1,720,966 research outputs found
Pengaruh Modernisme terhadap Aplikasi Ragam Hias pada Desain Masjid Salman-ITB Karya Ahmad Noe’man
Full text linkThis research will focus on the Ir. Achmad Noe'man perspective symptoms of decoration on the Salman ITB mosque that are designed around 5 (five) decades ago, namely in 1959. Methodologically this study is a descriptive research approach to the Social History of Art. Objects are selected based on observation and the assumption that the role of decoration in the mosque he designed had a very strong reduction compared to the tradition of decorating the mosque during this time both in Indonesia and foreign countries. Ornamental pattern as the heart of Islamic art is not as important anymore in the eyes of the architect. And of course it contains a variety of reasons or background concepts and ideas that cannot be separated from the situation at that time. In Salman mosque seemed how strong the desire of Achmad Noe'man to go with the flow and current popularity of modernism which is too simple and functional, also inspired by the purism, though as a Muslim architect, he has the concept and other perceptions about the value of beauty in a more contemplative and transcendent. That is, although the ideology that is reflected in the Salman mosque is very secular in accordance with the concept of modernism, but Achmad Noe'man not lose power as well as spiritual. From the observations made can be concluded that the spirit factor of the time was very influential towards the constellation of decoration on some modern mosques in Indonesia at that time (Istiqlal, for example), but understanding the sense in the application shift of decoration on the modern mosque's created by Noe'man Achmad means that it also refers to the private contemplation (inner value) which tend to be more stable than the influence of his understanding of the flow of thought, academic factors, political, and spirits that tend to be volatile times like a fashion phenomenon
Kajian Terhadap Kecenderungan Aspek Visual Dalam Perancangan Produk Mode Berbasis Tenun Gedhog Khas Tuban
Full text linkAbstract- Indonesia has a lot of cultural diversity which able to support the sustainability of the Creative Industries. Among them is gedhog woven, a traditional weaving cloth. Compared to other types of weaving such as ikat or songket, gedhog woven still lack in popularity in the consumer market. However, gedhog woven has the opportunity of further development into a weaving-based product in the fashion industry to aim high recognization in society. Consumer interests and perceptions of weaving-based products are analyzed through qualitative method in order to understand the consumer market. Experiment also conducted to obtain the final form of fashion products made from gedhog woven material. Product diversification refers to visual aspects in design such as shape, color, size, and proportion. Analysis of tendencies towards fashion product from woven materials obtained through this research. This can be utilized both for the foundation of further research as well as improving the quality and value of selling products in the consumer market.Keywords: visual aspect, fashion, gedhog woven
Abstrak- Indonesia memiliki banyak kekayaan budaya yang dapat mendukung keberlangsungan Dari Industri Kreatif. Salah satunya adalah wastra nusantara berupa tenun gedhog. Dibandingkan dengan jenis tenun yang lain seperti ikat atau songket, tenun gedhog masih kurang popularitasnya di dalam pasar konsumen. Meski demikian, tenun gedhog tetap memiliki peluang pengembangan lebih lanjut menjadi sebuah produk dalam industri mode supaya makin dikenal oleh masyarakat. Minat dan persepsi konsumen terhadap produk berbasis tenun dianalisis melalui metodologi kualitatif dalam rangka memahami keinginan pasar. Selain itu, dilakukan pula eksperimen untuk memperoleh bentuk akhir produk mode yang terbuat dari material tenun gedhog. Diversifikasi produk mengacu kepada aspek visual dalam desain seperti bentuk, warna, ukuran, dan proporsi. Melalui penelitian ini diperoleh analisis dari kecenderungan masyarakat terhadap pemilihan produk mode yang terbuat dari material tenun. Hal ini dapat dimanfaatkan baik bagi landasan penelitian selanjutnya maupun bagi peningkatan kualitas dan nilai jual produk dalam pasar konsumen.Kata kunci: aspek visual, mode, tenun gedho
KAJIAN IKONOGRAFI DESAIN GRAFIS BERGAYA SUREALISTIK PADA T-SHIRT MEREK WELLBORN KOLEKSI TAHUN 2017 DI BANDUNG
Full text linkLocal brand is a fashion creative industry which is favored by young people. There are many local brands in Bandung City. T-shirt is one of local brand products which is related to graphic design. Concept and meaning in graphic design on T-shirt can be researched using The Iconography Theory of Erwin Panofsky. Graphic design on local brands T-shirt in Bandung City leads to simple graphic design trends, display direct branding and variation of color in T-shirts. However, one of brand, Wellborn, features graphic design with its own characteristics on the T-shirt as a creativity, that is surrealistic style graphics design on T-shirt. It is a sub category of T-shirt that can be studied through the meaning of graphic design on T-shirt. It underlies the research on graphic design of Wellborn T-shirt. The research stages are observation, interview, literature study, documentation and analysis which includes pre-iconography, iconography and iconology. The purpose of this study is to know the meaning of Wellborn T-shirt design based on The Iconography Theory of Erwin Panofsky and its association with Wellborn branding. The research method is descriptive qualitative. Objects studied are the surrealistic style graphic designs of Wellborn T-shirts 2017 collection. The samples of data are selected using purposive sampling. The result of the analysis shows that in pre-iconography, there are various objects placed in one graphic design on T-shirt. In iconography, it has a secondary meaning that there are things which are limitless, and in iconology, it has the meaning of freedom of mind/thought because it is related to freedom in imagination, infinity and a difference. They show the characteristics of the Wellborn brand. Keywords: Iconography, Graphic Design, Surrealistic Wellborn T-shirt, Bandung
Batik Fractal: Marriage of Art and Science
Full text linkBy applying Fourier Transformation, this paper shows that batik has fractal characteristic. This character is shown in batik's fractal dimension between 1 and 2. The isen process in batik is one factor that contributes to create self affine as one of fractal's important characteristic. Anova Test for fractal dimension in this method classifies batik according to patterns and its region. Fractal in batik shows the presence of complexity in traditional art. This complexity arises because the effort to obey pakem rule and media. Furthermore, the presence of fractal in batik becomes the foundation of this paper to create algorithm which will produce new kind of patterns: Batik Fractal. The method used for creating the pattern is L-System and Fractal Dimension. L-System is used to create pattern, while Fractal Dimension is used as a measurement tool for Batik Fractal to compare with traditional batik. Algorithm to create Batik Fractal has been developed into a software known as jBatik. As a software, jBatik becomes a helping tool for batik makers to create new patterns. jBatik v 2.0 has been used as a tool to create new batik patterns in creative industry by involving several batik makers
MEDIA DIGITAL UNTUK MENINGKATKAN KEMAMPUAN BAHASA PADA SENTRA KERAJINAN KERAMIK HIAS PLERED
Full text linkThe need for the application of digital technology in the process of education and research, especially in the field of art and design that is implemented by modeling of digital media interactively on crafts center and art to improve the English language skills for students, lecturers/ researchers and practitioners of arts and crafts that will be very useful in the research process. The method used is i-LEAP (Interactive Learning English Through Actions & Photos) method of learning English that combines audio, photos and action packed in a digital media with interactive applications that have multiple menus that can be selected to display certain information is accompanied by audio. Photos and actions needed to provide context so that the context of language learners make vocabulary and expressions learned easily understood and remembered. While audio facilitate learners imitate the correct pronunciation of the English language. The results of this study indicate a variety of interactive digital media innovation that is very useful to enhance the learning process, research data and sale of ceramic craft centers Plered. Keywords: Decorative Ceramics, Digital Media, Interactive, Craft Center, Plered ___________________________________________________________________ Perlunya penerapan teknologi digital pada proses pendidikan dan penelitian khususnya dalam bidang seni rupa dan desain yang diimplementasikan dengan pembuatan model media digital interaktif pada sentra kerajinan dan kesenian untuk meningkatkan kemampuan bahasa Inggris bagi mahasiswa, dosen/ peneliti dan praktisi seni dan kerajinan yang akan sangat berguna dalam proses penelitian. Metode yang digunakan yaitu i-LEAP (Interactive Learning English Through Actions & Photos) metode pembelajaran bahasa Inggris yang menggabungkan audio, foto dan aksi yang dikemas dalam sebuah media digital dengan aplikasi interaktif yang mempunyai beberapa menu yang dapat dipilih untuk menampilkan suatu informasi tertentu disertai dengan audio. Foto dan aksi menyediakan konteks yang dibutuhkan pembelajar bahasa sehingga konteks membuat kosa kata dan ekspresi yang dipelajari mudah dipahami dan diingat. Sedangkan audio memudahkan pembelajar meniru pelafalan bahasa Inggris yang benar. Hasil penelitian ini menunjukkan berbagai inovasi media digital interaktif yang sangat berguna untuk meningkatkan proses pembelajaran, data penelitian dan promosi sentra kerajinan keramik Plered di Kabupaten Purwakarta.Kata Kunci: Keramik Hias, Media Digital, Interaktif, Sentra Kerajinan, Plere
Kelenteng Kong Fuk Nio dan Masjid Jami Muntok dalam Worldview Toleransi Kota Muntok
Full text linkThe long history of ethnic and religious tolerance in Indonesia has always tended to tell a story about expressions of indifference, and even hidden persuasiveness, which scrutinizes the problems of large organizations such as religion and culture. By concentrating on two contiguous places of worship of two religious’ communities in Muntok City, West Bangka, this article strives to identification from a side that is rarely exposed. The observation, interviews, and the acquisition of literature data elucidate how the application of amalgamated components in the two places of worship is a product of tolerance practices negotiated in the past hence it is of utmost significance to refrain from disregarding this historical substance through the interpretation of anomalous forms or idealized occasionalism. Thus, through Rainer Forst's concept of "Toleration", this article attempts to provide research significance to comprehending the concept of tolerance by discussing the relationship between physical cultural relics and tolerance practices to gain the worldview of the cultural proprietors. In this discourse, the presence of a building that represents a form of tolerance in a region is not only seen from its physical appearance, but also by careful consideration of the intangible relationships that operate in the realm of history and societal change.AbstrakSejarah panjang toleransi dari keragaman etnis dan agama di Indonesia senantiasa memiliki kecenderungan untuk menceritakan sebuah kisah mengenai ungkapan ketidakpedulian dan keterpaksaan, yang menganalisis permasalahan dari organisasi besar seperti agama dan budaya. Dengan mengambil fokus pada dua tempat peribadatan dari dua umat beragama yang berdampingan di Kota Muntok, Bangka Barat, artikel ini akan mencoba mengidentifikasi dari sisi yang jarang terekspos. Hasil observasi, wawancara dan perolehan data literatur, menunjukkan bagaimana penerapan elemen yang dipadukan pada dua bangunan peribadatan tersebut merupakan produk dari praktik toleransi yang dinegosiasikan di masa lampau sehingga penting sekali untuk tidak mengabaikan sejarah material ini dengan memaknai toleransi pada bentuk yang anomali, perpaduan yang kebetulan, atau oksidentalisme yang diidealkan. Melalui, konsepsi “Toleration” dari Rainer Forst, artikel ini mencoba untuk memberikan signifikasi penelitian terhadap konsep toleransi dengan mendiskusikan relasi antara artefak budaya fisik dan praktik toleransi serta worldview (pandangan-dunia) masyarakat pemiliknya. Dalam artikel ini, keberadaan sebuah bangunan yang digunakan untuk merepresentasikan toleransi dalam sebuah wilayah, tidak serta merta melihat secara fisik saja, namun harus juga melihat relasi-relasi nonfisik yang bergerak dalam dimensi sejarah maupun perkembangan masyarakatnya.
“Mbok Mase” dan “Mbok Semok”: Reinterpretasi Karakter Perempuan Jawa dalam Kultur Batik
Full text linkStigma masyarakat tentang karakter perempuan Jawa digambarkan sebagai sosok marginal yang tunduk pada kekuatan laki-laki, pengabdi, penurut, pelayan, bertutur kata lemah lembut, dan bergerak pelan dengan wajah menunduk. Deskripsi tersebut berubah secara dinamis dan mengalami reinterpretasi melalui peristiwa sejarah terkait peran perempuan Jawa dalam perjuangan penyetaraan hak dengan kaum laki-laki. Pemaknaan ulang karakter perempuan Jawa terjadi pada lingkup pengrajin batik di Girilayu, Karanganyar, Jawa Tengah. Mereka bersepakat membentuk pencitraan untuk ciri khas produk batik dengan istilah “Mbok Semok”. Analisis perspektif sosio-kultural memperlihatkan bahwa karakter, kekuatan, dan peran para perempuan pengrajin batik tersebut sebagai motor penggerak perekonomian di Girilayu. Uraian tersebut memiliki kesamaan dengan karakter, kekuatan, dan peran perempuan juragan di Laweyan, Surakarta (Solo) dengan sebutan “Mbok Mase”, sebagai kunci keberhasilan perjalanan sebuah usaha batik keluarga. Penelitian ini bersifat kualitatif dengan pendekatan antropologi budaya, analisis menggunakan metode komparatif berdasarkan konsep teori reinterpretasi dari Melville J. Herskovits. Hasil penelitian berupa deskripsi, latar belakang serta bentuk-bentuk reinterpretasi karakter perempuan Jawa dengan komparasi antara “Mbok Mase” di Laweyan, Surakarta dengan “Mbok Semok” di Girilayu, Karanganyar. Temuan penelitian adalah karakter, kekuatan, peran, sikap bahkan sistem di Girilayu dan Laweyan yang mereinterpretasi karakter perempuan Jawa merupakan etos kultur batik
Harihara Headgears as A Symbol of Religious Symbiosis during the Majapahit Period (13th to 15th Century) in Java
Full text linkDuring the era of Hindu-Buddhist Kingdoms in Indonesia, Hinduism flourished, as evidenced by the discovery of temples and statues. While the main sect of that day is Sivaism, there is evidence of the worship of other gods, especially Visnu, as shown by the Harihara or Shankaranarayana statue, which portrays Viṣṇu and Śiva in one body. During the Late Classical era in Indonesia (11th to 15th century AD), several depictions of Harihara were found in statues of kings and deities. A major thing that can be recognized from the Harihara statue is the headgear. According to Silpasastra Manasara, Hindu literature that served as canon in the visual portrayal of deities, Harihara is depicted with half jaṭāmukuṭa and half kirīṭamukuṭa to represent the unity of Viṣṇu and Śiva. Nevertheless, in the Harihara statues found in East Java, while there are several variations of headgear, these characteristics are absent. This paper aims to highlight the issue, by focusing on the variations of the headgear and symbols attached to it, by using morphological analysis with an iconographic approach. It is found there are three tendencies in how Harihara statues’ headgears are portrayed during the Late Classical Era: as jaṭāmukuṭa, kirīṭamukuṭa, and the amalgamation of these two headgears, in which jaṭāmukuṭa is represented by the roundel or swirling patterns on the body of a truncated cone-shaped headgear that is resembled. It is concluded that this representation is related to the statue’s function as a manifestation of the Devaraja concept, which is to align the king’s image and characters with the image of the Gods. Harihara is normally used to represent the balance and duality of the king; Visnu’s kirīṭamukuṭa is used to represent the status of the king as the ruler that maintains the order of his kingdom, while Siva’s jaṭāmukuṭa is used to represent the ascetic side. Meanwhile, when the two crowns fusions, it represents that there is no definite segregation between those two roles. It also indicates the rise of the Harihara sect during the era, which can be linked to the political purpose to unify the different beliefs and factions during that tumultuous period. Keywords: Harihara, Headgears, Iconography, Java, Majapahit DOI: 10.7176/JAAS/84-05 Publication date: July 31st 202
Multi Aesthetics in Modern Batik of Hardjonagoro Go Tik Swan
Full text linkHardjonagoro Go Tik Swan was a Javanese of Tionghoa ( Chinese descendent in Indonesia) who was curious about ancient manuscripts, statues, dances, puppets, batik, and art in general. He became a prominent Javanese culture scholar acknowledged by peers in his era. His breakthrough in re-inventing batik while maintaining its classical values has established his creation to be known as modern batik. As a batik artist, Hardjonagoro Go Tik Swan showed a phenomenon where batik dissolves into discourse of life where it integrates and simultaneously follows the development of modern art. This study aims at the analysis of Hardjonagoro Go Tik Swan’s batik in the perspective of modern art discourse, focusing the discussion through the aesthetic theory of Feldman (1967) which defines aesthetic value as the ability of an object to experience beauty, and also AM Djelantik’s theory (1999) regarding aesthetic elements, which describe that every art object or event contains three basic aspects, namely appearance, content, substance and presentation. This research is expected to reveal the novelty of Hardjonagoro Go Tik Swan’s practice of making batik through the discourse of modern art. Keywords: Modern Batik, Aesthetics, Hardjonagoro Go Tik Swan DOI: 10.7176/ADS/86-03 Publication date:October 31st 202
UTILIZATION OF ‘TALI AIR’ BATIK STAMP IN EMPOWERING CREATIVE RESOURCE IN BANDUNG
Full text link'Tali air' batik stamp is a tool to create batik which is a single perpendicular line stamp by using hot wax. 'Tali air' batik stamp has a great potential to create various main ornaments but this technique has not been utilized yet for designing fashion products from Bandung. In this study ‘tali air’ batik stamp is utilized in empowering creative resource in Bandung. Method used in the study is qualitative method that is exploration by observing and discussing as data collection techniques. The result of empowering in this study is a prototype of 'Tali air' batik stamp product. This study can be developed to utilize 'Tali air' batik stamp in empowering non creative society or creative resource from areas other than Bandung
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