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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 : [email protected]
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
21
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’
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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
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Penjualan Durian selling Durian2011Lukisan batik Batik painting115 x 123 cm
Koleksi Collection ofUniversiti Malaya
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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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