Sobre la diferencia entre el concepto de Número en Hegel y Kant

As can be seen in Figure 4.31, both Malay and non-Malay participants had discovered the characteristic elements of this painting, for instance, the struggling between fighter or the balance light or shadows, the traditional or old style pants against the modern or fashion pants. However, in the term of characteristic, most non-Malay students have implied that combination of the contrast for example “he is fair because he paints a balanced painting”, “I love this painting because in my eyes that is combination of contrasts”, “art is soft fight is harsh” and non-Malay had concentrated on the style of this struggle for instance; “there is opportunity to look at the skill of self-defeating”, “two adult males are fighting or performing martial arts”, “the battle is about two warriors’

fighting to show a prowess and greatness of the martial science”, “they are struggling through a martial art”. Although both groups had recognized the elements of character, but due to the differences culture and society of Malay and non-Malay, they had discovered in various ways.

In the term of emotion, the Malay participates have expressed the positive emotion due to their knowledge about the struggle. It seems this painting has exhibited its self as, a prowess and greatness of Silat or delight fighting, faithful Malay warrior, hope, Malay soul and so on. In contrast, it has played the emotion of non-Malay as the senses of fear, worry, hopeless situation, sweaty feeling, and hasty character.

Feather more, the movement elements have inscribed by the non-Malay more than the Malay participants. As they have had more focused on their observation instead of the feeling about this painting. Due to their expectation of struggle and winner, a fighter, they had mentioned the movement of the fighters or who want to attack or how the fighters move, but the Malay have impressed by the concept of this struggle. Therefore, their national prejudice about the Silat did not let them judge the action and only a few of them

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have pointed the movements. From another perspective, 60% of both groups have indicated the sense of the energy in this painting. For illustration, they had written; “the flow of the energy between the fighter”, “they have the energy I feel that”, “or feel warm and sweaty”, “gain the great sprite”, “they put a lot of energy” and so on. The expression of the energy illustrates whatever viewers, Malay or non-Malay has been watching the painting, and they might have been feeling the flow of the energy or not.

Figure 4.31: The Malay and non-Malay interpretation of the third painting

In terms of culture, it could be seen, all of Malay students had found out to cultural elements which are not astonishing, although some non-Malay students had insinuated to the difference of the pants, for instance, they had inscribed; “one of them is wearing a blue pant… and another one it red pants with weird cover”, “...wears different clothes”,

“One of them look like wear traditional trousers … mighty it happened in a village”, “he wears old fashion and unusual pants and other one wears a jean”. As it could be seen, they had noticed the pants could be traditional or belong to the unfamiliar culture for them. Whereas the Malay students had written; “The figure wears a sarong, which in Silat reflect as a symbol of man’s strong suit”, “it is a traditional Malay martial art”, “this kind of clothes or style of wearing represents Malay people”, “it is known as Silat”. It could

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be said this kind of pants or struggle could be the most obvious and inseparable component of Malay culture.

On the other hand, it could be seen the society infection has linked these participants to their own society. Obviously, the Malay participants had drawn the reflection of this kind of battle in their society. For example, they have written down “the martial art in Malaysia is about a courageous and resisting to enemies”, “it is a traditional martial art, which has customarily in the Malay society…”, “it is important to fend off the enemy”,

“They never lose hope; they try again and have big spirits”. It could be seen Malay students have believed, this kind of struggle is about not to give up and defense. From this point, it should be said, the Silat not only is carrying out a cultural concept but also it is arousing the sense of patriotism in Malay people. However, non-Malay students have linked the painting to their own society, for instance “…reminds me of old Chinese movies…to watch them… tried to learn”, “that is a boxing”, “it happened in a village…

it is not a competition”, “human nature that everyone has to fight for something”.

However, these responses are far from the view of Malay response, but this painting had connected them to their society believe or context.

Moreover, for non-Malay participates, the incognizance of the artist’s culture and society has guided them to link the painting to the lifestyle artist which is in contrast with Malay group. For example, non-Malay participates have written; “… artist as a combatant or someone who like to be a combatant”, “artist create this work the time he was mad or maybe he has fought or unsolved problem with his brother or his father”, “he is fighting all over his life may be to gain so many things”, “he is interested to fight or competition”.

However, 20% of the Malay had linked the painting to the lifestyle of an artist. However, it was more similar to appreciate of the artist. For instance, “painting depicts artist who receives a love and brave soul and sets”, “artist may also want to indicate martial art to

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students who may study or are studying martial”. Therefore, it might say, for Malay student, this painting is aide-memoire of the glories of Malay civilization.

4.9 The Personal Interpretation of the Amron Omar’s Forth Painting