Ars: Jurnal Seni Rupa dan Desain
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P0S7-KALIGRAFI: TEROBOSAN SENI KALIGRAFI (ARAB) DI TENGAII PERKEMBANGAN SENI KONTEMPORER DI INDONESIA
No full textPostmodernism has indeed provided a priceless contribution in how the world o f Arabic calligraphy isenjoyed. This article is attempting to re-examine calligraphy by observing the various styles in Indonesia.By doing this. Arabic calligraphy itt Indonesia which was considered a dying art can hopefully be rebuilt.An important concluding note is the reawakening o f the attitude to discover local ability, including how todevelop a stance towards the internationalisation o f art.Keywords: locality, post-calligraphy, postmodernis
KAJIAN SENI KRIYA MELALUI PENDEKATAN SEMIOTIK ROLAND BARTHES
No full textwork o f art .is. in essence, a language in its visual form. It is the visualisation o f the jtersonalexpression o f an artist. Nowadays, a work o f art not merely possesses a practical function but also becomcsan expressive work in a two or three-dimensional format. Therefore, it can be considered as a text containingcertain meanings and messages which can be analysed, for example, using a semiotics approach. Thisanalysis can be carried out since there is a seiniotic proccss involving the signs within a work o f art.Roland Barthes presents a theory o f mythical analysis in his semiotics approach which is called"the order seiniological system. " It consists o f two levels, i.e. language as the first order semiological system,and myth as the second. The first level is a denotation level. A work o f art - as an image - possesses an iconicmessage. An explanation at this level gives meaning to the literal or the non-coded iconic message whichcan be seen from indicators o f observable reality. The second level (level o f connotation) is the reading o f thesymbolic message, -which is based on a certain cultural code or familiarity towards a particular stereotype.In this case, an image or artwork with such a connotation signifies an ideology, while that being signifiedis called rhetoric or cannot at or.Works to be analysed are /DM. Mekomatia's “Dikejar Waktu" and Uliana Iraw.vii's "Tak AdaBatas." These are examples o f images which possess iconic messages: literal/denotative as well as symbolic.In addition, they also contain a contextual "text" (the title o f the work). The structure is able to be usedas a reference in giving meaning or reading a urork o f art, denotatively and connotatively as well. Tnecommunicative relationship behoeen the existing iconic messages guides a person in giving it meaning.Keywords: art, semiotics, mythical theor
KERAMIK CINA MENGUAK PERADABAN MANUSIA
No full textCeramic is a cultural creation that shows human civilization at the moment it is created. Ceramic is also a reliable reference to reveal the history of a nation, not only from the high quality of its material, but also from the documentation applied on it. Chinese ceramic existed within a period of various dynasties had peculiar feature and specific characteristic. Chinese civilization history is eternally recorded in their ceramic ornament. Those ceramics contain symbols, hope,narration and artistic expression that words cannot express. Moreover, information of civilization thousands years ago, can be obtained from various motives and symbols printed on ceramics.Keywords : ceramics, ornament, civilizatio
Batik di Era Teknologi Digital
No full textBatik in the Era of Digital Technology. The process of Batik making (handmade batik and printed batik) operates certain techniques and equipments that are certainly influenced by the technology development. The effects do not only touch the production process but also the distribution process. Digital technology is also applied in this field that in one way or another promotes the batik art. Digital technology is already used in creating batik design. It results in various type of design, for example the fractal batik that makes over the geometrical forms. Digital technology applied in designing batik causes a more effective and efficient making process. This technology completes the manual process that is still employed until today.Keywords: batik, digital, fractal, art, craf
Subroto Sm. dan Konvensi Dalam Seni Rupa
No full textBanyak pendapat yang menyatakan bahwa dosen seni rupa di ISI Yogyakarta tidak dapat berperan secara maksimal sebagai seorang seniman. Secara sosial, fungsi pendidik seni ditempatkan sebagai bagian dari struktur support yang mempersiapkan mahasiswa seni menjadi calon seniman. Fungsi ini mengurangi kesempatan seorang dosen seni untuk merintis karir kesenimanannya sendiri. Karir seniman perupa mempunyai sifat khusus yang berbeda dengan karir di bidang lain, karena karir di bidang ini susah diukur tingkat profesionalitas kerjanya, batasan waktu kerja, ruang kerja, dan jangkauan karirnya di masyarakat secara luas. Dosen seni harus mengadakan pertemuan-pertemuan belajar mengajar dengan mahasiswanya di kelas atau studio, dan juga segala aktivitas sebagaimana dosen bidang lainnya, sementara untuk menjadi seniman, dia juga harus menyisihkan waktunya bekerja di rumahnya untuk membuat karya seni. Diluar proses produksi karya, seorang seniman juga dituntut untuk selalu mengeksplorasi kreativitasnya dengan mencari bentuk-bentuk dan gagasan-gagasan baru. Proses penciptaan karya seni memerlukan waktu dan konsentrasi tinggi dari pelakunya. Kendala waktu menjadi salah satu alasan kuat yang membatasi peluang mereka menjadi seniman yang utama atau yang sering disebut sebagai “full time artist”. Pada kenyataannya, terdapat sebagian kecil dosen yang dengan kemampuan yang dimilikinya tetap mengambil bagian dari medan sosial seni utama di Indonesia. Mereka berkarya di sela-sela waktu luang mengajar disisihkan untuk membuat karya seni. Persoalan biaya hidup menjadi masalah yang sudah terselesaikan, walaupun pada akhirnya para dosen yang seniman juga mengalami kesulitan pendanaan untuk membuat karya yang berbiaya tinggi
Berpikir Tentang Garis, Mengolah Garis Jadi Seni
No full textLine is a crucial part of human life that is inseparable from the society. The significance of line can be viewed from various angles. It can be scrutinized based on its form and the point of view used in the analysis. In real life, line can be classified into two big classes: those that are natural- they exist naturally and those that are resulted from creative thinking process of human. Line is a vehicle by which an artist expresses himself and actualizing his ideas to be understood and appreciated as a work of art.Keywords: line, creating line, expression, ar
STREET ART: SISI LAIN DARI FENOMENA MURAL JOGJA SEBUAH PERTARUNGAN IDENTITAS DAN KEPENTINGAN
No full textMurals, as one o f the public art genres, has experienced rapid development in Jogjakarta, especiallysince the emergence o f Kclompok Ajwtik Komik as one o f its pioneers. Nevertheless, there are other factorsinfluencing the development o f murals, including socioculture, politics and economics, as well as globaldevelopment: lifestyle and the globalisation o f culture. The project o f Apotik Komik (Mural Kota, 2002)marked the beginning o f murals. As a result, murals spread sporadically throughout Jogja and even reachedremote corners o f the city. A new moniker is even attached to jogja as the City o f Murals.'The term "mural" (especially amongst the people o f Jogja) becomes a common word used to addressevery drawing and painting on most ivalls across the city. While, in fact, some works on walls in Jogjaoriginate from different genres. Several works are inclined towards the artistic style and possess roots whichare different front existing murals; some choose gruff ti and street art such as stencil, sticker, characters, etc.Differing from former mural artist communities, in the beginning o f2003 these groups began lo show theiractivities in Jogja s public spaces, and, o f course, they have different characteristics from existing murals.Keywords: street art, graffiti, public spac
'Jalan Pembebasan' Edi Sunaryo
No full textMelacak jejak proses kreatif pelukisEdi Sunaryo (lahir di Banyuwangi, JawaTimur, 4 September 1951), sejak iamenapakkan pilihan profesinya menjadipelukis sekitar tahun 1970-an, akanditemukan fase-fase yang menarik. Di awaikarier, karya-karyanya bersandar padakekuatan dan kemampuannya menyusungaris, bidang, warna, dan tekstur, hinggamencapai kutuhan harmoni. Dalam fase itu,ia menggulirkan semacam tema yangdicitrakan sebagai 'citra primitif; yangmengisyaratkan bagaimana gubahan tatarupa itu berdasarkan atas spirit dari duniaseni (rupa) yang arkhaik. Fase ini dilaluicukup panjang (hingga akhir 1990-an). EdiSunaryo seperti terperangkap dalam jaringjaringtata rupa yang dibangunnya sendiri
Refleksi Dalam Seni Patung
No full textAs part of a community, an artist can’t be released from the influencing phenomena occurred in the community. A work of art is a reflection of the inner drive and emotion from its creator. In getting in touch with the community, the writer deeply touched by what really happened inside currently. The advanced technology proves that it cannot only make man think rationally but also drags him away from his rationality. The upcoming high competition in all human life aspects has recently raised the human egos. Things are seen materially from profit and loss. Those who expect prosperity instantly would not do something more real to get merits. This sets them up in a game made by others who take advantage of other people’s confusion. Alike phenomena are plenty to be revealed; even it never lasts, because of its dynamic nature of the community. Swimming pool is used as a metaphoric symbol of depiction on the importance of “reflection” to the human beings either individual or as a group. The form of swimming pool is symbolically presented in a different way. To attain a natural look without any distortion, a view point has to be made. The beam reflection of water shadow is made to make the situation inside the room more alive. This work is created to invite the art lovers enjoy the swimming pool nuance without getting drenched as well as having self introspection. Amongst the sculptures presented, one of them could be a reflection of oneself. Keyword: reflection, introspectio
MEMBACA GAMBAR BERPIKIR VISUAL
No full textReading a picture is no different to reading verbal text. The brain sensors o f the obsener willidentify and the psyche will translate the results differently based on the references and experiences o f theaudience. Technical illustration as an element o f visual language has its own illusive property because thecomponents are assembled from a mechanical series. This technical illustration should enable to provide athree-dimensional visual information on the material composite, the works, and placement.Keywords: Technical illustrations, visual information, monosemic, three-dimensional