Maryam Khanahmadi1 & Sabzali Musa Kahn2
1 Cultural Centre, University of Malaya (Malaysia). Email: email@example.com
2Academy of Malay Studies, Director’s Office, University of Malaya (Malaysia). Email: firstname.lastname@example.org
Article DOI: 10.21659/chitro.v6n3.09
Received November 11, 2016; Accepted December 20, 2016; Published January 26, 2017
With more than thirty years of creative output and a significant body of works to consolidate his reputation, Syed Thajudeen Shaikh Abu Talib, ranks as one of Malaysian’s eminent figurative and lyrical painters. Thajudeen fuses indigenous motifs and symbols with universal ideas and concepts, filtered through his Indian background and circumstance. Syed Thajudeen is one of visual artists, who has been successful in achieving universal appeal in his works by bringing together symbols and motifs in Malaysian with aesthetic and metaphysical elements of Indian’s arts. The theory has been used in this study is Art Appreciation by Harry Samuel Broudy. According to Broudy, Art Appreciation theory has been divided to two parts: 1) Aesthetic perception which is divided in four steps: sensory properties, formal properties, technical properties and expressive properties. 2) Aesthetic criticism which is divided in three steps: historical, re-creative and judicial. In this paper, the focus is on second part of art appreciation theory and in this aim, one master piece of artist’s artworks “Longing for Love” has been selected from five main collections of “Paintings of Love”. This research investigates the visual image in the painting of Syed Thajudeen Shaik Abu Talib; how it has been stirred inside the imagination? How it got stimulated by the figures and forms that are familiar to the transformations inside the artist’s mind? And how it was born again on the canvas?
Keywords: Art appreciation, Aesthetic criticism, Aesthetic perception, Aesthetic judgement