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H E R M E N E U T I K A Sebuah Teori Lama Mengenai Interpretasi Teks yang Tampak Baru
Full text linkHermeneutics as an object of study is a means of understanding the ”actual” as old ashuman beings age on this earth. Hermeneutics is very important in the process of humaninteraction, so the study was conducted to study the hermeneutics in his position as a scienceof interpretation that can be studied in ontological, epistemological, and axiological. As ascience, hermeneutics emerged as a dominant movement in European Protestant theologywhich states that hermeneutics is a focal point of the current theological issues.Associated with his position as a science, the study was conducted to determinehermeneutics in the concept of etymology and terminology, knowing on historically with thefigures who pioneered the science of it, his position as a theory of interpretationmultidisciplinary, as well as the position and function as a historiographical approach throughphilological approach.Keywords: hermeneutics, the theory of interpretation, and text
KRIYA KERAMIK: WUJUD, POSISI, DAN PERANNYA DI MASA KINI
Full text linkThis article act as a response for what is kriya especially ceramic craft in nowadays context. Publicusually knows about ceramic is limited to traditional terracotta product that they usually found in acraftsmen village or an industrial mass produce ceramic that they always use in their everyday life.Kriya (or craft in the western term) now has grew more not only limited in the scope of tradition oreven a mass product only. There are many new small independent studio emerge as a new perceptionthat combine the potential of both industrial and traditional have. The role of educational institutionsare producing graduates working in the field of ceramic craft has established a new perception onhow it should craft in contemporary ceramics put his position in the midst of globalization. Ultimatelyconcluded that the ceramic craft began to position himself to a wider sphere, not only as a center forcraftsmen but also intangible and handicraft industries based independent studio-based designermaker. Keywords : kriya, ceramic, culture, identit
WAYANG KULIT MANUSIA ANTARA MITOS DAN KENYATAAN
Full text linkA religious traditional art in society is related to myth which can be categorized intofolktale. This tradition has been often become one in the Javanese mind and influential ingiving direction to their lives. Concerning with myth is inseparable from people’s believed. Thepeople believe which is appearing is usually established on the basis of a tale or story, which isdescendant from the local people and unwritten but believed by the society so that it becomestradition and culture encouragement. One of Indonesian ancestors’ heritages is leather puppetwhich can be enjoyed by us until now, although the form and the development conform to thedevelopment of the present modern world.Myth of the leather puppet in Javanese people themselves has been an icon, becausethe leather puppet it selves becomes myth which unified with tradition as well as Javanesepeople culture. So, other myth follows the leather puppet myth. One of the existing myths insociety are the myth’s appearances of human’s skin puppet, mainly a traditional art of leatherpuppet the material of which is believed to be created from human’s skin.Kedakan village located in the slope of Merbabu valley which is remote and far fromthe city. Because of its remote location, this place leave culture heritage of the preservedancestor’s tradition, such as human’s skin puppet. The appearing myth in the human skinpuppet is that of believed that the puppet is created from human’s skin, therefore, the puppetis considered holy and highly respected. The sacredness of the puppet appears, since manymisterious and illogical things happened related to the sacred puppet frequently. The mythwhich are still being preserved enables this leather puppet art in the remote village ever lastingand the existence is still being nurtured.Key words: Leather Puppet, Human Skin, and Myt
FINISHING KAYU DARI BAHAN ALAM
Full text linkFinishing is the final stage of the work process of making wood products, includingthe provision of certain materials, to embellish, visually highlight and protect the wood surface.Wood products would be more attractive when finished to the right. Realize an attractiveappearance finishing something very important, therefore there is need for a new discovery forwood finishing materials.Herbs as a natural material potential for wood products finishing materials. Inaddition to friendly environment, plants are also easy to obtain. Plants of various types can beprocessed and used as a wood finishing material, either as a basic dye, a mixture of dyes, aswell as the final finishing. In these experiments conducted on turmeric, gum gambier, betelleaves, sticks henna, mangosteen rind, skin jengkol, and injet for coloring wood.Through experimental research, with the wet technique and the results indicate sapgambier saffron color the best, producing the yellow color of turmeric, gambier and injet sapproduces a red color maroon. The maximum color is produced in addition to the basic materialcontaining pigment is good, as well as precise materials processing techniques, as well asabsorption of the pigments are also good timber. Meanwhile, the color produced by betelleaves, sticks henna, mangosteen rind, skin jengkol, less than the maximum. It is based on theassumption of researchers due to lack / incompatibility processing techniques such materials.Keywords: finishing, wood, natural materials
GREBEG MAULUD DALAM REPRESENTASI BUSANA DAN MOTIF BATIK DI KERATON YOGYAKARTA
Full text linkCulture growing in Indonesia and overseas intrinsically dynamic. Nature of culture as a result ofhuman creativity is always moving and displacement. When his journey to the vibrant place anyway,culture is likely to mix with the native culture which then grow and develop into a new culture.Culture is a strong factor that affects the mindset. Over time, society has a way of looking at theworld deal, behave, and interact with each other. In other words, they have their own color andpattern of the deal while making rules in social life. Yogyakarta in Java, which is known as one of thecultural centers of Java development, especially ritual Grebeg Maulud. Ritual Grebeg Maulud overtime reflecting the constantly changing movement of social change, culture, politics, economics andsociety in his day. Ritual is a means of connecting Grebeg Maulud transcendental between man andGod (Manunggaling Kawula-Gusti) and guidance from the teachings of the holy book (Islam). But thistime Grebeg Maulud also has another function, namely as a spectacle. This suggests a cultural shiftfrom the sacred to the profane. Batik as a dress code in the Carnival celebrations Grebeg Maulud isone reflection of the existence of culture in Yogyakarta Palace. The use of batik in a ritual processionGrebeg Maulud is a tradition that continues to this day. Batik palace is considered one of the symbolsof the existence of power relations by creating a specific motive for a particular class. Dynamism ofculture led to the use of batik is not only a marker of power relations, but also as an exciting treat forthe fashion show at the Carnival lasts Grebeg Maulud. Keyword: Grebeg, Maulud, representations, clothing, batik, palace, Yogyakart
“BATIK MBANTULAN” DI SENTRA BATIK GIRILOYO DAN WIJIREJO BANTUL
Full text linkThe study of batik in the batik centers of Giriloyo and Wijirejo Bantul is intended to develop the existing motifs of batik mbantulan and create new motifs while maintain the identity of batik mbantulan with its local-rich characteristics in Kabupaten Bantul. The development of batik mbantulan has undergone the rising and falling trend. To survive and develop artisans of batik mbantulan have to adapt themselves to the ongoing market preference through the improved characteristics of batik mbantulan. It is necessary to explore the possible existing motifs of batik mbantulan that have brought up the batik center of Giriloyo and Wijirejo have. The motifs of batik mbantulan have to be reserved in the batik products through identification, diversification, and creation of new batik mbantulan motifs, Therefore, the new designs is expected to be more competitive in batik market and create the spirit of creativity and innovativeness among the artisans of batik mbantulan in the Batik Center of Giriloyo and Wijirejo Bantul. The main obstacles that the artisans in the batik center of Giriloyo and Wijirejo have to face up is the meeting of consumers’ orders with their new motifs. The artisans are not capable enough to create new designs through the development of mbantulan motifs and prefer to work on the present and general motifs of batik Yogyakarta. The study is expected to deal with the artisans’ problem in creating new designs / motifs and improve their capacity to make new creative and innovative designs to meet consumers’ desired standard. In turn, this will lead to a better economic prospect for the artisans of batik mbantulan in the batik center of Giriloyo and Wijirejo. Key words: batik mbantulan, artisans, motif