Journal of Visual Art and Design
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Mengamati Aspek-Aspek Visual Pertunjukan Tari Sebagai Pengayaan Kajian Senirupa
Get PDFAccording to the medium, arts can be classified into the art of visual, the art of hearing, and the art of words. Those included in the art of visual are dance and fine art, in the art of hearing is music and in the art of words is poetry. This paper describes one of the art of the visual"”dance, which use human body and its movement as a medium of expression. Fact shows that a dance performance exists due to the involvement of supporting elements such as visual disposition. Certain dances limit themselves to the supporting elements of costumes, make-up, property (tools) and musical instruments; others equip with stages, decorations, and lightings. Traditional dances"”in particular"”extensively equip themselves with supporting elements to show its characteristics. Thus, since dance requires the supporting element of visuals, it is reasonable to observe it as similar to the way we observe the object of fine art. The scope of observation for the supporting elements of dance performance may cover the whole visual events or just merely one of the scenes. Therefore, a contextual knowledge of both inside and outside can be fully grasped to form the background of the dance performance
Perempuan Perupa Cina dalam Perubahan Politik di Cina
Get PDFChina has experienced several political changes. The latest change is the emerging of capital-liberalism, which cause their openness to the foreign culture and visitors. This openness has influenced their art work too. The Chinese's Art work is no longer made for propaganda purpose, but shifting to the aspiring of personal expression or for the purpose of social criticism. Yet, seeking the "freedom" of this capital-liberalism era, do not certainly brings equal opportunity to the woman artists of China. It was after the 1995 International Women Conference in Beijing that Chinese women artists began to realize their aspirations. Since then, many works by Chinese woman artists' take woman issues as their object and showing a new expression of aesthetics
Ragam dan Unsur Spiritualitas pada Ilustrasi Naskah Nusantara 1800-1900-an
Get PDFA civilized society is a society who respects the culture of its predecessors and their philosophy of life, including the inherited artifacts that represent cultural values. Accordingly, the cultural development of a society can be traced and valued from its traditional artifact, such as an ancient drawing/old illustration that passed from the older generation. Aside of its economical values, ancient drawing/old illustration is a cultural product that serves as an object of visual language or visual communication. Before script and writing were established, drawings were used by people from thousands years ago to establish communication. The discovery of pictures in the prehistoric caves is considered as the beginning of drawing tradition towards modern illustration. Yet, the discovery of scripts and writing devalue the tradition of drawing, although it is believed that pictures worth to be the simplest and the most effective communication among human. This research tried to identify how an ancient illustration/drawing is used as a mean to communicate, as well as understanding the society who created it. A hermeneutic reasoning was employed to explain the visuals of ancient illustration/ pictures. Illustrations/pictures from the old Java and Bali traditional visual arts until the first year of the 20th century were used as object of analyses. It was assumed that the selected objects carry visual communication means and spiritualism content that could be elaborated more, and thus provide rich understandings to learn from
Kajian Estetika dan Unsur Pendukungnya pada Keraton Surakarta
Get PDFIn Javanese culture, the Keraton of Surakarta Hadiningrat (Surakarta Hadiningrat Palace) is classified as one of the highly valued Javanese historical objects. It is due to the fact that the history of the Palace's construction has a close connection with the history of the previous Javanese kingdoms, especially those belong to the Mataram Rajakula (dynasty) which was established in the year 1508 of Javanese calendar (Saka) or 1582 AD. The word "keraton" originates from the word 'ke-ratu-an, a manifestation of highly valued creation or 'Pamesu Budi' (in Javanese language) of a king, his men of letters, and his artists, the creation that caters the Javanese life values and norms. From its meaning, the design of the Surakarta palace"“in Javanese language--characterizes the following: nyipati wewangun toto lahir, sinartan dhamang dumateng pagedhong pikajeng, manunggaling kang agal lan alus, whose translation says that the merger between physical and metaphysical thing, between logic and non-logic, between the soft and hard, and between wadaq and thought
Muatan Ideologi Iklan Global Pada Tayangan Media Televisi di Indonesia
Get PDFThis study tries to uncover the existence of ideological values that are present in the global advertisement in Indonesia, by focusing on how these ideological values are present in the communication ideas of global advertisements. It is aimed to respond to the whole factual problem using a series of analysis. At first, the meaningful expression of objects are identified, especially those that are related to the thoughts, perceptions, concepts, and objectives of global expressions in the advertisements. The interpretation norm of semiotic approach was employed to identify the ideological values of those global advertisements in Indonesia. Results indicate that global advertisements in Indonesia are loaded with ideological values. It is reflected in the appearances of those advertisements, including the swinging values of consumerism, cultural imperialism, stereotyping global lifestyles, perfectionism, and decontextualism. Although these embedded values are-somewhat-contradicting Indonesian values, they may emerge through dis-culturation, inculturation, and acculturation processes as there are no adequate efforts to make the public aware. This may lead to a big sacrifice that we all have to endure, and that is the emergence of high-cost culture
Desain Kebaya Sunda Abad Ke-20 Studi Kasus di Bandung Tahun 1910-1980
Get PDFThe female traditional outfits of Sunda are varied according to geography, history, social life, economy, and cultural transformations that have taken place for centuries. The similarity in both cultures and historical background had resulted in the similarity on structural design of the various female outfits in this area. This study focuses to identify various styles of kebaya Sunda that shared similarity of features. The word Sunda itself was used as a collective term, and apparently had a relation with the original place and culture of the kebaya wearers "“ female Sundanese. Given wide geographical area and historical richness of Sunda, the study focuses on the area of Bandung during the period of 1910"“1980. The study employed a descriptive analysis that was based on the historical approach, in an attempt to describe the cultural transformation of kebaya as the traditional female outfit that had taken place in Sunda area. To identify design features of kebaya Sunda, the study employed both synchronic and diachronic approaches. To analyze the effect of modernization toward aesthetical shift and changes of design in kebaya Sunda during 1910-1980, the study employed aesthetical approach. In addition, the study also looks into the influence of social stratification upon the classification of the designs in kebaya Sunda. Results suggest that: (1) Design features of the kebaya Sunda had accumulated into five different styles (V neckline, wide samleh, small samleh, cowak, and triangle bef), (2) The modern education and the changes of thinking pattern, trend mode and textile, and the technological development of pattern making had greatly influenced the aesthetical shift of the kebaya Sunda design, thus greatly affecting their design changes (sleeve shape, collars, necklines, proportions, textures, silhouettes, constructions, and decoration varieties, (3) The influence of the social stratification to the design classification of kebaya Sunda in Bandung in 1941 was evident, when kebaya menak and kebaya cacah were created. Their significant differences appear in shapes, lines, silhouettes, proportions, textures, decoration varieties, details, and trimmings. The style of kebaya menak was predominantly used by all styles of the kebaya Sunda whereas kebaya cacah tended to use small samleh style
Unsur Tasawuf dalam Perupaan Wayang Kulit Purwa Cirebon dan Surakarta
Get PDFWayang Kulit Purwa"”based on Indian epics and original Javanese myths"”is considered as the media link between the Hindi-Buddhism era (Kabudan) and the Islamic era (Kewalen) of the Indonesian traditional arts. It is assumed that wayang kulit holds a relationship role to these two eras. The effort to understand this relationship can only be explained through Sufism that was practiced by the Nine Apostles of Java (Wali Sanga) who has contributed a great deal to the Wayang Kulit Purwa adaptations. It is obvious that there are Sufistic meanings in the visualizations of the figure in Wayang Kulit Purwa as shown by differences of dimensions and intensities in its manifestations, even with the same local area (gagrak). Differences are range from visual details among different figure appearances of the similar character, called wanda, to the different figure appearances of different characters. This is particularly more obvious in the differences between the gagrak of Cirebon and Surakarta. This study focuses on the analysis of various characters figures such Bima, Mintaraga, Semar, Cakil, Rahwana, Duryudhana and Dursasana from both gagraks of wayang kulit. The Cirebon gagrak shows a Sufistic understanding which looks to the medium not in a serious matter, being more straight forward, more egalitarian and more focused. On the other hand, Surakarta gagrak shows a Javanese Sufistic understanding that put the importance of visualizing elegance and grace-ness in manners and spirituality, as a proof of harmony between the world of physique and spirituality
Nilai Estetis Pada Kemasan Makanan Tradisional Yogyakarta
Get PDFThis research is focused on investigating the aesthetical and philosophical values of traditional food packaging in Yogyakarta, whereas much of traditional values are still applied and existed in the daily life. It is thought that the philosophical value of traditional food packaging is related to its use in the traditional ceremonies of the Yogyakarta Palace, such as Garebeg Mulud (Sekaten), Garebeg Syawal, Garebeg Idhul Adha, Tumplak Wajik, and Labuhan. Although some of traditional food packaging are also used in the people's ceremony, such as birth, wedding, and funeral ceremonies. Accordingly, traditional food packagings are mostly used to represent symbols that link to the life of the people of Yogyakarta. The aesthetical value of traditional food packaging can be identified from its visual elements, such as shapes, lines, textures, colors, masses (volumes), spaces, and the composition of those elements using natural materials such banana leaf and young coconut leaf. The intertwined of each element carry on meanings and therefore when modern materials (papers and plastics) are applied, most of traditional food packaging degrades their actual and symbolical meanings
Kajian Terapan Eko-Interior pada Bangunan Berwawasan Lingkungan Rumah Dr. Heinz Frick di Semarang; Kantor PPLH di Mojokerto; Perkantoran Graha Wonokoyo di Surabaya
Get PDFThe intertwined influence of both local and global phenomena toward the disturbance of environment requires immediate awareness of all; including also designers, architects, and building contractors. Yet, it is hardly to find concrete application in the field of interior design that embeds ecological approach on buildings, especially for the case of Indonesia. To address the issue, this study looks into several buildings in Java that have applied ecological-approach, a balanced-way between human, space, and environment. Having the purpose to investigate and to compare applied ecological-approaches of each building, the results are aimed to provide applicable-examples and/or a referential model for ecological building in Indonesia. Henry HCM Christiaans's cyclical-applied research was adopted as a method for the study, which consists of practical problem, diagnosis, plan, intervention, and evaluation. The compared results of each selected building and their examples of environmental approach are presented and discussed
Motif Naga pada Hinggi Sumba Timur Sebuah Metamorfosa Estetik
Get PDFHinggi, a traditional ikat cloth, is one of East Sumba's foremost material culture. As a component of the East Sumbanese traditional man's dress, hinggi is visually impressive. Its patterns display attractive motives, decorative and symbolic, that depict religious conviction, power, wealth, status, honor and gender prestige, based on local and foreign sources that comply to traditional standards of quality. Intrinsically it indicates hinggi's central role in social and ritual context, making it a highly prized item among the East Sumbanese, a matter that has been taken place since ancient days, and the international audience as well. Throughout its long history, the making of the hinggi came in contact with outside powers i.e. through trade, colonialism, education, and industrialization, including today's international tourism. From a cloth that functioned to serve the internal culture of its producers, hinggi became a commodity for outsiders that consequently affected its aesthetical aspects. Hinggi's patterning went through changes towards new forms adjusting to external demand, especially for the past 30 years, resulting in salient differences between hinggis made for sale and those made for internal use. Significant visual changes are that of the introduction of secular designs depicting local cultural themes such as ceremonies and mock battles, conveyed in realistic expressions with smooth lines in a coinciding asymmetric configuration within a narrative set up, replacing traditional spiritual iconography which is relatively stylistic, abstract and stiff, in a diametrical symmetric setting with no expository relation. New hinggi designs principally sprung up from three main themes i.e. the papanggang, a spectacular burial ceremony carried out for personalities of high social status; the pasola, a ceremonial (in the past real) battle between opposing parties; and the palai ngandi, a folk tale about the groom's kidnapping of his bride. The three themes are presented in numerous variations, partly in combination with traditional symbolic motives, which now play a minor role in the overall configuration, besides the many more without them. However, the new designs have no role in East Sumba's tradition. Traditionally designed hinggis continue to exist due to their importance in the East Sumbanese internal culture