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This study aims to analyse the scope of the development of the Malaysian artworks of Amron Omar and Haron Mokhtar paintings through the application of Erwin Panofsky’s iconography analysis that involves three levels which are the pre-iconographical description, the iconographical analysis, and the iconological intepretation. This research paper also evaluates the field of fine arts especially the style in the production of two artworks of two painters namely, Amron Omar’s “Pahlawan”, from the year 1980, and Haron Mokhtar’s “Suasana di Kampung”, from the year 2007. The theoretical framework of this analysis emphasises on the qualitative methodology by observing the two selected painting artworks by these two Malaysian artists in the scope of the Malay identity observed among local painters. The result suggests that Malaysian painters do instil the value of Malayness identity and symbols in their artworks. The study also clarifies that local painters who are the product of modern Malaysian painters could also create the opportunity for career expansion among eastern artists as well as the entire circle of Malay painters.

An Iconographical Analysis Based on the Erwin Panofsky Theory on the Malayness in The Paintings of Amron Omar and Haron Mokhtar