Page 836 - Proceedings Collega2023

Ahmad Jamal often incorporates the triangular shape in their artistic creations. However, it is important
to note that within Islamic culture, the triangular shape does not hold any symbolic importance. On the
contrary, comprehending the artists' inclination towards embracing this particular form as a noteworthy
occurrence aids in elucidating their spiritual inclinations and the impact of Islamic traditions on their
artistic endeavours.

Nature has a significant impact on the artistic works of Ruzaika Omar Basaree. As a means of
adhering to Islamic principles that prohibit the depiction of animal or human figures, the majority of her
artistic works centre on botanical subjects (Zara, 2022). The significance of flora and plants in the daily
lives of the Malay people is emphasised in the artist's works, which also emphasise the Malays' profound
reverence for Allah's creations. The prohibition against using animal and human representations as
artistic mediums is inextricably linked to the usage of botanical elements. Within this particular context,
Islamic influence is observed to have fostered within the Malay community a profound reverence for
the various manifestations of Allah's creations. The inclusion of cultural motifs in Ruzaika Omar
Basaree's works contributes to the formation of a distinct personality and nuanced elements. This
observation illustrates the effect that Malay Islamic culture has on the individuals involved. Including
the bamboo stalk, the artworks contain a variety of elements that serve as symbolic representations of
Allah, human existence, and the natural world. God, in His capacity as creator, has fashioned a
remarkable variety of plant life that deserves the admiration and gratitude of all people. The presence
of Islamic concepts within the work, which has significant educational value, can be identified by a
variety of Islamic fine arts characteristics. (Hamat & Yusoff, 2020) The artist's inspiration derives from a
profound appreciation for the natural world and reverence for Allah, the divine being responsible for its
creation. In her analysis, Ruzaika Omar Basaree considered the visual language and formal expression
of Islamic art, as well as the significance and meaning conveyed by its various forms. Bakar (1995)
examined the relationship between the form and content of Islamic art in his work. The aforementioned
Islamic and natural characteristics are profoundly ingrained in the daily routines of Malay people and
have served as a catalyst for the development of creativity and originality in Malay society since ancient
times (Yatim, 1989). As a manifestation of the cultural and ideological values inherent to Malay society,
Islamic craftsmanship functions as a source of inspiration for Malay-Islamic intellectual discourse.

Parallel to it, Arba’iyah (2021) expounding in detail that across successive generations, the
Malays have adeptly leveraged natural resources to cater their daily requisites. These resources not only
cater to sustenance, medicinal requisites, and indispensable implements but also function as a fertile
source of creative inspiration within the realm of Malay artistic endeavours. The original,
uncontaminated state of natural environments, unaltered or undisturbed by technological progress, has
significantly served as a source of knowledge and scholarly expertise for the creative works of the
Malays. Natural elements such as rivers, mountains, hills, seas, coconut trees as well as celestial
phenomena like moon, stars. Sun and clouds have historically served as substantial sources of
inspiration and cultural guidance for the Malays. Furthermore, it is noteworthy that plethora of natural
elements frequently find expression and integration within Malay proverbs, exemplified by phrase like
“bagai langit dan bumi”, “setitik dijadikan laut, sekepal dijadikan gunung”,”embun di hujung rumput''
and various other. Flora and plant life, which are abundant in various regions and times, play a crucial
role in Malay art motifs. Flowers, often associated with female beauty, serve as adornments. Before the
influence of Islam, Malays often gave names related to fruits, flowers, and colours, such as Kundur and
Hitam for men, and Melati, Melur, Putih, Timun, and others for women. These unique names persisted

International Conference on Local Wisdom of the Malay Archipelago (COLLEGA 2023) Page - 823 -