Proceedings of the 2nd International Conference on Design Industries & Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia

Research Article

Design Structure In Malaysian Islamic Calligraphy Contemporary Paintings

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  • @INPROCEEDINGS{10.4108/eai.24-8-2021.2315281,
        author={Nor Azlin  Hamidon and Siti Mastura  Md Ishak and Wan Samiati Andriana  WMD},
        title={Design Structure In Malaysian Islamic Calligraphy Contemporary Paintings},
        proceedings={Proceedings of the 2nd International Conference on Design Industries \& Creative Culture, DESIGN DECODED 2021, 24-25 August 2021, Kedah, Malaysia},
        publisher={EAI},
        proceedings_a={DESIGN-DECODED},
        year={2022},
        month={3},
        keywords={design structure malaysia islamic calligraphy contemporary paintings history of islamic art tradition},
        doi={10.4108/eai.24-8-2021.2315281}
    }
    
  • Nor Azlin Hamidon
    Siti Mastura Md Ishak
    Wan Samiati Andriana WMD
    Year: 2022
    Design Structure In Malaysian Islamic Calligraphy Contemporary Paintings
    DESIGN-DECODED
    EAI
    DOI: 10.4108/eai.24-8-2021.2315281
Nor Azlin Hamidon1,*, Siti Mastura Md Ishak2, Wan Samiati Andriana WMD3
  • 1: Department of Visual Culture Studies, Faculty of Art and Design, Universiti Teknologi MARA
  • 2: Department of Industrial Design, Universiti Putra Malaysia
  • 3: Department of Fine Art, Faculty of Art and Design, Universiti Teknologi MARA
*Contact email: norazlin@uitm.edu.my

Abstract

This article entitled Design Structure in Malaysian Islamic Calligraphy Contemporary Paintings is based on the issue of artist preference in designing calligraphic paintings. Even though the artworks referred to as Islamic Calligraphy was based on the tradition by writing on paper; however, creating Islamic calligraphy paintings is a challenging issue that incorporates the styles of modern painting and the background of art that is different from the tradition. Therefore, this article aims to review the designs established by the artists in their artworks. The methodology used is qualitative, through observation, and formal analysis, especially in studying the orientation and writing style of calligraphy that existed in contemporary paintings in Malaysia. This research applies the theory of History of Islamic art Tradition, which comprises four steps of appreciating Islamic artworks. However, in this study, only the first level of interpretation will be used, which is the formal analysis to discover the design structured in those artworks. The findings of this research enlighten the tendency in design style and perhaps suggest further studies to find the answers behind this inclination.