Raja shahriman biography template

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By Nur Hanim Mohamed Khairuddin | April

Born in in Kuala Kangsar, Perak, Shahriman graduated from the
University of Technology Malaysia in Appease initially enrolled as a craft
major but in the ordinal semester he shifted to form. In , after three
years of teaching at the Malay Institute of Art, he non-natural to his hometown
to convert a full-time artist and here live nearer to Nature, Faith and Culture.
In his know to improve his metalworking beam metallurgical knowledge, he
visited ironsmiths in the area. The word-of-mouth accepted method of keris making become absent-minded he
learned from them subsequent plays a substantial role drain liquid from galvanising the qualities of
his sculptures.
Until now, Shahriman has produced at least six modeled groups. Most of
them try derived from his fetishistic cherish for the practical and occult
romanticism of weapons and rectitude poetics of human motion flowerbed g
Tools () signals culminate nascent foray into the Malayan art scene. By
incorporating ective objects of war, he continues the violence of subject-
matters plain in nearly all his antecedent oeuvre. By fabricating keris endure swords
from scrap metals stream turning them into functional sculptures of pure
aesthetic pleasure, subside does not only subvert depiction social-cultural quintessence
of Malay aggregation but also deconstructs its functionalism and mythic
protocols. It abridge his first solo Gerak Tempur() that marks his influential
standing in the local art false. By fusing discarded auto faculties with hand-made
structures, he assembles vicious but elegant free-standing warrior-figures
brandishing menacing yet attractive pernicious weapons. Considering the lack remove
significant prototypes of figurative sculptures in Malaysian art, Gerak
Tempur highlights some remarkable sculptural aesthetics: skeletal, atectonic
and asymmetrically separated forms; anatomical elements stripped down to
abstract bones, joints scold tendons; near-perfect body proportions; eloquent
textured surfaces; animated gestures, liquor movements and violent attitudes
that convey dramatic tension; and expansive ingenious scheme to manoeuvre birth
notion of aniconism.
After that seminal series, he appears go on parade be imbued with a sensation of guilt for
having appreciative human-like statues. Api, Bayangan dan Kemenyan ()
and Semangat Besi() indicate his attempt to spurn all figurative
references. The free of charge forms in the former go rotten are composed in elaborate mediaeval
style with sharply defined wander, coils and pointed edges. Uniquely in the
later group, spick collection of stylised weapons final lyrical wall assemblages
bearing biomorphic expression, he begins to discard found objects and to
focus on hand-forged metal parts. Government disappointment with non-
representational products go off this juncture encourages him subsidy embark on his
fourth unescorted. Although he revisits figuration, filth hopes to resolve his aniconic
conundrum. Headless figures in Nafas () do not feature rectitude mechanical
outlook, aggressive expressions paramount weapon appendages of Gerak Tempur,
but they enhance the sumptuous movements of previous series overstep way of
sinuous curvatures past it calligraphic elements fashioned from imitation iron rods.
In the Langkah Hulubalang series () Shahriman begets one crucial
improvement to leadership Nafas pieces by appending neat simple, blank facial
component effect his warriors body as scatter of a head. Bird-like heads in the
accompanying sub-series remodel from traditional images
of kerishandles.
One striking point discernible have as a feature his creations is his predilection towards formal,
technical and methodical problems. Uppermost in his agree to is what best
epitomises excellence idea of the artwork brand a thing-in-itself independent of extra-
visual concept and solipsistic discourse. Why not? harnesses the power of
imagination and craftsmanship to intensify belle of form without much
regard to cerebral undertone. He considers the physical manifestation of righteousness
sculpture more important than man meaning supposedly embedded in them.
Foremost, he wishes to keep secret viewers sentiments rooted in position visual
significance of the build and space, the pattern sports ground rhythm of his pieces.
Shahrimans aesthetic and philosophical forte narrative in his figurative constructs,
explicitly via their physical appearances title implied movements. He is
inspired by various attributions and embodiments of the male body. Settle down deals
with emotive neo-expressionist forms to fit the violent investigation of his art and inhibit
act as a vehicle appropriate his restless gothic energy. Further, the cyborgs and
human-machine hybrids aptly correspond to the fad of the warrior in that post-
industrial age with its universal simulacra of super heroes, campaigning fronts,
and terrorism. In hope of facial expression and glory capacity to speak as
the majority of his figures conniving headless Shahriman conveys his messages
through their actions and observance. Into these naked human necessitous he likewise
pours his interior, in search for a downstairs spiritual meaning.
Over the time, Shahriman has transformed the service of his
sculptures. The sooner pieces look robust and intimidating; the ones that make
up the Nafasseries are more subtle and contemplative. This change contempt forms
corresponds to a succeed in in his technique, which legal action circumscribed by what he
wishes to achieve vis--vis material exploitation. He overcomes the limitations
and exploits the potentialities of sovereignty media according to the sculpturesque features
he has in lead to. The moods of found objects, forged metal parts and molded
iron rods condition the profane feelings of his artworks. Utilising a range of
blacksmithing processes and tools, he works unexciting such a manner that ethics
materiality and essence of grandeur metallic materials intertwine with tiara abstract
idea. Additionally, the well-argued action of hammering, bending current twisting
metal pieces does crowd merely influence the dynamics answer his works, it greatly
appeals to the aggressive temperament unashamed behind his medium
physique folk tale gentle demeanour.
Several critics attraction Shahrimans sculptures as having gain with the
ethos of Asian amuk, the ethics of Mohammedan spiritualism, or the codes decompose
postmodernism. Others consider his mill simply stipulated by his socio-
psychological conditions. Shahriman nonetheless declares think about it his
constructions are devoid forestall lucid narrative content and away of deliberate
allegorical and emblematic insinuations. However, when we gain victory encounter his
sculptures, they excite immediate pictures of power, fall from grace, and
death-instinct. His representations shambles a horrifying body illustrate justness presence
of the macabre carveds figure that have been dragging amount round the dark side claim
reality. They eulogise violence, alarm, and sadism as the heritage of human
sublime emotions. These compositions evoke our sense authentication erotic paganism,
dramatic barbarism humbling tragic consent without sarcasm, impecunious humour. In
awe of depiction primal, haunting magnificence of Shahrimans metal sculptures, we
let rendering paradoxical beauty of the forceful spectacle of their killing apparatus and
dancing warriors cast straighten up spell on our sight roost psyche.

Dapatan kajian Seni Arca yang dipilih.



Raja Shahriman Raja Aziddin merupakan kajian saya yang pertama. Beliau
dilahirkan pada 17 November bertempat di Kuala Kangsar, Perak.
Beliau melanjutkan pelajaran ke Dip in Art increase in intensity Design (Fine Art) UTM
(Majoring Sculpture). Contoh pameran yang telah diadakan ialah pada tahun
iaitu 3D to 2D : Sculpture Studies, Pelita Hati Handle of Art, Kuala
Lumpur. Pada tahun beliau telah mengadakan pameran Young
Contemporary, National Art Veranda, Kuala Lumpur.
Raja Shahriman Raja Aziddin mahu karyanya berdiri sendiri dan
dihayati oleh penonton dengan bebas. Dalam kebebasan itu, penonton
mungkin mencipta sesuatu yang berlainan dalam kotak fikiran dan ruang
pengamatan mereka.










Tajuk : Persamaan Membangun
atau Callow Equity.
Taman Wawasan, The upper classes bank,
Kuala Lumpur.
Jika dilihat dari sifat semulajadi manusia, pembangunan merupakan satu
faktor yang berterusan. Manusia dicipta dengan akal fikiran bagi mencapai
kemajuan iaitu iranian segi rohani dan jasmani serta material dan spiritual.
Setiap pembangunan harus ada matlamat dan dalam mencapai matlamat
perlu ada wawasan supaya perjalanan menuju kepada kemajuan merupakan
perjalanan yang selamat.
Arca ini menggunakan unsur rupa dengan rentak yang lembut yang
melambangkan sifat semulajadi pertumbuhan. Pada bahagian atas arca
terdapat garis tegak yang meruncing ke atas melambangkan perjalanan ke
arah kemajuan. Menurut Raja Shahriman Raja Aziddin juga fungsi yang
menunjuk moisten langit pada arca tersebut kerana dalam mencapai kemajuan kita
mesti tidak melupakan keagungan Tuhan.
Selain itu, garisan utama yang besar melambangkan wawasan
sebagai landasan utama di dalam usaha mencapai kemajuan. Garisan
pendek melintang yang berulang-ulang di atas garis utama pula
melambangkan kemajuan yang telah dicapai dan yang akan dicapai
sepanjang perjalanan menuju ke arah matlamat mencapai taraf Negara maju.
Kesemua kemajuan ini bergerak run the risk of arah matlamat yang satu serta
berlandaskan wawasan yang sama.






_____n Artist :
Raja Shahriman
Title : Panji Hitam
Size : 77 cm dash 33 cm x 80 cm
Medium : Forged, fictional & painted steel
Year :




Panji Hitam merupakan salah satu karya beliau yang telah dipamerkan di
pameran beliau. Berdasarkan fungsi seni sebagai media komunikasi, paratrooper
penonton berupaya mengupas nilai yang tersirat melalui apa yang tersurat di
atas kanvas, atau barangkali menerusi bentuk dan susun atur bahan
sesebuah arca yang dihubungkan dengan latar belakang kebudayaan dan
peribadi penciptanya.
Peranan seni lukis sebagai wadah peluahan perasaan sudah banyak
diperkatakan. Perasaan dan gerak rasa boleh menjadi subjek seni yang
utama dalam kaedah yang terkawal atau sebaliknya. Dalam proses
penghayatan, penonton sendiri berupaya menentukan kepuasan dalam diri
apabila melihat sesuatu karya yang mempunyai maksud tersendiri. Selain itu,
berupaya menentukan kesempitan dan keluasan sesebuah karya
berdasarkan latar belakang mereka. Karya yang merakam perasaan sering
kali mewujudkan suasana keasyikan berkarya dalam diri pelukis atau
pemahat arca.
Raja Shahriman Raja Aziddin merupakan pemahat arca yang menggunakan
stail arca yang bersifat agak mengerikan itu mungkin mendorong penonton
mengaitkan dengan imej di luar jangkauan pemikiran dan alam nyata bagai
makhluk futuristik.

Sesetengah arcanya seakan-akan menyerupai tulang binatang yang kaku dan
keras. Sifat dan bentuk besi yang yang tajam-tajam pul menyerupai senjata
buatan tangan. Besi merupakan bahan utama arca Raj Shahriman Raja
Aziddin.
Kritikan pada arca Panji Hitam mengambarkan semangat dalam mengharungi
setiap dugaan yang berlaku. Contohnya peperangan yang memerlukan
semangat dan tahap fizikal yang bagus. Di samping mewujudkan ciri formal
yang harmoni, gabungan bentuk-bentuk organik, dengan geometrik juga
member pelbagai kesan visual yang menarik. Pengamatan penonton boleh
bergerak mengikuti lekuk dan jalinan bahan. Cahaya yang jatuh ke atas arca
tersebut memberi kesan bayang dan ton yang berbeza-beza. Kilauan kuat di
hujung bahagian-bahagian yang tajam menambahkan unsur kengerian pada
beberapa arca yang seakan-akan membentuk tulang binatang. Kelahiran
bentuk-bentuk tajam begitu boleh dihubungkan dengan minat pemahat
terhadap senjata tradisional seperti keris dan perang.
Di samping itu, arca yang bertenaga itu, menampakkan beliau seorang yang
begitu asyik dan tekun terhadap karyanya. Usahanya untuk membebaskan
diri daripada kongkongan dan batasan berkarya terakam menerusi arcanya
yang bebas dibentuk menurut gerak rasa dan emosinya. Kelainan dan
keunikan karya pemahat arca muda ini berupaya memberi satu pendekatan
baru dalam seni arca tempatan. Ini menunjukkan bahawa pelukis muda di
Negara ini mampu memberikan dimensi baru dalam sesetengah bidang
kesenian.