk ikut serta dalam pameran ini

bahkan mampu untuk mengisi ruang pameran

“B” Galeri Seni? Apatah lagi, skop kerja – hanya

dari koleksi staf UM?

Proses kuratorial – mencari maklumat,

mencari pengumpul dan meyakinkan

mereka bahawa Galeri Seni akan mengurus

koleksi mereka secara profesional – amatlah

memenatkan. apatah lagi Galeri belumpun

sampai setahun jagung ketika itu. Syukurlah,

Universiti memiliki beberapa cendikiawan yang

dalam masa yang sama meminati seni seperti

Prof. Madya Dr. Evelyn S.H. Khor. Beliau ketika

itu adalah timbalan Pengarah, Pejabat Hubungan

Antarabangsa, Universiti Malaya. Saya pernah

menerima salinan emel beliau kepada tan sri

Naib Canselor yang “membocorkan” maklumat

seperti berikut:-

“Just to let you know that during Ungku

Aziz’s time, one of the technicians from Genetics-

Mr Kwong Kee Peng an art aficionado and

collector, assisted Ungku in arranging two art

exhibitions locally and one overseas. He also has

the two batik paintings owned by the gallery

be enticing enough a bait to lure the UM

collectors into committing their collection for

an exhibition—furthermore, filling up the entire

exhibition space ‘B’ of the Gallery? Afterall, we

were limited to only works belonging to the UM

staff collectors.

The curatorial process was strenuous

– researching information, finding collectors

and ultimately trying to convince them that the

Gallery will take professional care with their

collection. What more with the Gallery being

barely a year old.

As providence has it, the University

counts among its staff several art afficianados,

most notably Associate Professor Dr. Evelyn S.H.

Khor. At the time, she was the Deputy Director,

International Relations Office, University of

Malaya. I soon received a copy of an email

she had sent to our Tan Sri Vice Chancellor, it

‘uncovered’ a little gem of information:-

“Just to let you know that during Ungku

14

close contacts with numerous Malaysian artists

and is a good resource person for contact and

advice. In fact En Aziz, our curator often contacts

him for advice and appointments with Malaysian

artists...”

Mr. Kwong Kee Peng atau panggilan

mesra beliau Mr. Kwan, saya hubungi dan

benarlah – pengetahuan saya berkaitan Ismail

Mat Hussin amat dangkal. Mr Kwan, bercerita

tentang pelukis ini dan yang menariknya, beliau

mengumpul sejumlah lukisan beliau. Daripada

sejumlah lukisan yang beliau kumpulkan dan

daripada koleksi Dr. Evelyn S.H Khor, Dr. Mohd

Sahar Yahya, dan Dr. Ng Ching Ching saya

memberanikan diri mengadakan pameran khas

dengan tajuk “Canting Ismail Mat Hussin”.

Pameran ini telah berlangsung dari 11 – 30 Jun

2012.

Tajuk Canting Ismail Mat Hussin ini

seolah-olah mempamerkan canting-canting

yang digunakan oleh Ismail Mat Hussin, tetapi

sebenarnya ia adalah manifestasi rasa rendah

hati saya dalam mengenali hasil seni pelukis

Aziz’s time, one of the technicians from Genetics-

Mr Kwong Kee Peng an art aficionado and

collector, assisted Ungku in arranging two art

exhibitions locally and one overseas. He also

has close contacts with numerous Malaysian

artists and is a good resource person for contact

and advice. In fact En Aziz , our curator often

contacts him for advice and appointments with

Malaysian artists...”

I called Mr. Kwong Kee Peng, also

popularly known among the UM staff as Mr.

Kwan. His breadth of knowledge instantly

affirmed how little I knew of Ismail Mat Hussin!

Mr. Kwan related to me many anecdotes about

the painter and to my excitement he had also

in his possession a collection of works by Ismail.

Armed with his collection and that of Dr. Evelyn

S.H Khor, Dr. Mohd Sahar Yahya, I mustered

enough courage to organise a special exhibition

titled The Canting of Ismail Mat Hussin. The

exhibition ran from 11 to 30 June 2012.

When you have an exhibition titled

so, it may give the impression to some that we

15

penting ini. Kalau boleh diibaratkan, orang

lain telahpun menikmati dan memahami hati

nurani Ismail Mat Hussin melalui karya beliau,

saya hanya baru mengenali canting beliau.

Canting Ismail Mat Hussin juga adalah satu

perkhabaran tentang realisme yang dinamik

dalam membentuk watak seni karya tempatan.

Subjek yang dipilih, adalah persekitaran dunia

keliling pelukis, menangkap imejan aktiviti lantas

menuangkannya pada lakaran dan seterusnya

mencanting sebagai pembatas warna unik batik.

Hasilnya, sebuah batik seni yang mudah untuk

kita membahagikan antara batas seni dan kraf.

inilah keunikan ismail, mengangkat kelaziman

kepada sesuatu yang berharga.

Pertemuan kali kedua saya dengan

beliau ialah semasa kehadiran beliau ke Galeri

Seni. Ketika itu, beliau baru selesai menjalani

rawatan kesihatan di salah sebuah hospital

di Kuala Lumpur. Dalam kederat yang masih

lemah, beliau sudi melapangkan masa dengan

menceritakan dokumentasi beliau tentang

masyarakat Malaysia – ragam wanita Kelantan

yang aktif berniaga, figura seorang wanita Cina

were actually putting up a show of cantings

used by Ismail! What it really reflected was a

manifestation of my own humbled self at only

now just knowing this important artist.

It’s as if to say, while many has

experienced and enjoyed the heights of Ismail’s

ethos in his works, I was only beginning to get

acquainted with the artist’s basic instruments. In

another aspect, the Canting of Ismail Mat Hussin

is an declaration of the dynamic realism that

shapes local fine art.

The subject of choice is the immediate

world surrounding the artist, capturing images of

human activity and pouring it onto a sketch that

undergoes the canting as the unique means that

batik art uses in separating colours. The result of

which is batik art that easily separates fine art

from craft. This is Ismail’s expertise, lifting the

ordinary to something precious.

The second time I encountered the artist

was when he visited the Gallery after undergoing

treatment at a hospital in Kuala Lumpur. He

16

dalam pakaian kebesaran Baba dan Nyonya,

kisah penarik beca dengan penumpangnya, kisah

nelayan yang membetulkan pukat mereka dan

seribu satu kisah yang dilakarkan, satu persatu,

tiada duanya.

Maka, kehadiran beliau dan perjumpaan

pada hari itu merupakan satu episod yang

penting dalam memahami erti sebuah lukisan

dari perspektif pelukis itu sendiri – tidak

menyamai sumber-sumber buku dan internet.

Canting Ismail Mat Hussin, sebuah canting yang

terbeza daripada canting batik biasa.

Abd Aziz RashidKetua Muzium Seni Asia &Kurator Galeri Seni Universiti Malaya

Kuala Lumpur Oktober 2012

was still weak, yet found the time to talk about

his process of documenting Malaysian society –

the antics of Kelantanese women traders busy

conducting business, a Chinese lady in full Baba

& Nyonya costume, the tale of a trishaw puller

and his customer, a tale of fishermen mending

their nets and a thousand-and-one tales sketched

out individually; no two were alike.

Thus, his visit that day was a

momentous occassion for me, gaining

understanding of the art from the perspective of

the artist himself. It was certainly incomparable

to merely reading reference books and sources

on the internet.

The Canting of Ismail Mat Hussin

stands apart, distinguished, from the ordinary

instruments of batik.

Abd Aziz RashidHead Museum of Asian Art &Curator University of Malaya Art Gallery

Kuala Lumpur October 2012

Translated from Bahasa Malaysia to English by Dhogee

Potret pelukis Artist’s potrait dari kiri from left - Shukri Mohd Ariff, Abd Aziz Rashid, Juhari Said, Ismail Mat Hussin & Kwong Kee Peng

20

Terus terang saya katakan, saya benar-

benar tidak tahu-menahu tentang pelukis batik

ismail Mat Hussin. Kalau sebut nama pelukis

batik Chuah Thean Teng, Khalil Ibrahim atau

Fatimah Chik, saya bolehlah angguk kepala.

Malah, jika disebut Tan Rahim Zahichi pun saya

masih kenal—saya temui pelukis batik ini ketika

berusia 15 tahun di Jalan Melayu, Kuala Lumpur

35 tahun yang lalu. Hakikatnya, penulisan

sejarah seni di negara kita telah berkembang

dengan tidak seimbang dan juga tidak dilakukan

dengan cara sepenuhnya bertanggungjawab.

Kesannya amat dirasai bila kita cuba merujuk

maklumat dari sumber-sumber tertentu.

Pelukis-pelukis yang kurang moden atau tidak

In all honesty, I was unfamiliar with

the batik artist Ismail Mat Hussin. I would

not be too out of my depth if anyone were to

mention Chuah Thean Teng, Khalil Ibrahim or

Fatimah Chik. I even know Tan Rahim Zahichi—

having met the artist 35 years ago at Jalan

Melayu, Kuala Lumpur. I was barely 15 then.

Unfortunately, the development of scholarship on

Malaysian art history have always suffered from

a certain imbalance, and perhaps even a degree

of irresponsibility. The result of which is evidently

clear when one engages in research. Artists

who were less modernist or disinclined towards

Western traditions were often left neglected and

unmentioned. More so, if the artist happened to

notakurator

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notakuratorcurator note

cenderung ke barat amat kurang dapat liputan

dan pendedahan. lebih lagi jika pelukis tersebut

tergolong dalam kelompok ‘self-taught artist.’

Persahabatan saya dengan Encik Kwan,

seorang kakitangan bersara Universiti Malaya,

telah membuka pintu perkenalan dengan

pelukis batik Ismail Mat Hussin. Kali pertama

saya bertemu dengan pelukis dari Kelantan ini

ialah di Muzium Seni Asia, Universiti Malaya

(UM). Waktu itu beliau datang ke UM untuk

menghantar dua keping lukisan batik yang

ditempah sebagai koleksi tetap Galeri seni UM.

Apabila tersergam di depan saya dua lukisan

yang bertajuk ‘Penjualan Durian’ dan ‘Membaiki

be self taught.

My friendship with Mr. Kwan, a retired

University of Malaya staff, had opened the doors

to my first meeting the batik artist Ismail Mat

Hussin. The first time I met this Kelantanese artist

was at the Museum Asian Art in the University

of Malaya (UM). He was over at the university

that day to submit two pieces of batik painting

recently acquired by the UM Art Gallery. Spread

before me were the works titled “The Durian

Seller’ and ‘Mending Nets’—and I was instantly

taken. The artist himself was most humble and

charming. To me, those paintings personified

Ismail Mat Hussin, and Ismail Mat Hussin himself

22

Jaring’- saya terus terpesona. Peribadi pelukis

juga begitu menyenangkan dan merendah diri.

Pada saya, karya itu adalah Ismail Mat Hussin

dan ismail Mat Hussin sendiri adalah lukisan

itu—kedua-duanya akrab dan sebati.

Lukisan batik kerap dianggap rendah

tarafnya, hanya sebagai hasil tekstil dan pakaian

semata-mata. Namun, sama seperti karya

cetakan kayu Ukiyoe Jepun yang terkenal, asal-

usulnya adalah pada kertas-kertas bungkusan,

lebaran-lebaran promosi teater kabuki serta

ilustrasi-ilustrasi buku pertengahan abad ke-17.

Begitu juga jika dilihat pada titik mulanya sejarah

seni catan di Eropah; pada asalnya ia berfungsi

hanya sebagai bahan pengantara gereja dan

penganut-penganut Kristian yang masih lagi

buta huruf waktu itu.Lantaran, disebabkan

ajaran dan kisah dari kitab injil perlu disebarkan

kepada rakyat, maka pelukis-pelukis telah

diupah oleh raja, bangsawan serta pihak gereja

untuk menghasilkan catan. semua kesenian

yang ada sekarang bermula dari sesuatu yang

‘kerendahan’ dan keperluan praktikal. Dari situ

ia berkembang, dihayati, dihormati, dipelihara

had given his being into the paintings—such that

both were fused and intimate.

Batik painting is often seen as the

inferior art, a mere product of textile or cloth

making. Yet, we are reminded of the equally

humble beginnings of Ukiyoe; the famous

Japanese woodcut print has its origins on the

common gift wrapping paper, promotional

literature for kabuki theatres and 17th century

book illustrations. Similarly in Europe, Western

fine art can trace its beginnings as a medium for

the Church to connect with its largely illiterate

followers. The teachings and narratives of the

Bible needed to be propagated and artists were

commissioned by kings, nobility and the Church.

All art today has descended from certain

‘humble’ beginnings or a particular practical

need. It is from there that it has grown, gained

appreciation, acquired respect—preserved and

praised—as fine art or national treasures by its

originating civilisation. From time to time, art

sparks off a mania among its collectors resulting

in such works skyrocketing in monetary value.

23

dan diangkat menjadi seni halus oleh bangsanya

sebagai khazanah negara. Kadang-kadang ia

menjadi kegilaan kepada para pengumpul seni

sehingga karya itu menjadi harta yang begitu

tinggi nilainya bila ditafsir dari segi wang.

Batik juga bermula dari seni yang penuh

kerendahan praktikal ini. Pada awalnya, batik

hanyalah kain basahan yang dipakai seharian

oleh masyarakat tempatan. Kemudian batik

dihasilkan pula pada tekstil yang bermutu tinggi,

menjadi pakaian khas yang dipakai oleh orang

di acara sambutan. Maka sudah tentulah rekaan

pada kain itu semakin halus, lebih istimewa dan

hebat.

Dalam karya batik Ismail Mat Hussin

pula kehalusan seninya dibuat bukan bertujuan

untuk dipakai pada tubuh tetapi demi mata dan

penghayatan seni itu sendiri.

Dalam perkembangan kesenian di tanah

Melayu sebelum merdeka, seni rupa moden

bergiat cergas di Pulau Pinang. Peranan penjajah

Inggeris tidak dapat dinafikan sedikit sebanyak

Similarly, batik art has also descended

from an artform that is humble and practical. In

the beginning, batik was just common clothing

worn by locals. Then it began to be imprinted on

finer textile, to be worn on special occassions.

Batik design began taking on finer, more

exquisite forms.

In Ismail Mat Hussin’s batik, however,

the fine touch of his art is not meant to adorn the

body but for visual and artistic appreciation.

The development of modern art in

Peninsular Malaysia, especially prior to Merdeka,

saw its early years taking root and flourishing

in Penang. The influence of English colonials

contributed much to the growth of fine art on the

island. The winds then shifted to Kuala Lumpur

when the bustling mining town was proclaimed

administrative centre of the land. The East Coast

states, on the other hand, especially Kelantan,

saw minimal progress in modern visual art as

compared to Penang and Kuala Lumpur.

24

membantu senilukis berkembang waktu itu.

Angin seni lukis kemudiannya mula beralih

ke Kuala lumpur apabila bandar ini dijadikan

sebagai pusat pentadiran negara. negeri-negeri

Pantai Timur, khasnya Kelantan, agak ketinggalan

dari arus seni rupa moden jika dibandingkan

dengan Pulau Pinang dan Kuala Lumpur ketika

itu.

namun, Kelantan sebagai sebuah negeri

yang kaya seni budayanya menjadikan seni

tradisi sebagai pasak dataran keseniannya yang

tersendiri. Maka jika diteliti pada seniman Pantai

Timur seperti Ismail Mat Hussin, kita akan dapati

inilah anasir-anasir yang sama dijadikan bekalan

dan rujukan oleh mereka.

bakat kesenian ismail Mat Hussin

mula berkembang ketika beliau berusia 16

tahun. beliau diasuh oleh Cikgu nik Mahmood

di Sekolah Melayu Padang Garong, Kelantan.

Lima tahun kemudian beliau mula aktif berkarya

serta mengadakan pameran sekitar Kota bahru

seperti di Scouts Hall dan juga di tempat-tempat

lain di Kelantan. Pada 1968, beliau mengambil

Nevertheless, Kelantan, steeped in rich

cultural heritage, had raised its own traditions as

the core for its artistic base. Hence, if we are to

examine East Coast artists like Ismail Mat Hussin,

we shall undoubtably find that their inherent

traditional and cultural legacies had guided and

shaped their works.

Ismail Mat Hussin’s artistic prowess

began truly blooming at 16. He was first trained

by teacher Nik Mahmood of Sekolah Melayu

Padang Garong, Kelantan. Five years later,

Ismail began to actively produce and exhibit his

works around Kota Bharu venues such as the

Scouts Hall, and even ventured to other towns

around Kelantan. By 1968, he began taking the

brave step to immerse himself entirely in the

world of art. He joined the Kelantan branch

of Angkatan Pelukis Semenanjung (Peninsular

Artists Movement), or popularly known by its

abbreviation APS.

By 1969, he found himself on a journey

far away from his rural hometown. This time

around, to participate in the Salon Malaysia

25

keputusan untuk melibatkan diri sepenuhnya

dalam dunia seni lukis. Dia menyertai Angkatan

Pelukis Semenanjung (APS) cawangan Kelantan

dan berjaya mengadakan pameran di Scouts Hall,

Kota Bahru dalam tahun yang sama.

Pada 1969, beliau mengorak langkah

lebih jauh dari kampung halamannya untuk

berpameran. Kali ini dia menyertai Pertandingan

Salon Malaysia di Balai Seni Lukis Negara,

Kuala Lumpur. Penyertaan Ismail Mat Hussin

berupa sebuah karya cat minyak, tetapi nasib

tidak menyebelahinya dalam pertandingan itu.

namun, kegiatan-kegiatan seni rupa moden

di ibu kota sedikit sebanyak memanaskan lagi

semangatnya. Beliau dapat bertemu lebih ramai

pelukis-pelukis, terutama sahabat karibnya Khalil

Ibrahim, yang mana persahabatan mereka sudah

terjalin sebelum Khalil ibrahim berangkat ke

London untuk belajar di St. Martin.

suasana di Kuala lumpur sudah tentu

sedikit sebanyak mempengaruhi serta mencuri

deria keseniannya. Namun, ternyata tanggam

budaya pantai timur itu sentiasa memelihara

held at Balai Seni Lukis Negara, Kuala Lumpur.

He had submitted an oil on canvas for the

competition, but alas, luck was not on his side

in that competition. That experience, however,

flamed the fires of his soul. It was here that he

had the wonderful opportunity of meeting other

artists, especially his close friend Khalil Ibrahim;

their friendship forged before Khalil embarked to

pursue his studies at St. Martin’s, London.

The Kuala Lumpur experience had most

certainly left an impact on his artistic senses. Yet,

the East Coast cultural legacy that was firmly

anchored within had preserved Ismail’s Self and

personality, as evident in his works today.

Salon Malaysia is an exhibition and

competition that is eagerly anticipated by artists.

Held once every ten years, the event offers big

prizes and great recognition to Malaysian artists.

In the 1979 installment of Salon

Malaysia, Ismail Mat Hussin tried his hand again

with his batik work titled ‘Pemain Mak Yong’

(The Mak Yong Dancer) and ‘Membaiki Pukat’

26

rasa dan peribadinya yang terbukti kekal hingga

hari ini.

Salon Malaysia merupakan sebuah

pertandingan dan pameran yang sentiasa

dinantikan oleh pelukis-pelukis. Ia bukan

sahaja diadakan sepuluh tahun sekali,

malahan menawarkan hadiah istimewa serta

pengikhtirafan besar kepada pelukis-pelukis

Malaysia amnya. Pada Salon Malaysia 1979,

ismail Mat Hussin mencuba nasib untuk kali

kedua dengan karya batik yang bertajuk ‘Pemain

Mak Yong’ dan ‘Membaiki Pukat’. Ternyata

kali kedua ini nasibnya tidak juga begitu baik

untuk memenangi anugerah pertandingan yang

berprestij itu. Walaupun juri-juri Salon Malaysia

tidak memihak kepada karya-karya beliau

tetapi sebenarnya gelora Salon Malaysia telah

berjaya membuka mata ramai orang di kalangan

peminat-peminat seni untuk menghayati karya

batik beliau.

Sejak itu karya-karya batik Ismail Mat

Hussin semakin dikenali dan dikumpul oleh

orang-orang perseorangan dan institusi-institusi

(Mending Nets). Again he did not succeed in

bagging any of the prizes at this prestigious

competition. While he didn’t impress the jurors

enough to win awards, he, however, finally

succeeded in opening the hearts and minds of art

collectors towards his art.

Since then, the batik works of Ismail

Mat Hussin had begun to be known and collected

by individuals and national institutions such as

the National Art Gallery, Malaysia Airline System,

Persembahan Mak yong A Mak Yong Performance1979Batik116 x 101 cm

Koleksi balai seni visual negaraCollection of National Visual Arts Gallery

27

negara seperti Balai Seni Lukis Negara, Malaysia

Airline System, Muzium Negara, Esso Malaysia,

bank negara, Galeri Petronas dan lain-lain lagi.

Ada beberapa persoalan menarik yang

saya lalui dalam pemerhatian kerjaya seni Ismail

Mat Hussin. Mengapakah seorang pelukis ‘self

taught’ yang tinggal jauh dari pusat seni rupa

moden Kuala lumpur ini begitu nekad untuk

berkarya? Dia berkarya tanpa henti seolah-

olah membujur itu lalu, melintang itu patah.

Kalau diamati sejarah perjalanan pengkaryaan

beliau, keseniannya juga jelas semakin lama

semakin naik (walaupun karya beliau diperendah

dalam Salon Malaysia 1969 dan 1979!).

semangat nekad dalam diri ismail Mat Hussin

itu adalah akrab kepada kejujuran dirinya.

Kesenian yang halus dan memuncak bermula

dari dalam diri seniman. Ia bukannya datang

dari luar. Sememangnya, Ismail Mat Hussin

adalah seniman yang sudah lama berkarya dari

kemuncak sanubari yang sejati.

ini begitu jelas dapat dilihat dalam siri-

siri karya beliau. Kenyataan realisme tentang

National Museum, Esso Malaysia, Petronas

Gallery and others.

There are several interesting questions

that come to mind when following the artistic

career of Ismail Mat Hussin. Chief among them:

what drives this ‘self-taught’ artist—living so far

away from the hub of modern art that is Kuala

Lumpur—to be so committed to his work? He has

worked incessantly, tirelessly and undeterred.

If one were to closely follow his career, one

can trace his art progressing from strength-to-

strength (even though he may have been a tad

underappreciated at Salon Malaysia 1969 and

1979!).

The determination within Ismail Mat

Hussin is inseparable from his sincerity.

The monument of his fine art rises from

a strong foundation that lies within. It does not

come from without. Truly, Ismail Mat Hussin is

an artist that has long been creating from the

loftiest peak of his Self.

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kehidupan masa lampau, pengalaman harian

dan persekitaran begitu berjaya dirakamkan. Ia

seolah-olah melayari imaginasi kita ke sebuah

daerah ‘TENANG’ yang sering kita buru dan

mimpikan. Bukankah itu yang kita cari selama ini,

walaupun masing-masing kita punyai perjalanan

yang berbeda.

Warna-warna tanah serta kilauan kuning

dan putih merupakan warna kegemaran dalam

karya-karya beliau. Ia merupakan pancaran

warna-warna penuh tawaduk atau rendah diri;

ianya warna-warna stabil, peramah dan mudah

didekati. Ismail Mat Hussin sebenarnya bukan

membuat batik, tetapi melukis ‘RASA’ diri.

Juhari said

Universiti MalayaOktober 2012

This is clearly discernible in his series of

paintings. Statements of realism on the past, the

daily experience and the world around, are all

wonderfully captured.

It takes our imagination to a region of

‘TENANG’ (serenity), so desired, yet so elusive.

And that which we all ultimately seek, in all our

own individual journeys.

The earthy tones and glimmers of yellow

and white are his personal prediliction. These are

colors full of humility; they are stable colours,

friendly and beckon us to come close.

Ismail Mat Hussin is not all about

making batik, but rather, canting the fabric of

one’s Self.

Juhari said

University of Malaya

October 2012

Translated from Bahasa Malaysia to English by Dhogee

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senaraikarya

31

notakuratorlist of artworks

32

Penjualan Durian selling Durian2011Lukisan batik Batik painting115 x 123 cm

Koleksi Collection ofUniversiti Malaya

33

Membaiki Jaring Mending Nets2011Lukisan batik Batik painting115 x 123 cm

Koleksi Collection ofUniversiti Malaya

34

Wayang Kulit Shadow Play2007Lukisan batik Batik painting80 x 89 cm

Koleksi Collection ofKWonG Kee PenG

35

Memberi Makan Feeding Time2009Lukisan batik Batik painting78 x 75 cm

Koleksi Collection ofKWonG Kee PenG

36

Pulang Dengan Rezeki Yang BanyakBack From The Catch Good Harvest2007Lukisan batik Batik painting80 x 89 cm

Koleksi Collection ofKWonG Kee PenG

37

anak Kambing Little Goat2009Lukisan batik Batik painting80 x 80 cm

Koleksi Collection ofKWonG Kee PenG

38

Mandi Di Hari Panas A Bath On A Hot Day2007Lukisan batik Batik painting82 x 89 cm

Koleksi Collection ofKWonG Kee PenG

39

Pasar ikan Fish Market2011Lukisan batik Batik painting36 x 36 cm

Koleksi Collection ofKWonG Kee PenG

40

segar Dari laut Fresh From The Sea2007Lukisan batik Batik painting86 x 89 cm

Koleksi Collection ofKWonG Kee PenG

41

Pasar Pagi Morning Market2006Lukisan batik Batik painting82 x 89 cm

Koleksi Collection ofKWonG Kee PenG

42

Menganyam Ketupat Weaving Ketupat2007Lukisan Batik Batik Painting100 x 113 cm

Koleksi Collection ofDr. lee CHoonG WenG &Dr. nG CHinG CHinG

43

Pengantin Nyonya Nyonya Bride2007Lukisan Batik Batik Painting91 x 70 cm

Koleksi Collection ofDr. lee CHoonG WenG &Dr. nG CHinG CHinG

44

Musim rambutan Rambutan Season2010Lukisan Batik Batik Painting68 x 63 cm

Koleksi Collection ofDr. evelyn s.H KHor

45

Menganyam Tikar Weaving Mat2007Lukisan Batik Batik Painting79 x 79 cm

Koleksi Collection ofDr. MoHD saHar yaHya

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biodata pelukis

1938

lahir BornKampung Pulai Gajah, Pantai sabak Kota bahru,Kelantan

1950

Mula meminati lukisanBegan interest in painting

1954

belajar melukis dibawah Nik Mahmood di sekolah Padang GarongLearn to paint under tutelage of Nik Mahmood at Padang Garong school

1962

Menjalani kelas biola di Royal School of Music london dan mendapat Grade v (violin) Attended violin classes at the Royal School of Music, London and obtain Grade V (violin) Music Certificate

1965-1967

Pemuzik sambilan di rtM Kota bahruPart time musician at RTM Kota Bahru

1979-1991Pelukis grafik, Syarikat Percetakan Dian, Kota bahru, KelantanGraphic designerat Syarikat Percetakan Dian, Kota Bahru, Kelantan

Pengalaman bekerjaWorking experience

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notakuratorartist’s biodata

1960

arts Clubs & Kota bahru Photographers’ Club, scouts Hall, Kota bahru

1968aPs (Kelantan) scouts Hall, Kota bahru

1969Salon Malaysia, National Art Gallery, Kuala lumpur

1979Salon Malaysia, National Art Gallery, Kuala lumpur

1980

expo islam Maal Hijrah 1400, Kuala lumpurPESENI, Dewan PKK, Kota bahru, Kelantan

1983Peseni, Girl Guides’ Hall, Kota bahru

1985‘self taught’ Exhibition, Capital insurance berhad, Kuala lumpur

1988Pameran Perasmian balai seni lukis Kelantan

1989

Pameran terbuka, balai seni lukis Kelantan

1993Pameran berkumpulan, Muzium Kelantan

2000‘Citarasa 2000’ bank negara, Kuala lumpur

2004Peseni & MWo Watercolour Exhibition, Kota bahru,Maybank Gallery,Metro Gallery, Hotel legend, Kuala lumpur

Pejabat sUK Kelantanbalai seni visual negaraBank Negara MalaysiaGaleri PetronasSecretary General PATAbalai seni lukis Kelantanesso, Kuala lumpurToyota Company, ThailandMalaysia Airline System, Kuala Lumpurnar tenggara bina sdn. bhd.National Museum, Kuala LumpurUniversity of Malaya, Kuala Lumpur

PameranExhibition

Koleksi Collection

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penghargaan

ybhg. tan sri Ghauth JasmonDr. nor edzan Che nasirencik abd aziz rashidEncik Kwong Kee PengDr. lee Choong Weng / Dr. ng Ching ChingDr. Evelyn S.H KhorDr. Mohd Sahar Yahyabalai seni visual negaraStaf Muzium Seni Asia, Universiti MalayaKhalil ibrahimDanuri sakijan

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notakuratoracknowledgement

tim KuratorialCuratorial Team

Juhari saidyusof Gajah

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