Splendours of Malaysia – Paintings of Ethnic Cultures of the Land13.10 – 02.12.2018

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Ismail Embong (born April 23, 1948 in Terengganu) is a Malaysian artist who has left his mark on the country’s art scene since long ago. He was honoured as a Tokoh Negara, Pelukis Negara, a notable figure in the Malay and Islamic World and a National Art Consultant. These recognitions are the culmination of his persistence in documenting Malaysian history and culture through visual arts for the past 26 years.

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Fatimah Rohani (born March 27, 1992 in Terengganu), better known as Emma Maembong, is the daughter of Ismail Embong and has followed her father’s footsteps in pursuing the arts. Currently, she has expanded her artistic talent and is actively engaged in acting, both in theatre, television and films.

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People within and outside Malaysia have always been captivated by the ethnic diversity in Malaysia, whose population stands at 30 million. Foreign travellers, especially writers and nature lovers, have long recorded the ethnic and cultural diversity in our expansive tropical environment although exotic ethnics were prominently featured at the onset.

There is an important need to record historical events and the cultures in Malaysia in painting form. After coming to a realisation of artistic philosophy, Ismail Embong rededicated his efforts towards capturing the diversity of colours, shapes and artistic spirit of the various ethnic groups.

The Splendours of Malaysia exhibition aims to stimulate and drive the emergence of original creativity among Malaysians as part of efforts to

Bisaya90 x 60 cm

Irranun90 x 60 cm

Selangor Malay90 x 60 cm

Penang Peranakan Chinese90 x 60 cm

Introduction

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build a more creative nation that can move with the times with a forward-looking vision. With this, we can contribute to spreading awareness of the arts and ways of living of Malaysia globally, and be an element for enriching a global civilisation that will be more expansive and sophisticated.

This exhibition showcases 54 artworks by Ismail Embong and Emma Maembong. The wide variety of colours, arts and culture of the different ethnic groups in the country will enrich culture and civilisation based on the oneness of values and respect for the diverse norms for the progress of the nation and its harmony in the eyes of the world.

Ismail Embong’s works present the various races in Malaysia as a result of his focussed observations to depict cultural elements in four main areas in a painting: the appearance of the ethnic group, its costumes, traditional houses and its art forms. Meanwhile, in this exhibition, Emma Maembong’s paintings are projected as the perspective of a young painter who completes the spectrum of artistic appreciation of the vibrant colours of Malaysian life and also displays another angle of expression on the same subject. Her artworks focus on the motifs of the costumes and the colours of Malaysia.

Kelantan Malay 90 x 60 cm

Bidayuh Bukar Sadong90 x 60 cm

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The Bajau Samah people, who lives on the west coast of Sabah, is the state’s second-largest indigenous group. Originally they were seamen, but have now settled down as rice farmers, livestock farmers, small-business merchants and workers in other service areas.

One of the Bajau Samah’s unique characteristics is their traditional music that accompanies dances such as the Limbai. The music is performed by six musicians, who are led by a lady that plays the kulintangan. There are also two members who play the drums, two on the gongs and one on the bebandil. The Limbai is usually performed when inviting a bridegroom to enter the house. The dancers, who would wear attractive traditional dresses coupled with an eye-catching head decoration known as the serimpak, wave their scarves gracefully to welcome the groom.

Ismail Embong

Bajau SamahOil on canvas90 x 60 cm

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The Iban is the largest indigenous group in Sarawak among the Dayak people and is well-known for living in the Rumah Panjang or longhouse. Each Rumah Panjang consists of several household units that are known as bilik (room), and is made up of four to 80 households. The longhouse has its unique characteristics in terms of safety and culture.

There are three main areas in the longhouse: the tanju (open-air veranda), ruai (living room) and bilik (room). The loft that is built above the bilik and ruai is known as the sadau or peran. The ruai or veranda serves as a common passageway for all residents, and also acts as an area for resting, dining, exchanging stories or for weaving and carving items. Next to the tanju is the bilik where families store their belongings, have their meals and sleep. The sadau meanwhile is used for storing rice and various possessions.

Thus, the longhouse acts as a symbol of unity; families living in larger clusters have closer relationships compared to those living in smaller

clusters in the cities today.

Ismail Embong

IbanOil on canvas90 x 60 cm

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The Baba and Nyonya Peranakan group are ethnic Chinese who have assimilated many aspects of Malay culture. They are well-known for their traditional costume – the baju kebaya or split dress – and traditional nyonya-style cakes.

Their ladies, known as Nyonya, wear baju kebaya that features fine embroidery of flower motifs on the frontal fold, and clasped or fastened by wire brooches made of silver or a copper alloy. It is worn together with a fine batik sarong from Java, Indonesia and beautifully-coloured covered shoes that feature Bohemian embroidered beads with flower and dragon motifs. The baju kebaya is also well-known as a bridal dress in Melaka, Singapore and Penang.

The older ladies, known as Bibik, would wear a high-collar baju kebaya known as encim, while their hair is tied up in a high bun that is held together by a bunga emas hairpin. They also wear other attractive ornaments that highlight their unique cultural characteristics.

Ismail Embong

Nyonya MelakaOil on canvas90 x 60 sm

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Terengganu used to be the seat of a government related to the history of the Malay Riau empire that gave it part of its cultural instruments. Traditionally, the Terengganu people count fishing and maritime commerce as their main economic activities. Therefore, they are well-known for their boat-making and wood-carving skills.

Marine ecology gave birth to Terenganu’s Ulik Mayang dance that is closely related to mystic healing arts found in the state’s well-known legends. This art form is a dance-play of a ceremony that speaks of the relationship between human beings and the spirit of the sea. The legend of the Ulik Mayang expresses the gratitude fishermen have towards the princesses of Ulik Mayang who revived them from a state of unconsciousness. In terms of ceremonial performance, this dance is usually performed during the beach-worshipping season to pray for the safety of the fishermen.

Today, this song-and-dance routine has been adapted for entertainment purposes only and is performed by just 10–15 dancers each time. It begins

with shaking the mayang pinang (strings of areca nut flowers) or coconut over burning incense.

Ismail Embong

Terengganu Malay (Ulik Mayang Dance)Oil on canvas90 x 60 sm

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Emma’s artworks focus on the motifs of traditional Malaysian costumes and are presented as reflections and the imagination of a teenaged girl. Thus, the human characters in her paintings are depictions of the fresh faces of youth who are stepping onto the threshold of adulthood. Though they wear traditional costumes with gentle colours, it clearly shows the identity of their own ethnic groups, such as the Bajau and Indian costumes that are made of captivating fabric of various colours and patterns.

Emma Maembong

Kostum BajauAcrylic and mixed media on canvas122 x 92 sm

Emma Maembong

Kostum IndiaAcrylic and mixed media on canvas122 x 92 sm

The contents of this brochure are translated from the original Bahasa Malaysia printed matter whose contents shall be the standard reference.

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