Page 835 - Proceedings Collega2023

Sulaiman Esa’s artwork titled “Garden of Mysteries VI" from 1992 serves as a prime example of
Sulaiman's artistic philosophy, his incorporation of traditional Malay materials inside a modern
framework, and his meticulous implementation of a multifaceted design. The garden, which is the focus
of his study, has numerous symbols and references to significant Islamic principles, including aesthetics,
tranquillity, paradise, reflection on the transitory nature of the universe, and recognition of God's role
as the Creator and Sustainer of life in its various forms. The comprehensive scope of the Garden of
Mystery's significance, encompassing its frames, grid patterns, geometric shapes, and colours, is beyond
the scope of this discussion. The primary focus of the artwork lies in the central "sunburst"
concentration, which is presented in a dynamic "growing arabesque form." This particular arrangement
captivates the viewer's attention, drawing it inside before expanding outward in a radial manner,
encompassing all elements of the composition.

Syed Ahmad Jamal’s, a prominent figure in the realm of Malaysian painting, owing to his
significant contributions and achievements in the field. Syed Ahmad Jamal's artistic trajectory as a
painter of series attained its pinnacle with the creation of "Gunung Ledang," representing the
culmination of his endeavours to produce splendid artworks of national significance, exemplified by
"Semangat Ledang." The paintings in their present form demonstrate notable success, serving as
symbolic representations of the effectiveness of the methods and principles that he has advocated thus
far. The series titled "Gunung Ledang '' serves as a comprehensive compilation of the mythological realm
depicted in the Princess Gunung Ledang narrative. The utilisation of colour and light in Syed Ahmad
Jamal's "Ledang Series'' has been ascribed to Islamic comprehension, aligning with established
knowledge. The evolution of the colour palette of The Spirit of Ledang has paralleled the artistic
development of the artwork. The motif of light holds a significant position within Islamic art due to its
symbolic representation of the Supreme Spiritual Guidance and its profound relevance in shaping an
individual's existence. Despite being of a tender age, Syed Ahmad Jamal has possessed an awareness of
this variety since his early years, and he recollects his awe at its enigmatic splendour.
The artist initially employed darker hues, which were later substituted with warmer shades of
red, yellow, and orange. Additionally, the deliberate inclusion of white in the artwork contributes
significantly to the overall sense of vitality shown in the compositions. The artist asserts that light serves
as a means to symbolise the spirit and dedication necessary to confront the challenges of life, much like
its usage in Islamic art to represent the spirit and commitment required. The prevalence of the
triangular shape in contemporary times is such that it may be argued that the triangular shape serves
as the prevailing theme in the traditional designs of Malay society, particularly in relation to the plentiful
presence of bamboo shoots. The depiction of Mount Ledang as a symbol of fertility aligns with prevailing
perceptions. The author proceeds to assert that the triangle pattern bears resemblance to the tree of
life and the flower of spirit, which are both representations of the inherent natural essence closely
associated with the Southeast Asian region. Islamic manifestations in Syed Ahmad Jamal's abstract art,
drawing attention to the artist's explicit statement that his works possess both an Islamic essence and
a contemporary aesthetic (Dzul Haimi Md. Zain, 2004) The association between these entities led to the
emergence and evolution of Islamic culture, encompassing various aspects of human existence,
including lifestyle and artistic expressions. Islamic art, as a manifestation of this cultural milieu, adheres
to the principles and guidelines set out by Islamic teachings and the divine law, known as syariah.
Ahmadrashidi Hasan (2016) asserts that this particular element holds paramount importance within the
realm of Islamic art, although it remains overlooked within the paradigm of Western art history. Syed

International Conference on Local Wisdom of the Malay Archipelago (COLLEGA 2023) Page - 822 -