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Journal articles on the topic 'Indonesian Painting'
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1
Utari, Shela Dwi, Reza Hudiyanto, and Deny Yudo Wahyudi. "The Concept of Love of Country in 19th-Century Painting." Yupa: Historical Studies Journal 8, no. 1 (March 3, 2024): 240–49. http://dx.doi.org/10.30872/yupa.v8i1.2936.
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Love for the country does not only focus on the physical resistance carried out at that time but can also take other forms. In this case, painting artists realized their love for their homeland through visual aspects. This research explores the forms of the concept of love for the country in Indonesian painting, especially in the 19th century. This research uses the historical method with five stages: topic selection, heuristics, source criticism, interpretation, and historiography. The result of this research is that paintings in the 19th century illustrate the concept of patriotism as seen from the objects depicted. The object of the painting is not only fixated on the role and power of the colonial nation but also gives the impression that the Indonesian nation also has a role. This can be seen from some of Raden Saleh's paintings such as Daendels' potert, the painting Between Life and Death, and the painting of Prince Diponegoro's arrest, which gives the meaning that Indonesians also played a role in historical events that occurred at that time.
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Andika Putra, Emasyah, and Erfahmi Erfahmi. "PDRI DALAM KARYA SENI LUKIS." Serupa The Journal of Art Education 10, no. 4 (December 28, 2021): 316. http://dx.doi.org/10.24036/sr.v9i3.112256.
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The purpose of this painting with the PDRI idea is to visualize a heroic event that is starting to be forgotten. The method of creating painting works through stages (1) Preparation, (2) Elaboration, (3) Synthesis, (4) Realization of concepts, and (5) completion. Ten paintings about heroic events of PDRI were created. The whole work tells about the synergy between the community guerrillas and the PDRI to expel the Dutch and gain Indonesian sovereignty. This painting is an interesting medium to identify the history of PDRI. Besides, this work is also expected to be a motivation in appreciating the history of the Indonesian nation.Keywords: PDRI, Indonesian Republic,art painting
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Iswahyudi. "Towards Remediation of Indonesian New Fine Arts." Britain International of Linguistics Arts and Education (BIoLAE) Journal 2, no. 3 (November 12, 2020): 797–809. http://dx.doi.org/10.33258/biolae.v2i3.332.
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Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.
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Ni Ketut Wiriani Merta, I Putu Sudana, and Yohanes Kristianto. "Benefits of Wayang Kamasan Klungkung Bali in Improving Dignified Cultural Character and Sustainability of International Tourism." Jurnal Multidisiplin Madani 3, no. 9 (September 29, 2023): 1898–901. http://dx.doi.org/10.55927/mudima.v3i9.4861.
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So great is the importance of the meaning of Kamasan paintings as previous writers have explored the uniqueness and attractiveness of kamasan klungkung paintings. Wayang art is very full of meanings as in the study of writing: The Role of Painting as a Critical Media in the Industrial Revolution Era (Gusti Agung Widia Widyasari), namely painting is not a display item but as an intermediary for imformation and criticism, then the study unravels the meaning of Kamasan puppet painting in Puri Klungkung (Tzabit Azimer Ahmad) which peels Kamasan paintings telling books such as Adiparwa, Tantri, Sutasoma, and the lives of the Gods.Then the teachings of Hinduism as inspiration for the creation of traditional Balinese painting works (Wayan Agus Gunada). Painting is part of the art of Kamasan puppet art has unique cash characteristics such as natural forms, folklore, mythology and Hindhu religious teachings, which are manifested in the forms of symbols in it that are thick with spiritual value. Painting is not only as a display material but also as a material for forming human characters. Because in puppets there are good teachings and bad teachings. In puppets there are ways of behaving, ways of thinking, ways of dealing with life are all contained in puppet stories. Positive characters bring peace while negative characters bring misery. For example, Ravana, a puppet character who has a great lust that cannot hold back his ego, then makes all people miserable, Korawa who loba makes the entire palace miserable. Likewise, the wise character of Rama, the wise admiral character can be used as an example in behaving in everyday life. The reason for this research is to preserve traditional art assets as one of the wealth of the Indonesian nation (Bali). To introduce Indonesia in international especially tourism. While the uniqueness of painting is: 1 as the meaning of life / philosophical learning. 2 Wayang paintings have survived until now not extinct 3, puppet paintings as an economic breakthrough of the community, 4 Puppet paintings of ancestral assets, 5 Wayang paintings as friends of tourism to come to Indonesia.Almost all corners in the Sangging Kamasan Klungkung Bali banjar, there are puppet painting galleries that are ready to welcome tourisms visiting Indonesia, especially Bali. Great services of classical puppet painting or Balinese Traditional Paintings as a loyal friend of tourism, so that Indonesia can get acquainted with international countries because of the contribution of this classic puppet painting service (Balinese Traditional Paintings)
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Kurniawan, Iwan Jaconiah. "Intercultural Interaction: Indonesia and Soviet Society in the Sphere of Art Paintings in the Second Half of the XXth Century." Contemporary problems of social work 6, no. 2 (June 29, 2020): 65–71. http://dx.doi.org/10.17922/2412-5466-2020-6-2-65-71.
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the paper studies the problem of defining an intercultural interaction. The authors analyzed scientific works to identify and classify the Indonesian social realism art painting. In the second half of the XXth century, Indonesian artists had a close relationship with the Soviet Society in the sphere of fine art. The true influence can be found in the social-realism art movement between 1950–1965s in Indonesia during the first President Soekarno era. But the social-realism art movement was no longer because of the horizontal political conflict on September 30, 1965 as well-known as revolution. During the President Soeharto regime (1965–1999), all social realism fine art was destroyed. Socialist and communist ideology was banned in Indonesia. That’s why they represented socialism and communism style not growing freely until now. However, some paintings can be saved abroad by Russian scientists and art collectors. Since 2016, more than 30 Indonesian social-realism paintings were conserved, served, and shown into a historical exhibition in the State Museum of Moscow Oriental Art. These paintings became important in Indonesian social realism art history
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Pandanwangi, Ariesa. "komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an." Jurnal Budaya Nusantara 2, no. 2 (March 1, 2019): 305–11. http://dx.doi.org/10.36456/b.nusantara.vol2.no2.a1968.
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The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman's theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing the beautiful scenery on their paintings is that these paintings are intended tofavourEuropean communities living in Java. Another result of the study is that paintings at thattime still used traditional techniques and media, oil paint on canvas and the colours used aremostly bright.
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Pandanwangi, Ariesa. "komparasi karya seni lukis MOOI Indie Antara Seniman Indonesia dan Seniman Dari Barat Periode 1930-an." Jurnal Budaya Nusantara 2, no. 2 (March 1, 2019): 305–11. http://dx.doi.org/10.36456/jbn.vol2.no2.1968.
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The purpose of this study is to compare the 1930s indie mooi painting works between Indonesianartists and western artists. The samples of this study were paintings of Indonesian artists andWestern artists made in 1930s. Each work of these artistsis selected to represent his period. Hiswork is, therefore, analyzed using Feldman's theory. The results of this study show that manyartists' creative ideas are inspired by the scenery of Indonesia. These creative ideas lead to themesemerged which visualizing fields and mountains on their indie mooi paintings. The primarilyreason of visualizing the beautiful scenery on their paintings is that these paintings are intended tofavourEuropean communities living in Java. Another result of the study is that paintings at thattime still used traditional techniques and media, oil paint on canvas and the colours used aremostly bright.
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Cox, Matt. "The Painting of Prostitutes in Indonesian Modern Art." Southeast of Now: Directions in Contemporary and Modern Art in Asia 1, no. 2 (2017): 41–63. http://dx.doi.org/10.1353/sen.2017.0013.
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Ni Made Ariani. "Classical Painting of Wayang Kamasan to be UNESCO Intangible Cultural Heritage." Bali Tourism Journal 6, no. 1 (April 1, 2022): 17–20. http://dx.doi.org/10.36675/btj.v6i1.74.
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In the past, Balinese artists have been perfecting their skills in arts as an expression of gratitude to the Higher being or as a service to the community. One of the classic painting styles that endured through time in Bali since the days when King Anak Wungsu reigned. The classic art is the painting style from Kamasan village, Klungkung, known as Lukisan Wayang Kamasan or Kamasan Shadow Puppet Painting. Kamasan puppet painting is an expression of Wayang performance, composed into a 2-dimensional painting. The method of storytelling in the form of painting developed rapidly during the reign of ancient Bali, especially by the people who lived in the Kamasan village of ??Klungkung. The steps in determining the layout of the image, the drawing process, color making, and the coloring process of the Kamasan puppet painting are still used traditionally. The Indonesia Education and Culture ministry announced the submission of the Wayang Kamasan painting to UNESCO in early February 2022. This submission is a re-submission after the Kamasan puppet painting was proposed as an Intangible Cultural Heritage in 2018 by the Indonesian Government. However, the submission of the Kamasan Wayang painting as an intangible cultural heritage in 2018 was rejected because the documents were incomplete. The purpose of the protection in this convention is for art preservation, especially, for future generations. It means that anyone can use it, not just the group to whom the recognition of ownership of the intangible cultural heritage is given.
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Gadis Putri Maharani, Ni Made. "REPRESENTASI MOTIF PENDUKUNG LUKISAN KAMASAN KERTHA GOSA PADA BATIK DALAM BUSANA MODIFIKASI BALI DENGAN TEKNIK ZERO WASTE." Batarirupa: Jurnal Pendidikan Seni 3, no. 1 (April 30, 2023): 1–20. http://dx.doi.org/10.59672/batarirupa.v3i1.2655.
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Kertha Gosa is a courthouse inherited from the Semarapura Palace. There are three relics of the Semarapura Palace, namely, Bale Kertha Gosa, Bale Kambang, the Semarapura Museum building with a European architectural style which was previously a former Dutch school. Interestingly, in every Kertha Gosa building, there are various kinds of Kamasan paintings which are often associated with Balinese historical stories. This painting has a very prominent characteristic and each painting has a deep meaning or philosophy. The Kamasan painting found in the Kertha Gosa building is a source of ideas for batik motifs as a material for making casual clothes combined with Balinese modifications. Creation methods include methods of data collection, data analysis, work design, and work embodiment. The application of the creation method is used to strengthen the concept from observation to the realization of the work. The making of this work also uses a technique, namely Zero Waste. In the world of fashion, the Zero Waste technique is a movement to reduce or make clothing without producing textile waste in it. The entire work has a different title from the simple depiction of the Kamasan painting found in the Kertha Gosa building which has unique characteristics and meaning. This work was made with the aim that the Indonesian people know, do not easily forget and love history - history or culture that they have.
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Masyhuri, Muhammad, Ahsana Nadiyya, and Gresika Bunga Sylvana. "The Urgency of Regulating Resale Royalty Right on Painting Copyrights in Indonesia (Comparative Study of Germany and Australia)." Journal of Law and Legal Reform 4, no. 3 (July 27, 2023): 365–98. http://dx.doi.org/10.15294/jllr.v4i2.68103.
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The Berne Convention includes provisions for resale royalty rights, which have been adopted by countries worldwide. However, Indonesia has yet to establish a framework for resale royalty rights, leading to suboptimal protection of economic rights for creators of painting works. This study aims to analyze the regulation of economic rights for the resale of painting works under Copyright Law in Indonesia, Germany, and Australia. Additionally, it seeks to identify the urgency of implementing royalty rights resale in the Indonesian Copyright Law. The research utilizes a normative legal approach with a statutory and comparative focus. The findings indicate that Indonesia currently lacks specific regulations for royalty rights resale within its Copyright Law. In contrast, Germany and Australia have incorporated the resale royalty right provisions of the Berne Convention into their respective Urheberrechtsgesetz 1965 and Resale Royalty Right for Visual Artist Act 2009. The creators of painting works deserve royalty rights on the resale of their works to enhance their well-being and secure benefits for their heirs. Therefore, it is crucial for Indonesia to adopt legal practices regarding royalty rights resale based on the experiences of Germany and Australia. Recognizing the advantages of implementing royalty rights resale, it becomes evident that such regulations are essential in Indonesia. To protect the economic rights of creators of painting works adequately, Indonesia should consider incorporating provisions for royalty rights resale in its copyright law reform. This will not only strengthen the legal protection of creators but also promote the growth of the artistic community in the country.
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Ayuningtari, Arum Wilis Kartika. "A FORMALISM CRITIQUE OF DJOKO PEKIK'S PAINTINGS ENTITLED GO TO HELL CROCODILE." JURNAL PAKARENA 7, no. 2 (November 2, 2022): 145. http://dx.doi.org/10.26858/p.v7i2.35027.
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This research aims to explain the aesthetic aspects of Djoko Pekik's paintings entitled Go to Hell Crocodile. This research uses descriptive qualitative research methods. The approach step taken in this research is the art criticism approach with analytical interpretation using Feldman's formalism art criticism. The data was obtained through observation and literature studies. The subject of criticism in this research is a painting entitled Go to Hell Crocodile (2014) made by Djoko Pekik, a realist-expressive painter from Yogyakarta. To Feldman's critique structure, in this art criticism paper, there are four parts of explanations namely description, formal analysis, interpretation, and evaluation or decision. The research's results showed that there was a significant consistency in Djoko Pekik's paintings entitled Go to Hell Crocodile (2014) with his old work in 1998 entitled Berburu Celeng. This consistency is found in the concept of ideas, he brings up the phenomenon of Indonesian socio-politics issues. In addition, consistency is also found in visual concepts such as the selection of the main object's form, the supporting objects, and his unique expressive painting styles. The results of the observations also found some transformations in the visual aspects of Djoko Pekik's paintings, but some of these aspects did not change his style in a major way and this aspect could not even be known if the art enthusiast did not make in-depth observations.
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Dewi, Nur Warninda, Sri Supriyatini, and I. Wayan Sujana. "Endek Collaboration Unisex Top Clothes Design and Painting on Plain Fabrics." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (October 28, 2023): 236–45. http://dx.doi.org/10.59997/ctkr.v3i2.3006.
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Entrepreneurship is the process of creating something different by devoting all of one' s t ime and energy accompanied by taking r isks f inancially, psychologically, socially, and receiving remuneration in the form of money and personal satisfaction. Agung Bali Collection as a partner in the Entrepreneurial MBKM activity has an important role in designing Endek Patchwork Collaborative Unisex Tops and Paintings on Plain Fabrics and in adding insight as well as introducing the author to new painting techniques using canting massage. The author performs several s tages in this production process such as; the stage of searching for materials, the s tage of making dress patterns, the s tage of cutting or cutting endek patchwork patterns, the stage of sketching paintings, painting designs usin g painting paint, the packaging s tage, and the marketing stage. The main target in marketing the production of painted clothing in collaboration with endek patchwork i s the Indonesian people, ranging f rom vulnerable teenagers to vulnerable adults aged 18 - 25 years. Trika. Collection i tself is a writer' s personal business, this business i s engaged in fashion and art by utilizing online media as a promotional medium, with plain t - shirts and endek patchwork as i t s main products. Plain t - shirts and endek patchwork are the raw materials for making products because the materials are s trong and environmentally friendly, and the use of endek patchwork in the Agung Bali Collection as a form of preserving t raditional culture and processing patchwork waste into goods wil l have high selling power.
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Taylor, Jean Gelman. "Meditations on a Portrait from Seventeenth-Century Batavia." Journal of Southeast Asian Studies 37, no. 1 (February 2006): 23–41. http://dx.doi.org/10.1017/s0022463405000469.
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A seventeenth-century painting, ‘Pieter Cnoll and His Family’ by J. J. Coeman, reveals a number of entry points from which Indonesian histories can be explored. Through a discussion of the painting and its subjects, a variety of issues ranging from VOC (United East India Company) policies and mestizo relationships to gender, labour and legal rights in VOC-controlled ports are discussed.
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Irawati, Desi. "WAYANG PURWA SEBAGAI OBJEK LUKIS KACA KARYA RETNO LAWIYANI : Sebuah Kajian Visual Ornamentik." Ornamen 18, no. 2 (July 22, 2021): 110–23. http://dx.doi.org/10.33153/ornamen.v18i2.3705.
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ABSTRAK Wayang merupakan karya adiluhung Bangsa Indonesia yang dapat dikembangkan dari berbagai sisi, salah satunya adalah wujud visual wayang yang diterapkan pada karya lukis kaca. Retno Lawiyani adalah seniman lukis kaca yang menggunakan wayang purwa sebagai ide gagasan dalam setiap karya lukis kacanya. Ide gagasan tersebut sangat menarik untuk diteliti, terkhusus dari sisi estetikanya. Penelitian ini bertujuan mendiskripsikan 1) latar belakang kekaryaan Retno Lawiyani, 2) proses kreatif Retno Lawiyani pada karya lukis kaca, 3) wujud visual lukis kaca Retno Lawiyani. Penelitian ini menggunakan metode penelitian kualitatif yang menghasilkan data diskriptif analisis, dengan alur pengumpulan data, reduksi data, analisis data, dan simpulan. Objek penelitian adalah 5 karya lukis kaca Retno Lawiyani yang dipilih menggunakan tekhnik purposive sampling. Jenis pendekatan yang digunakan adalah pendekatan biografi, pendekatan kreativitas, dan pendekatan estetika menurut teori A.A.M Djelantik. Menurut A.A.M Djelantik, terdapat 3 unsur estetika yaitu wujud/rupa, bobot/isi, dan penampilan, ketiga unsur tersebut kemudian digunakan untuk menganalisis karya lukis kaca Retno Lawiyani.Kata kunci : lukis kaca, wujud visual, ornamentik. ABSTRACTWayang is a valuable work of the Indonesian people that can be developed from various sides, one of which is a visual form of wayang which is applied to glass painting. Retno Lawiyani is a glass painting artist who uses wayang purwa as an idea in each of her glass painting works. The ideas are very interesting to study, especially in terms of aesthetics. This study aims to describe 1) thebackground of Retno Lawiyani's work, 2) Retno Lawiyani's creative process in glass painting, 3) the visual form of Retno Lawiyani's glass painting. This study uses qualitative research methods that produce descriptive analysis data, with data collection flow, data reduction, data analysis, and conclusions. The research objects were 5 Retno Lawiyani's glass paintings which were selected use of technique purposive sampling. The type of approach used is the biography approach, creativity approach, and aesthetic approach according to A.A.M Djelantik's theory. According to A.A.M Djelantik, there are 3 aesthetic elements, namely appearance, weight / content, and appearance, these three elements are then used to analyze Retno Lawiyani's glass painting.Keywords : painted glass , a form of visual, ornamental.
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Ramdani, Guruh, Shuri Mariasih Gietty Tambunan, Yoesoef M, and Christomy Tommy. "Dede Eri Supria's Creative Process of Painting Marginaled Urban People in the New Order Era." Mudra Jurnal Seni Budaya 39, no. 3 (July 4, 2024): 377–84. http://dx.doi.org/10.31091/mudra.v39i3.2876.
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This article aims to reveal the creative process of Dede Eri Supria (DES) in the context of the development of Indonesian painting, showing the structure, style and thematics that represent the impact of development policies and New Order cultural politics. The discussion of this creative process uses Gramsci's concept of hegemony, namely the dominant group's ideology, to perpetuate its power through its apparatus spread throughout civil society, most of which are intellectual groups. This ideological hegemony also occurred in Indonesian painting during the New Order era. This article uses a qualitative description method to reveal and discuss data obtained through interviews and literature studies. Based on these methods and concepts, the following results were obtained. First, DES's creativity was influenced by his social environment with exponents of the New Fine Arts Movement (GSRB), which resulted in his critical views on social and cultural problems and ideological problems in the creative environment of ASRI students and GSRB activists. Second, the DES creative process is a creative reaction to express "freedom" in work to fight the dominant ideology that dominates art. Third, through a creative space free from dominant art ideologies, DES and GSRB exponents display their works at the TIM GSRB Exhibition. Fourth, the social, cultural and political development conditions during the New Order era impacted the socio-economic lives of marginalized urbanites, becoming one of the stimuli for the DES creative process. Fifth, DES in painting uses various visual references but does not copy them outright and creates a new reality in the space of his canvas so that his paintings represent a new type of art that is original and represents the spirit of his time, namely the hyperrealism style.
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Sitepu, Muhammad Haikal, Dian Pratama Situmorang, and Meilita Tryana Sembiring. "Inventory Planning at Painting Section in the Indonesian Automotive Industry." IOP Conference Series: Materials Science and Engineering 648 (October 18, 2019): 012004. http://dx.doi.org/10.1088/1757-899x/648/1/012004.
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Gozali, Amir. "DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA." Acintya Jurnal Penelitian Seni Budaya 11, no. 1 (November 11, 2019): 1–15. http://dx.doi.org/10.33153/acy.v11i1.2609.
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AbstractAbstract art through its abstraction mode is an attempt to explore the essence and existence of humanityin the dimension of spirituality. Abstraction is able to present a deeper meaningful space because of theopen dialogue between artists - works - spiritual observers. This research was conducted to explore andexplore the transcendental and spirituality dimensions especially in contemporary Indonesian abstractpainting as part of the expression and reflection of the search for the essence of the artist. In addition,historical aspects and discourse dynamics will also be analyzed in order to obtain a comprehensiveunderstanding in understanding the development of abstract art in Indonesia. This study uses qualitativemethods by optimizing studies on written sources and literature relating to the study of contemporaryIndonesian abstract painting by further analyzing the historical aspects and dynamics of discourse. Datawere analyzed using content analysis method. This study is expected to be a reference material for learningabstract art, artists, and art lovers.Keywords: spiritual, abstract painting, contemporary art, Indonesia
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Setijaningrum, Erna, Asiyah Kassim, Rochyati Triana, and Reza Dzulfikri. "Going Back with Glee: A Case Study of Indonesian Migrant Workers Engaging in Circular Migration." JAS (Journal of ASEAN Studies) 11, no. 1 (June 20, 2023): 219–43. http://dx.doi.org/10.21512/jas.v11i1.8610.
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Driven by a wide range of social and cultural forces, circular migration has become a prominent phenomenon in the contemporary world, and it is especially common among Indonesian migrant workers. The research delved into what pushes Indonesian migrant workers to going back to host countries for employment after returning to their home country. A case study approach was employed by which a total of 24 semi-structured interviews were conducted with Indonesian migrant workers from Blitar, Malang, Ponorogo, and Tulungagung in East Java, Indonesia. The research reveals that non-monetary incentives such as supportive and amicable workplace environments, including the possibility of career advancements and adequate accommodations, as well as productive and family-oriented communities, act as important motivators for Indonesian migrant workers to go back to host countries. Furthermore, the research adds to the widening topography of migration studies by which it provides a broader picture in painting the “human” rationality behind circular migration in Global South.
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Pamungkas, Didung Putra. "KARYA PUTU SUTAWIJAYA SEBUAH REFLEKSI ATAS TUBUH." SULUH: Jurnal Seni Desain Budaya 4, no. 1 (February 2, 2021): 79–88. http://dx.doi.org/10.34001/jsuluh.v4i1.2421.
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Reading Putu Sutawijaya's painting entitled "Single Energy" portrays the body as a central focus, through documentation, and direct observation through his painting which is then analyzed using Roland Barthes's semiotic approach, genealogy of body Foucault, Phenomenology ponty, Heidegger's Existentialism, and Freud's Psychoanalysis. Roland Barthes's semiotic approach divides signs in denotation and connotation. At the level of denotation, Putu is describing the movements of figures with the burden that surrounds them. At the level of connotation explains that the burden on social systems and value systems, binding and not dehumanizing people. Then Foucault explained the body as a soft body. Putu shows that there is no aspect of freedom possessed by free humans in their own bodies. Phenomenology Ponty, the world has been available for individuals. So human relations and their world are never truly distant, but are dialectical. Heidegger's existentialism, saw the relationship of the body with his world. In his paintings, Putu sees culture as always constructing a person, showing the form of one's relationship with his world. Freud's psychoanalysis of libido, as a form of individual freedom to actualize itself, but is always limited by rules, values and norms, Putu's work illustrates that there are efforts to escape, but are still charged by social considerations. With the study of this painting it is hoped that it can stimulate enthusiasm in creating art and enrich new discourses in the world of Indonesian art.
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Nisa, Apriliana Putri Khairun, Tjokorda Udiana Nindhia Pemayun, and Luh Budiaprilliana. "Creative Innovation of Multifunctional Painted Shawl." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 3, no. 2 (November 4, 2023): 127–36. http://dx.doi.org/10.59997/ctkr.v3i2.2862.
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Multifunctional Painting Shawl is a product of 4moon that emphasizes Functional and beauty. According to Wikipedia, Shawls is a traditional Indonesian clothing in the form of a long cloth. Shawls are usually used by women. This shawl is specially designed to have several functions at once in one object only. Not only functional, the 4moon shawl also has additional aesthetic value found in the surface design and additional prada. The purpose of this study are 1) To find out the Transfer of Knowledge of Multifunctional Painting Shawl Entrepreneurial Governance, 2) To find out the Transfer of Multifunctional Painting Shawl Entrepreneurial Skills, 3) To find out the Transfer of Knowledge and Marketing Technology of multifunctional Painting Shawl, 4) To find out the Analysis of multifunctional Painting Shawl Entrepreneurship activities. This type of research is included in quantitative research and observation as a method of data collection. The result of the study are 1) There are 6 multifunctional painting shawl products by 4moon 3) Marketing that the author does is offline and online such as Instagram. The author also applies a custom-order system 4) Adding insights such as adding prada using massage canting techniques
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Octavianti, Riri, and Mulia Marita Lasutri Tama. "Improving Fine Motor Skills with Finger Painting in Early Childhood." Psikostudia : Jurnal Psikologi 12, no. 1 (March 13, 2023): 105. http://dx.doi.org/10.30872/psikostudia.v12i1.9399.
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UNICEF in 2015, there was a high data on the incidence of growth and development disorders in children, especially motor development disorders, there were (27.5%) or 3 million children who experienced disorders. National data according to the Indonesian Ministry of Health that in 2014, 13% to 18% of children in Indonesia experienced growth and development disorders. Finger Painting can develop children's expression through the medium of painting with hand movements, develop fantasy, imagination, and children's creations, train the muscles of the hands and fingers, coordination of muscles and eyes, train creativity in combining colors. Finger Painting is an activity of making drawings that is done by scratching the color dough (paint) directly with the fingers of the hand freely on paper or medial drawings. This study aims to determine the Effect of Finger Painting for Improving Fine Motor Skills in Early Childhood at Tk Al-Kahfi Palembang. With the subject of 10 children aged 5 years. This study used one group pretest and posttest design. This study used a non-parametric statistical test, namely the Wilcoxon test. From the results of the study, differences were obtained between pretest scores and posttest scores. There are also behavioral changes in children in fine motor skills such as grasping objects, writing, and folding paper. Therefore, from the results of the study, it can be concluded that there is an influence in the use of the Finger-Painting technique on improving fine motor skills in children in Al-Kahfi Kindergarten Palembang.UNICEF pada tahun 2015, terdapat data yang cukup tinggi pada angka terjadinya gangguan pertumbuhan dan perkembangan pada anak khususnya gangguan perkembangan motorik terdapat (27,5%) atau 3 juta anak yang mengalami gangguan. Data nasional menurut Kementerian Kesehatan Indonesia bahwa pada tahun 2014, 13% hingga 18% anak di Indonesia mengalami kelainan pertumbuhan dan perkembangan. Finger Painting dapat mengembangkan ekspresi anak melalui media lukis dengan gerakan tangan, mengembangkan fantasi, imajinasi dan kreasi anak, melatih otot-otot tangan dan jari, koordinasi otot dan mata, melatih kreativitas mengombinasikan warna. Finger Painting adalah kegiatan membuat gambar yang dilakukan dengan cara menggoreskan adonan warna (cat) secara langsung dengan jari tangan secara bebas pada kertas atau medial gambar. Penelitian ini bertujuan untuk mengetahui Pengaruh Finger Painting Untuk Peningkatan Kemampuan Motorik Halus Pada Anak Usia Dini Di TK Al-Kahfi Palembang. Dengan subjek 10 orang anak berusia 5 tahun. Penelitian ini menggunakan one group pretest and posttest design. penelitian ini menggunakan uji statistik non parametrik yaitu uji Wilcoxon. Dari hasil penelitian didapatkan perbedaan antara skor pretest dan skor posttest. Juga terdapat perubahan perilaku pada anak dalam kemampuan motorik halus seperti menggenggam benda, menulis dan melipat kertas. Maka dari hasil penelitian dapat disimpulkan bahwa terdapat pengaruh dalam penggunaan teknik Finger Painting terhadap peningkatan kemampuan motorik halus pada anak di TK Al-Kahfi Palembang.
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Dian Sari, Nani, Repi Justian, and Mickhella Dehadi. "Karya Lukis Evelyna Dianita Dalam Kajian Sosiologi Historis." Besaung : Jurnal Seni Desain dan Budaya 9, no. 1 (March 28, 2024): 142–51. http://dx.doi.org/10.36982/jsdb.v9i1.3791.
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Modern Indonesian painting developed in several big cities such as Yogyakarta, Bandung, Bali and also spread to other areas such as Bukittinggi and Padang. The art of painting in West Sumatra was pioneered by two great figures in the art of painting, namely Wakidi and M. Syafei. From the role of Wakidi and M. Syafei, several artists were born who are active at both regional and national levels, such as Ipe Makruf, Usman Efendi, Arby Samah, Afianto Arifin, Kamal Guci and others. Since then, young artists, both male and female, have emerged. One of the female painters from West Sumatra who is productive in painting is Evelyna Dianita, who is the daughter of the painter Afianto Arifin. Evelyna Dianita is a female painter born in Bukittinggi on 13 July 1966. In her artistic journey, Evelyna Dianita has participated in many well-known exhibition events, both solo and group. Most of his works are inspired by the works of his father "Afianto Arifin" with a naturalist painting style, only he emphasizes female figures more. The method used is the historical research method, which is a problem solving procedure using legacy data, both to understand events or conditions that occurred in the past, regardless of the current situation in relation to past events or conditions. Keywords : Evelyna Dianita, Painting, female painting artist
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Guntur, Guntur, Ponimin Ponimin, and Muhammad Arif Jati Purnomo. "INNOVATION AND CREATIVITY IN BATIK MOTIF DESIGN: A STUDY OF STUDENTS’ ART THESES." Creativity Studies 16, no. 2 (October 18, 2023): 668–81. http://dx.doi.org/10.3846/cs.2023.14838.
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This article discusses the process and products of innovation in batik motif design in the Fashion Design study program of the Faculty of Art and Design in Indonesian Institute of the Arts, Surakarta, Indonesia. The research population is 15 students and the report descriptions of each of their art theses. In the context of the innovation process, it was found that artefacts, ceremonies, legends, nature, and performing art phenomena all served as sources of inspiration for innovation in the design of batik motifs which were manifested in various alternative sketches, developed to become selected sketches, and perfected in the final design. In the context of the products of innovation, it was found that the innovations in batik motif design were based on single and multiple motifs that were arranged based on repetition, single, additive, and hypotactic patterns on the medium of a large piece of cloth, using techniques of drawing, dabbing, and painting, to become a piece of batik cloth or a batik painting.
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Darmawan, Andreas James. "Visual Design Face Painting: Language Expressions Stylized for Wayang Punakawan." Humaniora 8, no. 1 (January 31, 2017): 57. http://dx.doi.org/10.21512/humaniora.v8i1.3696.
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On this research, the author focused on the scope of Punakawan face painting that expected to become a starting point from the first step in making the visual standardization proposals, which the visual variety of face painting Punakawan was not consistent yet. The research objective was to become one of the methods to re-popularizing by building a visual consistency in Punakawan face painting so that it became more modern and simple without losing the original characteristics of it. The method was performed in the visual design, from visual references research, visual analysis and matching with the characteristics of each character in Punakawan, visual sketching, and computerization process, up to become final visual artwork. The benefits of the research were to be a next visual research comparison, as well as a contribution in the form of visual work; face painting Wayang Punakawan in the further development of the creative economy entered a new era. This research finds that visually, it is the necessary continuation of the design, such as attribute, proportion, gestures, and other visual elements in Punakawan face painting and it is good for Punakawan studies and other Indonesian wayang figures.
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Hikmawan, Rusydi. "Manifestasi Seksualitas Dalam Budaya Kebebasan." Ulumuna 10, no. 2 (November 5, 2017): 347–66. http://dx.doi.org/10.20414/ujis.v10i2.481.
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his time, pornography and erotic actions start to correlate into culture domain, where human beings become the subject as well as the object. Concept of culture claims the relationship between human interaction on society and culture as a result of them. Pornography and erotic actions are considered to be the representation of the products of human being activities in the forms of technology, pictures, idols, painting etc. All of them are then absorbed into culture.
The opponents of freedom culture suggest that Indonesian people should be responsible to the development of Indonesian culture which is based on religions and eastern norms. The most dominant norms is Islamic teaching which is the religion of the majority of the citizen. Thus, Indonesia culture should be able to represent Islamic way of life which is based on al Quran and Sunnah. Pornography, which is against Islamic teaching should not be part of Indonesian culture.
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Kurniawan, Iwan J. "Analysis of the Painting “Poultry Seller” by the Indonesian Artist Hendra Gunawan." Общество: философия, история, культура, no. 6 (2022): 240–43. http://dx.doi.org/10.24158/fik.2022.6.42.
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Casta, Casta, Tjetjep Rohendi Rohidi, Triyanto Triyanto, and Abdul Karim. "Production of Aesthetic Tastes and Creativity Education of Indonesian Glass Painting Artists." Harmonia: Journal of Arts Research and Education 21, no. 2 (January 1, 2022): 266–77. http://dx.doi.org/10.15294/harmonia.v21i2.30348.
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This study aims to find the repertoire of aesthetic taste as a creative act and its relation to symbolic power in the arena of Indonesian cultural production of glass painting. The study used a qualitative approach with a phenomenological design. Data collection used in-depth interviews, participant observation, individual life’s history, and document examination. Data analysis used interpretive phenomenological analysis. The study finds five aesthetic taste repertoires that include: (1) the aesthetic taste of the palace which is characterized by the symbolic decorative visualization of calligraphy pictographs of petarekatan with wadasan and mega mendung ornaments; (2) the taste of strengthening cultural identity is marked by the symbolic decorative visualization of a traditional sourcebook for puppet shadow objects with wadasan and mega mendung ornaments; (3) the taste of traditional renewal is characterized by liberating expressive decorative visualizations; (4) the taste of cultural revitalization is characterized by decorative visualization of the superiority of tradition which is involute; and (5) the taste of marginalized community is characterized by the simplicity of traditional object visualizations. The five aesthetic tastes carry a decorative expression style with an interpretation of tradition based on the cultural capital of the artists. The production of aesthetic taste cannot fully be used to classify the social class structure of appreciators but is related to the identity of the cultural capital they have. The production of aesthetic taste is a creative education model that responds to the doxa of symbolic power in the form of orthodox or heterodox, resulting in defensive, subversive, defensive-subversive synthesis, and pseudo-subversive strategies, which are fought for legitimacy as symbolic power.
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O’donnell, Eliza, and Nicole Tse. "Materiality, Making and Meaning: Building the Artist Record through Conservation in Indonesia." International Journal of Creative and Arts Studies 5, no. 2 (December 26, 2018): 11–25. http://dx.doi.org/10.24821/ijcas.v5i2.2408.
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Ways of knowing and understanding the artistic process are not fixed, and there are multiple perceptions that rely on the experience of the viewer and sources that inform them. this paper presents a case study of a conservation residency and collaborative treatment of indonesian artist Entang wiharso’s ‘landscaping My Brain’ (2001) oil on canvas triptych painting, to examine how we understand the artistic process from a conservation perspective and how this material knowledge contributes to the artist record. an interdisciplinary methodology for the conservation treatment of wiharso’s painting relied on technical and visual examination of the artwork in partnership with artist interviews and archival research. the residency concluded with an exhibition of the painting in an ‘active state of conservation’, highlighting the conservation decisionmaking process as value based and culturally grounded, leading to questions of authority, the role of technical-conservation expertise, what approaches work best, who should do the work and what knowledge informs it. in considering how we understand the artistic process, this paper will draw on the importance of practice-based interdisciplinary learning between conservator, artist, collector, curator and students, and the potential for collaboration and knowledge building at the intersection of these disciplines.
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Jha, Gautam Kumar. "Indic Elements in Indonesian Arts and Literature: Shared Heritage Between India and Indonesia." Heritage of Nusantara: International Journal of Religious Literature and Heritage 11, no. 1 (June 28, 2022): 40–61. http://dx.doi.org/10.31291/hn.v11i1.632.
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Indic-Belt or the Greater India is the geographical region where Bharat’s knowledge tradition spread and influenced the local community in terms of language, culture, religions, practices and social values. Southeast Asia, especially Indonesia has been the region that received more Indic knowledge than any other parts of the world due to the easy accessibility to the land and sea routes. This Indic influence is visible in many art forms and folklore due to a long period of rules of Hindu-Buddhist kingdoms. This study aims at exploring the presence of Indic elements in Indonesian artworks, old buildings and folklore. This paper is based on a qualitative descriptive study in which the data was collected through literature study. The study found that Indian epics such as Ramayana and Mahabharata have greatly influenced the literary tradition in Indonesia, as it was present in the forms of puppets, woodcrafts, painting and batik. In addition, Indonesian-present vocabulary ‘Esa’ (singular) to describe the concept of oneness of God came from the Sanskrit word ‘ish’ which was carried out by the Indic permeate to Indonesia. The study suggests that with such influence of Indic culture and tradition to Indonesia, both Indonesia and India shared similar heritage and hence steps to strengthen the cultural bonds between the two nations need to be built and maintained.
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Kusumawardhani, Mega Iranti, and Muhammad Cahya Mulya Daulay. "Studi Literatur Surealisme di Indonesia." Ultimart: Jurnal Komunikasi Visual 14, no. 1 (June 21, 2021): 78–88. http://dx.doi.org/10.31937/ultimart.v14i1.2021.
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This article aims to trace back the Surrealism style in Indonesia through literature. The literature studies are done in two phases, aiming at two different goals. In the first phase, we accessed literature collections about Surrealism through Modern Art frameworks and context. In the second phase, we used two online directories that index open access journals; DOAJ (Directory of Open Access Journals) and Garuda (Garba Rujukan Digital). The result is a list of analyses on how the Surrealism discussion appears through the Indonesian language journal articles. Through the list of findings, we also try to determine our upcoming research. We will try to expand the surrealism discussion through moving image mediums in Indonesia.
Keywords: Surrealism; Indonesia; literature studies; painting; moving image
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Solihin and Eko Sulistiyono. "Synthesis of Magnesium Carbonate Using Indonesian Dolomite." Advanced Materials Research 1112 (July 2015): 546–49. http://dx.doi.org/10.4028/www.scientific.net/amr.1112.546.
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Magnesium carbonate is important material used in certain industries. It is used as raw materials for drug making in pharmacy, as filler in painting industry, as raw material for magnesium metal making, as nutrient element in fertilizer, etc. Natural source of magnesium carbonate in Indonesia is mainly in the form of dolomite mineral. The larger deposit of dolomite in Indonesia is located in East Java. Through a series of unit process that consist of roasting, carbonation, and nucleation, the dolomite from East Java Indonesia has been converted into ultra fine grain magnesium carbonate. Since the process does not utilize harmful compound and does not produce harmful waste, it can be classified as environmental friendly process. Roasting process was operated at temperature range of 600 – 1000 °C. It is found that dolomite can be converted to magnesium and calcium oxide at this range of temperature. The mean particle size of magnesium carbonate obtained through this process is around 1.073 micron.
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Gautama, Kurniawati. "Membedah Karya Erica Hestuwahyuni Melalui Studi Bahasa Rupa." JURNAL RUPA 2, no. 2 (August 1, 2018): 104. http://dx.doi.org/10.25124/rupa.v2i2.1006.
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Bahasa Rupa (picture-writing) is an invention of Prof.Dr. Primadi Tabrani to analize the specific character of Eastern tradition which is different from Western. It is a visual communication study in modern and traditional picture-writing system. The modern (western) bahasa rupa uses ‘close up’ format which recognized universally, whereas the traditional (eastern) system such as the relief of Borobudur Temple, Wayang Beber (scroll-painted picture presentations), Balinesse Painting, have specific drawing technique.
This essay, will analize an Indonesian and international recognized female painter, Erica Hestuwahyuni, whose artworks show childlike character.
As introduction this essay will elaborate the differences between painting and drawing, also Bahasa Rupa theory and character of children drawings.
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Wittesaele, Charlotte R. A. "Art, land reclamation and green governmentality in Indonesia: Teja Astawa's Dewa Murka and Tita Salina's 1001st Island — The Most Sustainable Island in Archipelago." Journal of Southeast Asian Studies 52, no. 2 (June 2021): 309–35. http://dx.doi.org/10.1017/s0022463421000503.
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The artworks 1001st Island — The Most Sustainable Island in Archipelago (2015–16) by Tita Salina and Dewa Murka (2016) by Teja Astawa are compared as a means to provide insight into ways artists have been interrogating recent urban discourse in Indonesian contemporary art. This article engages with the critical vocabulary proposed by urban historian Abidin Kusno, which analyses green discourse in the changing Indonesian urban landscapes of the post-Suharto era, and explores how these two artworks reflect Kusno's analysis. Salina's multi-media installation and Astawa's painting address two land reclamation projects in areas that have faced rapid urbanisation: Jakarta and Bali. The artworks evoke questions about tradition, spirituality, environmental sustainability and socioeconomic inequality. The artworks are formally and contextually analysed before being compared and evaluated in relation to Indonesian urban history and discourse. Both artists reflect Kusno's critical analysis of green discourse in Indonesia. Salina's work shares parallels with the tools applied by the government in Jakarta, as her artistic practice similarly requires communities to participate in its creation. Meanwhile, Astawa's work mostly reflects the narrative of green discourse. This conclusion invites further investigation into the Java-centrism of urban discourse and the varying ways in which green discourse may be taking place across the Indonesian archipelago.
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Christianna, Aniendya, Acep Iwan Saidi, Riama Maslan Sihombing, and Nuning Yanti Damayanti. "Remythology and Ideology of Nyonya Muluk in Masmundari’s Damar Kurung Painting." MOZAIK HUMANIORA 22, no. 2 (December 30, 2022): 159–70. http://dx.doi.org/10.20473/mozaik.v22i2.35684.
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This study aims to explore the visualization of damar kurung's painting with Nyonya Muluk theme and its meaning in the context of Javanese culture critically. It was stated that the figure of Nyonya Muluk was inspired by Masmundari's experience of meeting the Queen of the Netherlands who had visited Surabaya. Nyonya Muluk is described as a large woman who wears a dress and jewelery and has a pair of wings. Around her are other human figures painted in smaller sizes. To pursue the aim this study, the analysis was conducted using Gillian Rose's visual methodology which takes the position of the site of self. The analysis of this study found how Masmundari depicts objects by combining opposing cultural elements reflecting that the postcolonial subject is never completely the position of the colonized or the colonizing self. The ambivalence that arises in the practice of mutual views shows a form of negotiation or resistance from the colonized position. Masmundari's remitology also depicts the Indonesian nation as a colonized party trying to decolonize itself from colonial rule. By relocating the mythology of Nyonya Muluk in a contemporary context, this painting shows the efforts of the Indonesian people to regain 'independence' by using local traditions to fight against the culture imposed by the colonialists. In short, it can be concluded that the remitology of Nyonya Muluk in amar kurung's painting not only reflects Masmundari's resistance to Western colonial and post-colonial rule, but also represents Masmundari's resilience to the definition of her identity as Javanese.
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Yuliana, Alda, and Faizal Arifin. "Menangkap Realitas Rakyat dan Kritik terhadap Kolonialisme dalam Lukisan: Sejarah Persagi, 1938-1942." Warisan: Journal of History and Cultural Heritage 4, no. 1 (August 16, 2023): 38–47. http://dx.doi.org/10.34007/warisan.v4i1.1836.
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This research examines the history of establishing Indonesia's first modern art organization, namely the Indonesian Painters Association (Persagi). Persagi is an art organization that influenced the identity of Indonesian art at the end of the Dutch colonial era. of Indonesian art at the end of the Dutch colonial era. This study uses the historical method, which stages: heuristics, verification, interpretation, and historiography. This research utilizes primary historical sources such as Bataviasche Kunstkring, Oriëntatie; Cultureel Maandblad, and Provinciale Zeeuwse Courant. These digital archives include articles, newspapers, and magazines from the Dutch colonial period. The study results show that Persagi tries to find authentic Indonesian styles in painting. Persagi provides a platform for artists to express the reality of indigenous people's lives through their art as a critique of colonialism and the ideological values of "Mooi Indie" (Beautiful Indies) centered on the Netherlands. This research shows that criticism of colonialism is not only limited to organizational and political elites through the study of social history. Exploring this artist community reveals the relationship between art and criticism of social reality, which needs further study.
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George, Kenneth M. "Some Things That Have Happened toThe Sun After September 1965: Politics and the Interpretation of an Indonesian Painting." Comparative Studies in Society and History 39, no. 4 (October 1997): 603–34. http://dx.doi.org/10.1017/s001041750002082x.
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As most tell the story, the mysterious and fearful twilight of Sukarno's Indonesia began in Jakarta sometime after sundown on the last day of September 1965. That night and in the early hours of October 1, a group led by leftist, middle-ranking military officers calling themselves the September Thirtieth Movement kidnapped and killed six generals in an attempted putsch. In its radio broadcasts the following morning, the movement announced its loyalty to President Sukarno and claimed that it had acted in order to thwart a coup planned by a ‘Council of Generals.’ In the year leading up to the putsch, the president's hold on power had been strained by the increasing polarization between the army and disaffected Muslims on the one hand, and Sukarno and the PKI—the Indonesian Communist Party (Partai Kommunis Indonesia)— on the other. Sukarno's ill health, factionalism within military ranks, and the shadow of the U.S. Central Intelligence Agency (CIA) only added to the anxiety and uncertainty. It is unclear whether this Council of Generals had anything more than a phantom existence. What is clear is that the head of the strategic reserve command in Jakarta, Major General Soeharto, was quick to manipulate the situation and bring the movement to a halt within hours. In an evening radio broadcast on October 1, Soeharto described the putsch as a counter-revolutionary movement and told listeners that the army and police under his leadership had regained control.
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Lodra, I. Wayan, and Muchlis Arif. "A Western And Eastern Learning Model For Teaching “Young Artists” Painting Style In Indonesia." Lekesan: Interdisciplinary Journal of Asia Pacific Arts 3, no. 1 (August 6, 2020): 1–7. http://dx.doi.org/10.31091/lekesan.v3i1.1079.
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Every country in the world has its own learning models, which depend on the social, cultural, and economic conditions of the nation. In principle, learning aims to transfer knowledge, technology, and information to others to free them from ignorance. In developing countries like Indonesia, learning models vary in every educational institution. Educational institutions can be categorized according to the characteristics of the learner, and include formal, informal, and non-formal education. It is not possible to apply the same learning models to educational institutions with different geographical, social, and cultural conditions. Bali is an Indonesian province which has developed formal, informal, and non-formal education in the field of painting. One outcome of this non-formal education is the “Young Artists” style. This non-formal learning model, developed by Arie Smit, combines western and eastern learning models. The research focuses on how Arie Smit’s eastern and western learning model was applied to children from the village of Penestanan, Ubud, Bali. The goal is to describe Arie Smit’s western and eastern learning model that he used with children from Panestanan Ubud, Bali. The research method is qualitative descriptive and the data collection techniques include observation, interviews, and documentation. The analysis was performed by studying, disentangling, arranging, and summarizing the “Young Artists” learning model for teaching painting. The research findings show that this western and eastern learning model applies a method of cooperative active teaching.
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., Dharsono. "Batik Klasik: Aspek, Fungsi, Fiosofis dan Estetika Batik dalam Pandangan Budaya Nusantara." Jurnal Budaya Nusantara 1, no. 1 (June 1, 2014): 64–73. http://dx.doi.org/10.36456/b.nusantara.vol1.no1.a297.
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Batik is a painting or drawing on mori cloth created by using a tool called "canting ". People painting or drawing or writing on mori cloth with canting is called by membatik. It produces various forms and motifs of Batik and has special properties possessed by batik itself. The emergence of printed batik although it’s not as soft as handiwork batik, is enough to maintain the contained value of traditional batik. The Subsequent developments, batik is no longer used to accelerate the process, but accelerate the depiction of patterns and coloring, so the result of fabric batik is really similar to batik . This batik cloth is called " printing batik " . The dynamics of the Batik develop- ment divert the attention of Batik consumers. People turn to Batik motif textiles while Indonesian bourgeoisie was clothed in handiwork batik for the purposes of official events and formal parties. This dynamics will bring batik ( handiwork Batik) exclusively to the throne . Batik becomes a source of exaltation later on, then it will be a role model (philosophy) and a source of inspiration for the manufacture and further development of batik. Batik in a view of the archipelago culture alongside of its beautifulness (aesthetics), It’s also a guidance (teaching) painted on motives / classic batik pattern. That’s why that batik is a masterpiece heritage of the nations in the world from Indonesia, and It is now recognized widely as intangible and tangible heritage.
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Candra, Dio Pamola. "Seniman Yunizar dan Figur Figur Aneh pada Lukisannya." Cilpa: Jurnal Ilmiah Pendidikan Seni Rupa 8, no. 2 (August 11, 2023): 1–10. http://dx.doi.org/10.30738/cilpa.v8i2.15513.
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Abstrak Yunizar merupakan seniman terhormat Indonesia yang berasal dari Sumatra Barat. Yunizar tinggal dan studio di Yogyakarta semenjak memulai kuliah di Institut Seni Indonesia Yogyakarta tahun 1993. Yunizar merupakan anggota Komunitas Seni Sakato. Karya karya lukisnya sangat digemari oleh publik seni rupa Indonesia bahkan mancanegara. Beberapa karyanya menvisualkan figur-figur yang kemudian bisa dibaca sebagai bentuk yang aneh. Untuk mengungkap karakter figur-figur tersebut dilakukan penelitian kulitatif sehingga bisa disimpulkan bahwa karya-karya tersebut memiliki ciri khas keanehan yang artistik yang tercipta dari keseluruhan proses berkesenian Yunizar. Astrak Yunizar is an honorable Indonesia artist fromWest Sumatra. Yunizar has lived and studio in Yogyakarta since starting his art studies at Institut Seni Indonesia Yogyakarta in 1993. Yunizar is a member of Sakato Art Community. His painting are very popular with the Indonesian and even International art public. Some of his art works visualize figures which can then be read as odd shapes. To reveal the character of thrse figures, qualitative research was carried out so that it can be concluded that these works have an artistic peculiarity that is created from the entire process of Yunizar’s art.
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Aryanto, Vincent Didiek Wiet, Yohan Wismantoro, and Karis Widyatmoko. "Implementing Eco-Innovation by Utilizing the Internet to Enhance Firm's Marketing Performance." International Journal of E-Business Research 14, no. 1 (January 2018): 21–36. http://dx.doi.org/10.4018/ijebr.2018010102.
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The aim of this study is to explore a proposition of eco-innovation internet-based approach to bridge the gap between market orientation and marketing performance of the batik SMEs in Indonesia. Batik is an Indonesian art of waxed hand painting on the textile by utilizing of natural dyes. The 250 questionnaires were distributed among the SMEs actors; however, 189 out of 250 questionnaires were valid to be further processed. This research has provided some empirical evidence that the approach of e-eco-innovation has a significant impact on marketing performance. Furthermore, market orientation also has a significant impact on both marketing performance and e-eco-innovation. Therefore, the adoption of ICT (Internet & Communication Technology) and eco-innovation may contribute not only to the body of knowledge of green marketing but also for the practice of green marketing amongst SMEs in developing countries.
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Sumarsih, Siti, Anita Kurnia Rachman, and Susandi Susandi. "TRAUMA HEALING PASCABENCANA PADA ANAK-ANAK KORBAN GEMPA BUMI MELALUI PELATIHAN DA SUMINAGASHI (MELUKIS DI ATAS AIR) DI DESA REMBUN, KECAMATAN DAMPIT KABUPATEN MALANG." PAMBUDI 5, no. 02 (December 20, 2021): 80–85. http://dx.doi.org/10.33503/pambudi.v5i02.1705.
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Community service carried out by Lecturer of Indonesian Language and Literature Education Study Program, IKIP Budi Utomo aims to help children affected by the earthquake to reduce trauma healing through playing activities and painting on water. The implementation method used in this activity is the method of playing and painting together on water (da suminagashi). Trauma Healing is a situation where children feel fear, anxiety, and fear due to events, accidents, natural disasters that have been experienced. This activity was carried out for three days and in collaboration with the Omdobara Command Post in Rembun Village, Dampit District, Malang Regency. This service activity is also assisted by four coordinators at the Omdobara Command Post who are used to interacting with children every day. The results of this activity, which can help parents and children in reducing the trauma caused by the earthquake that occurred a few months ago. Another result is that children can play and learn to paint on water together so that children can be happy again.
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Fadlila, Hapsari, and Nunuk Nur Shokiyah. "KAJIAN SENI LUKIS KARYA DJOKO PEKIK DENGAN TEMA PERISTIWA SEPTEMBER 1965." Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa 12, no. 2 (February 15, 2021): 109–20. http://dx.doi.org/10.33153/brikolase.v12i2.3357.
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Kajian Karya Seni Lukis Djoko Pekik dengan Tema Peristiwa September 1965, skripsi Hapsari Fadlila. Program Studi Seni Rupa Murni, Jurusan Seni Rupa Murni, Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta. Skripsi ini meneliti tentang karya-karya Djoko Pekik dengan tema Peristiwa September 1965. Permasalahan yang akan di bahas adalah latar belakang penciptaan dan estetika karya seni lukis Djoko Pekik dengan tema Peristiwa September 1965. Metode penelitian yang digunakan adalah metode penelitian kualitatif dengan analisis interaktif dan interpretasi. Teori untuk membedah interpretasi tanda yang terdapat dalam lukisan menggunakan teori semiotika Charles S. Pierce yaitu klasifikasi tanda menurut obyek. Hasil dari penelitian ini adalah bahwa pada latar belakang penciptaan karya bertema Peristiwa September 1965, Djoko Pekik berusaha mengungkapkan pengalaman yang dirasakan ketika terjadinya peristiwa-peristiwa di bulan September 1965. Penelitian ini mengupas tiga karya Djoko Pekik yaitu Awal Bencana Di Lintang Kemukus 1965, Kali Berantas Bengawan Solo Luweng dan Sirkus Adu Badak. Karya-karya tersebut terdapat ikon, indek dan simbol merupakan visualisasi tentang kejadian yang dialami Djoko Pekik di tahun 1965. Dimulai dari kemunculan lintang kemukus, ketika Djoko Pekik menjadi tahanan dan awal memasuki Orde Baru.Kata kunci: Djoko Pekik, Seni Lukis, Peristiwa September 1965Study of Djoko Pekik Painting Artwork themed the September 1965 Incidents, Hapsari Fadlila's thesis. Pure Arts Study Program, Department of Fine Arts, Faculty of Art and Design, Indonesian Institute of the Arts Surakarta. This thesis examines the Djoko Pekik’s works themed the September 1965 Incidents. The issues that will be discussed are the background of the creating and aesthetics of painting by Djoko Pekik themed the September 1965 Incidents. The research method used is qualitative research with interactive and interpretation analysize. The theory for dissecting the interpretation of the signs which iscontained in the painting uses Charles S. Pierce's semiotic theory namely classification of signs according to objects. The results of this research are that in the background of creating this work themed the September 1965 incident, Djoko Pekik tried to express the experiences which he felt during the incidents in September 1965. This research explores three Djoko Pekik’s works, namely Awal Bencana Di Lintang Kemukus 1965, Kali Berantas Bengawan Solo Luweng and Sirkus Adu Badak.The works contained icons, indexes and symbols which are a visualization about the incidents experienced by Djoko Pekik in 1965. Begins from lintang kemukus, when Djoko Pekik became a prisoner and early Orde Baru. Keywords : Djoko Pekik, Painting Arts, September 1965 Incidents
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Mujabuddawat, Muhammad Al, and Godlief Arsthen Peseletehaha. "A Latest Discovery of Austronesian Rock Art in the North Peninsula of Buano Island, Maluku." Kapata Arkeologi 16, no. 1 (June 16, 2021): 13–26. http://dx.doi.org/10.24832/kapata.v16i1.13-26.
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Gambar cadas merupakan salah satu tradisi yang tertua dan paling banyak tersebar di penjuru dunia. Gambar cadas menjadi bagian dari data penting dalam mempelajari masa lalu, karena gambar cadas kemungkinan mengandung makna pada pemikiran simbolik manusia yang membuatnya. Gambar cadas di Indonesia merupakan budaya yang berlangsung berkesinambungan sejak periode awal gelombang migrasi manusia di Kepulauan Indonesia sekitar puluhan ribu tahun hingga kedatangan penutur budaya Austronesia yang membuka periode Neolitik sekitar ribuan tahun lalu. Gambar cadas di Kawasan Kepulauan Maluku Bagian Tengah pada khususnya secara umum dikenali berciri Tradisi Gambar Austronesia atau lebih dikenal dengan sebutan APT (Austronesian Painting Tradition). Penelitian ini melaporkan temuan baru gambar cadas di di Situs Tanjung Bintang, Pulau Pua, Pesisir Utara Pulau Buano. Penelitian ini menerapkan metode kualitatif dan analitis dalam mendeskripsikan objek motif gambar cadas berdasarkan kajian literatur terkait referensi-referensi yang merujuk pada kajian gambar cadas di Maluku. Penelitian ini mengenali bahwa gambar cadas di Situs Tanjung Bintang berciri Tradisi Gambar Austronesia. Kajian ini merupakan yang pertama kali melaporkan keberadaan Situs Tanjung Bintang, gambar cadas di Pesisir Utara Pulau Buano, Kepulauan Maluku.
Rock art is one of the oldest and most widespread traditions around the world. Rock art is part of essential data in studying the past because rock art has the potential to tell us something of the symbolic concerns of the people that created it. Rock art in Indonesia is a culture that has been ongoing since the early period of the wave of human migration in the Indonesian Archipelago for about tens of thousands of years until the arrival of the Austronesian speaker’s culture who opened the Neolithic period around thousands of years ago. Rock art in the Central Maluku Islands Region in particular, is generally recognized as characterized by the Austronesian Painting Tradition. This research reports new rock art findings at Tanjung Bintang Site, Pua Island, North Coast of Buano Island. This research applies qualitative and analytical methods in describing the object of rock art motifs based on a literature review related to references that refer to the study of rock art in Maluku. This research recognizes that the Tanjung Bintang Site is characterized by the Austronesian Painting Tradition. This study is the first record of the Tanjung Bintang Site rock art in the North Coast of Buano Island, Maluku.
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Hasibuan, Yandi Syaputra. "Perjalanan Seni dan Budaya: Jejak Karya-Karya Raden Saleh dalam Perspektif Historis." Local History & Heritage 3, no. 1 (June 2, 2023): 34–39. http://dx.doi.org/10.57251/lhh.v3i1.931.
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Raden Saleh, a prominent Indonesian artist, has regained attention in recent times with the release of the film "Mencuri Raden Saleh" (Stealing Raden Saleh). One of the film scenes depicts a painting portraying the capture of Prince Diponegoro, which is said to represent resistance against the Dutch colonial rule and nationalism. This raises the need to delve into Raden Saleh's life, the emergence of the painting depicting the capture of Prince Diponegoro, and to understand the historical context and Raden Saleh's position within it. It is essential to provide a clear historical framework to avoid any misconceptions about Raden Saleh and his role. This research utilizes the Historical Method, beginning with the identification of the topic. The heuristic phase involves gathering primary sources such as newspapers, articles, magazines, and online archives like Delpher.nl and the Library University Leiden KITLV. Secondary sources such as books and journals are also employed. The collected sources undergo verification through external criticism to ensure their authenticity and internal criticism to establish the credibility of historical facts. Subsequently, the verified findings are interpreted through analysis and synthesis to construct a historical narrative. Finally, historiography is employed to reconstruct the gathered historical facts.
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Utomo, M. Indra Bayu, I. Wayan Setem, and I. Made Bendi Yudha. "Nusantara’s Ornaments as a Source of Inspiration for Creating Paintings on Silk Fabrics." CITA KARA : JURNAL PENCIPTAAN DAN PENGKAJIAN SENI MURNI 2, no. 2 (October 24, 2022): 39–42. http://dx.doi.org/10.59997/citakara.v2i2.1839.
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In writing this final report, the author raised the theme of ornament as a source of inspiration for creating paintings on silk. Silk painting is a type of craft product originating from China and India since the 2nd century AD. Silk painting entered Indonesia about 200 years later because of the trade relations between Indonesia and China and India. Although the art of silk painting has long been known in Indonesia, the art of silk painting is still not developed like other types of craft products that have been widely developed in Indonesia. Because when the influence of silk painting entered Indonesia, Indonesia had already developed the batik industry. The art of silk painting itself is more or less influenced by batik techniques. The author develops archipelago ornaments in the creation of paintings on fabrics, especially silk, the techniques studied are very interesting for the development of painting techniques. Therefore, the author makes 6 beautiful works that have their own ornamental style, besides that the author also develops the creation of archipelago ornaments by creating new ornaments on both denim and silk fabrics with different methods and techniques
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Ersinidya, Ersinidya, and Endang Sri Wahyuni. "Pengaruh Art Therapy (Painting) dengan Media Tote Bag terhadap Self Efficacy pada Pasien Skizofrenia di RSJD Dr. Amino Gondohutomo Provinsi Jawa Tengah." Jurnal Terapi Wicara dan Bahasa 2, no. 2 (June 1, 2024): 697–706. http://dx.doi.org/10.59686/jtwb.v2i2.101.
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Abstract Background: Schizophrenia is a group of psychotic symptoms that affect different areas of the functioning of a person. Schizophrenics will experience impaired social functioning that is influenced by self-efficacy. Self-efficacy is a very important motivating factor to achieve success. One of the non-pharmacological therapies that can be given is art therapy (painting). Objectives: This study was used to determine the effect of art therapy (painting) with tote bag media on self-efficacy in schizophrenia patients at RSJD Dr. Amino Gondohutomo Province of Central Java. Methods: This research is a pre-experimental quantitative research with one group pre and post-test design. The sampling technique uses purposive sampling with a population of 35 samples. Self-efficacy was measured using the Indonesian version of the General Self-Efficacy Scale (GSES) instrument. Hypothesis testing uses the Wilcoxon test. Results: The results showed that the age was predominantly late adulthood (45.7%), the majority were female (65.7%), the work history was predominantly non-working (37.1%), the majority of the sample had a marital status of being unmarried (60.0%), education level was dominated by SMA/MAN/SMK (42.9%), and the majority of the sample had an unspecified diagnosis of schizophrenia (65.7%). The average pre-test score is 21.91 and the post-test score is 29.89 with a difference of 7.98, which means there are differences in the results of the self-efficacy examination in the research sample. The results of this research were measured using the Wilcoxon test, obtaining a p-value of 0.000 (p-value <0.05). Conclusion Activities of art therapy (painting) with tote bag media influence self-efficacy in schizophrenia patients at RSJD Dr. Amino Gondohutomo Province of Central Java. It is hoped that the results of this research can become a routine therapeutic activity for schizophrenia patients at RSJD Dr. Amino Gondohutomo Province of Central Java. Keywords : Art Therapy (Painting), Self Efficacy, Schizophrenia
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Nasution, Nasution. "Proposing Indonesia History Teaching that Transcends Political Ideologies." Indonesian Historical Studies 6, no. 1 (June 4, 2022): 34–44. http://dx.doi.org/10.14710/ihis.v6i1.13571.
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The teaching of Indonesian history, in many cases in school, remains dominated by history of politics and political indoctrination, underscoring the need for critical and holistic learning. This paper aims to analyze the Indonesian National History textbooks used in schools, and to examine the possibility of teaching Indonesian history that goes beyond political indoctrination and is holistic. The method used in this paper is the analysis of an Indonesian National History textbooks that have been used as the main textbook for the history subject in schools. The teaching of Indonesian history in schools is still dominated by a single version of historical events. The narratives of Indonesian history lessons often ignore different perspectives, or other aspects of historical events that are of interest. Indonesian history does not only belong to the winners. A holistic approach to the teaching of history is expected to help enrich students' knowledge of past events and provide a clearer picture of the history of a multicultural society. For example, a discussion of the Benteng economic policy should not only revolve around the points of view of one ethnic group and ignore the suffering of others. In other cases, discussions on the PKI revolt often neglect human rights aspects, et cetera. Not only should students gain knowledge about past events based on the dominant interpretations, but are also exposed to the narratives of marginalized people. Not only that, history lessons should also cover aspects that include arts, literature, painting, music and other cultural products. In the end, a holistic approach enriches students’ understanding of a historical event, foster a positive attitude and inspire them to learn about stories that have been under-heard or deliberately marginalized.
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Suhadak, Ahmad, Anak Agung Gde Rai Arimbawa, and Lisa Sidyawati. "Cerita pada ornamen medalion di relief candi Penataran sebagai ide penciptaan batik lukis." Imaji 20, no. 2 (October 6, 2022): 157–71. http://dx.doi.org/10.21831/imaji.v20i2.51492.
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Ornamen medalion pada bangunan Candi Penataran memiliki cerita dan nilai filosofis yang terkandung di dalamnya. Secara historis keberadaan ornamen medalion pada bangunan Candi Penataran terjadinya proses akulturasi antara kebudayaan India dan Indonesia. Namun sayangnya banyak wisatawan tidak mengerti sejarah dan makna simbolisasi yang terkandung didalamnya. Berdasarkan permasalahan tersebut penciptaan batik lukis ini memiliki tujuan untuk memaparkan pencarian sumber ide yang berasal dari ornamen medalion sebagai karya batik lukis, memberikan gambaran proses penciptaan batik lukis dari cerita ornamen medalion, dan menghasilkan karya batik lukis yang bersumber dari cerita pada ornamen medalion di relief Candi Penataran. Metode penciptaan yang digunakan terdiri atas tiga tahapan yaitu eksplorasi, perancangan, dan perwujudan. Hasil penciptaan batik lukis menghasilkan tiga buah karya. Tiga karya tersebut bercerita tentang Tinarunge Wisnu lan Hiranyaksa, Sabung Ayam Raja, dan Airawata Mabur Kayangan. Keseluruhan karya batik lukis ini dapat memberikan wawasan mengenai nilai kepahlawanan, cinta kasih dan pengorbanan yang perlu untuk ditanamkan dalam kehidupan masyarakat. Kata Kunci: Ornamen Medalion, Relief, Candi Penataran, Batik Lukis The story of the medalion ornament in the relief of Penataran temple as an idea for painting batik Abstract The medallion ornament on the Penataran Temple building has a story and philosophical value contained in it. Historically, the existence of medallion ornaments on the Penataran Temple building occurred an acculturation process between Indian and Indonesian cultures. But unfortunately many tourists do not understand the history and meaning of the symbols contained therein. Based on these problems, the creation of painted batik has the aim of explaining the search for ideas originating from the medallion ornament as a painted batik work, providing an overview of the process of creating painted batik from the story of the medallion ornament, and producing painted batik works that are sourced from the story on the medallion ornament in the temple reliefs. Upgrading. The creation method used consists of three stages, namely exploration, design, and embodiment. The results of the creation of batik painting resulted in three works. The three works tell the story of Tinarunge Wisnu and Hiranyaksa, the King's Cockfighting, and Airawata Mabur Kayangan. All of these painted batik works can provide insight into the values of heroism, love and sacrifice that need to be instilled in people's lives. Keywords: Ornament, Medallion, Relief, Penataran Temple, Batik Painting
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Putra, I. Dewa Alit Dwija, and Sarena Abdullah. "Early Symptoms of Modernism in Traditional Balinese Painting Began in Northern Bali." Idealogy Journal 5, no. 2 (September 28, 2020): 59–72. http://dx.doi.org/10.24191/idealogy.v5i2.226.
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The history of significant changes in traditional Balinese art towards modern art took place in the 1930s in the village of Ubud, South Bali. Visual changes in Balinese art are unlike changes in modern art in the West or in Indonesian modern art. The visuals show a strong traditional style, although signs of modernity as this paper will argue, can be found. Modern Balinese art in Ubud in the 1930s actually started in North Bali in the 1870s. It was the role of two Dutchmen named Van der Tuuk and W.O.J. Nieuwenkamp, a linguist and academic artist, who contributed to the introduction of modern art to North Balinese artists. The interaction between the two Dutchmen and the local artists gave birth to arts that are slightly different from traditional arts in Bali. This paper will discuss the shift from traditional to modern painting done by Balinese artists in this early period that resulted in the transition of traditional to modern art through the changes in techniques and media; and themes and functions of these visuals. As such, this marks a shift from art that are no longer spiritual but lean more towards the profane.