Articles
<![CDATA[TEKNIK SENI LUKIS KLASIK BALI GAYA KAMASAN KARYA I NYOMAN MANDRA ]]>
<![CDATA[Suyasa, I Nyoman]]>;
<![CDATA[Gozali, Amir]]>
<![CDATA[ Acintya Vol. 7 No. 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v7i1.1987
<![CDATA[One of the most popular Bali Klasik (classical Bali) painting arts is the painting of Wayang Kamasan. It is called that because it comes from Kamasan village, Klungkung. Formerly, the painting form follows the form of wayang kulit. The figures are painted in thin form of two dimensions with the stories taken from epos Ramayana and Baratayuda, stories from Malat Panji (stories of the 12 -14centuries), the theme of “Pelelintangan†that forecast about the effect of earthquake in our lives, and also the theme of folk stories such as Men Brayut as a mother who has many children. Object of this article is the painting arts of Wayang Kamasan as the classical Balinese painting that takes root anddevelops in the local culture. The article stresses on the studies of visual art of Wayang Kamasan especially on the design and process of making. The previous library results are used to analyze technique and the creative process of Wayang Kamasan creating by I Nyoman Mandra. Some methods of approach are used directly towards the craftsmen and the existing musicians especially I Nyoman Mandra. The article also uses literature studies with the theoretical approach to solve the problems. The aesthetic theory of sanggit says that an art work represents a reproduction form with treatment innovation and a sanggit work with revitalization concept. The work has an interest refers to the conservation form of traditional art by giving the alternative works with reproductiontechnique of treatment innovation. Technically, it experiences the processing reduction through the elements, contour lines, coloring technique, and the field content as well as changes of the story theme. The art of revitalization vitally and mainly refers to the traditional arts. The work uses strategy of conservation concept by mutrani (nunggak semi). The result of research shows that Mandra’s work has followed the proportion and structure formulated in traditional aesthetics, but he also adds his own unique citra at the work. His work is characterized by a high delicacy, a lofty delicate value that is Bali traditional art, WayangKamasan.Keywords: painting arts of Klasik Bali, Kamasanstyle, technique.]]>
<![CDATA[KAJIAN TEKNIK MENGGAMBAR WAYANG BEBER GAYA PACITAN JOKO SRI YONO ]]>
<![CDATA[Gozali, Amir]]>;
<![CDATA[Sutriyanto, S.,]]>
<![CDATA[ Acintya Vol. 7 No. 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v7i1.1989
<![CDATA[Wayang beber is one of the local heritage arts genius of our ancestors were awarded UN World Board through the (United Nations Educational, Scientific and Cultural Organization) UNESCO. Wayang beber consists of two styles of Pacitan style and Wonosari style. Both have a very clear distinction, which is present in the background and some of the characters involved. This study aimedto Pacitan style wayang beber, which is characterized by a very complicated background and has a very interesting artistic value. From both also have different kaedah manufacture especially when applying the colors used. This study examined the anatomy contained in wayang beber body, be it amain character or some other supporting cast. Anatomy directed against members of the body are found in various types of puppets such as eyes, nose, mouth, ears, hands, feet up clothes and accessories that are used. In addition, this study will reveal some of the symbols contained in the background, where the background can be seen from the condition and location that is happening ineach scene. In this study, the object is wayang beber with emphasis minitik studies on aspects of its art techniques and media that manufacture Pacitan style wayang beber Sri Yono Joko work. To solve some of the issues raised using a direct approach to the puppeteers, craftsmen and artists were stillprimarily Joko Sri Yono as an artist who holds the grip wayang beber style Pacitan, as well as the review of existing literature and using some of the theoretical approaches in the hope to replied the existing formula.Keywords: Wayang Beber, Style, Pacitan.]]>
<![CDATA[DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA ]]>
<![CDATA[gozali, amir]]>
<![CDATA[ Acintya Vol. 11 No. 1 (2019) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v11i1.2609
<![CDATA[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]]>
<![CDATA[Media cat Minyak dan Pendukungnya ]]>
<![CDATA[Gozali, Amir]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 2 No. 2 (2010) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v2i2.311
<![CDATA[The artwork must not only be measured/ assessed from the outside impression of the observer but also the good and bad quality of the physical. It depens how the process works is made, for the quality of course work rwquired precision in the selection of good materials and application of proper techniques in making a painting. Media oil paint, began to be known/discovered in the 15th century (the time Renisance in Europe). This medium was found closely related to the spirit if the Renaissance itself is the rebirth of ideas, thoughts Ancient Greek and Roman times are based on human reason(rationalism) and values of humanity (humanism) and the view that humans are used as a source all actions. As a result of the industrial revolution had improved oil paints in term of shape as it begins to be mass produced. Form of oil paint which originally separate between base material and developed into oil and solids in the form of a paste-like tube packaging at this time with different brands and package sizes. This makes oil paint more and more popular today because it has the character of a flexible and practical in its use.Keywords : painting,medium,oil paint]]>
<![CDATA[Kaligrafi Arab Dalam Seni Lukis Kaca Cirebon ]]>
<![CDATA[Gozali, Amir]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 3 No. 2 (2011) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v3i2.321
<![CDATA[Islamic culture transformation process continues to this day, the puppet is one proof of the continuity of historical reflection Indonesian culture resulting from the transformation of culture has characterized the culture of the archipelago. In addition it is also the object of puppets in the creation of works of art of Islamic calligraphy in Indonesia. Islamic Calligraphy has been media creativity of the artist to realize the creation of Islamic art that characterized the archipelago. During its development, calligraphy works, both produced by palace artist and artist from outside the palace, has managed to absorb the local cultture and accomplishment in calligraphy. In connection with this, mucullah calligraphy works in the form of works of calligraphy with the puppet motif adapted well in the archipelago, especially in Cirebon. Glass painting in Cirebon could not be separated from the cultural history of Cirebon that culture is the crystallization of several from the cultures that influence it. In the history of Cirebon culture influences from Arabic, Chinese, and Central and East Java.Acculturation in Cirebon culture integrated with peace, so that glass painting in Cirebon if observed bring a breath of uniqueness and distinctive character. Islamic Calligraphy in Cirebon is a mean of channeling creative art reflection of this artist.The trustee in Cirebon by successfully combining creative Islamic calligraphy art with elements of local art. So the calligraphy appears Cirebon identity. Traditional decorative patterns that have been developed previously distilir so as to produce beautiful calligraphic work without losing his character. Some works of calligraphy Panembahan which is stylized decorative patterns that emerge in the form of a charming figural calligraphy, monumental and filled with elements of local genius. Islamic Calligraphy presence in Indonesia has emerged as the archipelago cultures capable of moving the tradition of thinking and notices, which is capable of touching the existence, cultivate ideas, open intuition, imagination cast a meaning behind the verses as a source of expression and creativity to create works that bercitra archipelago. Keywords: Glass painting, Cirebon, Islamic Calligraphy.]]>
<![CDATA[Kajian Tehnik Menggambar Wayang Beber Gaya Pacitan Joko Sri Yono ]]>
<![CDATA[Gozali, Amir]]>;
<![CDATA[-, Sutriyanto]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 6 No. 1 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v6i1.431
<![CDATA[This study aimed to Pacitan style wayang beber, which has the characteristics of a very complicated background and has a very interesting artistic value. Of the two also has a different procedure for the manufacture especially when applying the colors used. This study examines the anatomy of the body found in wayang beber, either the main character or some other supporting cast. Anatomy directed against members of the body found in various types of puppets such as the eyes, nose, mouth, ears, hands, feet up used clothing and accessories. In addition, this study will reveal some of the symbols contained in the background, where the background can be seen from the condition and location that is happening in each scene. In this study, the object is wayang beber with emphasis minitik studies on aspects of the art techniques and media apparently namely the manufacture of Pacitan style wayang beber Sri Yono Joko work. To solve some of the issues raised using a direct approach to the puppeteers, craftsmen and artists who are still there, especially Joko Sri Yono as an artist who holds the grip Pacitan style wayang beber, and a review of the existing literature. By using some of the theoretical approach is expected to answer the problem.Keywords: Wayang Beber, Style, Pacitan]]>
<![CDATA[PENGEMBANGAN MODEL CINDERAMATA ETNIK DENGAN MUATAN KEARIFAN LOKAL CANDI SUKUH ]]>
<![CDATA[Indratmo NS, Effy]]>;
<![CDATA[Gozali, Amir]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 2 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v7i2.1591
<![CDATA[Saat ini, dunia telah memasuki era industri kreatif. Untuk memenangkan persaingan tak cukup hanya berbekal unik dalam memproduksi sebuah komoditi. Kelokalan harus dieksploitasi secara positif dan Indonesia memiliki keuntungan karena memiliki kekayaan budaya yang bisa diolah. Penelitian ini adalah salah satu bagian dalam mengolah kearifan lokal menjadi sebuah komoditi. Mengolah kearifan lokal Candi Sukuh yang terletak di lereng Gunung Lawu di Karanganyar Jawa Tengah menjadi produk cinderamata.Cinderamata atau souvenir adalah benda yang dibawa pulang oleh wisatawan sebagai kenang-kenangan bagi perjalanannya. Cinderamata merupakan mata pencaharian sebagian masyarakat di sekitar Candi Sukuh. Meskipun demikian penjualan cinderamata dari masyarakat tersebut masih minim dan tidak berkembang. Beberapa penyebabnya adalah ketidakmampuan dari masyarakat untuk memproduksi sendiri, model yang sedikit, dan kualitas yang rendah.Metode yang digunakan adalah pendekatan Research and Development. Dengan metode tersebut, peneliti melakukan serangkaian langkah yaitu tahap studi pendahuluan (studi literatur dan studi lapangan), perencanaan (mengimplementasikan kearifan lokal Candi Sukuh menjadi rancangan bentuk cinderamata), pembangunan (membuat model, mencetak, menuang, dan memproduksi), uji coba kualitas cinderamata dan evaluasi, dan yang terakhir adaalah diseminasi. Kata kunci: candi Sukuh, cinderamata etnik, kearifan lokal. ]]>
<![CDATA[FENOMENA MARITIM INDONESIA SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS ]]>
<![CDATA[Dardiri, Thoriq Bidar]]>;
<![CDATA[Gozali, Amir]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 9 No. 1 (2017) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v9i1.2112
<![CDATA[ABSTRAKBerbagai fenomena maritim Indonesia akhir-akhir ini cukup menarik perhatian untuk dibicarakan, hingga diangkat menjadi tema penciptaan karya seni lukis. Hal-hal tentang kemerosotan dunia maritim Indonesia sebenarnya harus menjadi kegelisahan bersama bangsa ini. Berangkat dari pemikiran tersebut, diciptakanlah karya-karya seni lukis dengan tema Fenomena Maritim Indonesia, dengan harapan bahwa pewacanaan persoalan kemaritiman Indonesia dewasa ini dengan media seni lukis dapat menjadi salah satu bentuk peran serta dalam pencarian solusi masah terkait. Wujud media wacana seni lukis ini dikemas dengan menggunakan kaidah-kaidah penciptaan karya seni lukis pada umumnya yang dieksplorasi dengan karakter dan teknik pribadi.Kata kunci: maritim, Indonesia, seni lukis ABSTRACTVarious maritime phenomena of Indonesia lately enough to attract attention to be discussed, until it was appointed as the theme of the creation of painting. Things about the decline of the Indonesian maritime world should actually be anxiety with this nation. Departing from that thought, created works of art painting with the theme of Maritime Phenomenon of Indonesia, with the hope that the present maritime issues magazine with the media of painting can be one form of participation in the search for related solutions. The form of media of painting discourse is packed by using the rules of creation of paintings in general are explored with character and personal techniques.Keywords: maritime, Indonesia, painting]]>
<![CDATA[Imajinasi Masa Kecil di Desa sebagai Sumber Ide dalam Penciptaan Karya Seni Lukis ]]>
<![CDATA[Masruri, Shubhan]]>;
<![CDATA[Gozali, Amir]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 15 No. 1 (2023) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/brikolase.v15i1.5398
<![CDATA[The background of the creation of this Final Project painting inspired by childhood imagination in the village is the author's experience in viewing events and events that are being carried out by small children in the present that have similarities with the memories that the little writer had made as a village child who was full of imagination. The creation of this painting is structured as a form of expression of the author's longing for childhood memories that are impossible to repeat. The technique used in the creation of works is the placard technique, using acrylic paint on canvas. The creation of works refers to the theory put forward by L.H. Chapman. First, the effort to find ideas, the second is the stage of refining, developing, and solidifying the initial idea, and the third is the visualization stage in the media. The results obtained from the creation of works of art are paintings inspired by childhood imaginations in the village. In addition, the experience in creating this painting is expected to provide positive value for oneself and others.]]>
<![CDATA[POTRET MURUNG ANJING KAMPUNG SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS ]]>
<![CDATA[Pratomo, Tatto Jiwo]]>;
<![CDATA[Gozali, Amir]]>
<![CDATA[ Sanggitarupa Vol. 1 No. 1 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sanggitarupa.v1i1.3841
<![CDATA[This Final Project report entitled Portrait of Murung Kampung Dog as a Source of Inspiration for the Creation of Paintings was created based on experiences and observations related to cases that befell the lives of mongrels, from neglect, neglect, abuse, to consumption by humans. From this source of inspiration, the author creates a painting that is expected to be an awareness, that in treating mongrels like human friends. Cultivation of this final project using the L.H Chapman method with three stages, namely efforts to find ideas, develop ideas and visualize. The process of realizing the work of applying the plaque technique using acrylic paint on canvas media. This Final Project shows the visual of mutt dogs that have experienced various sufferings and cruelties from humans. This final project presents 10 works of painting. Keywords: Moody Portrait, Country Dog, Painting]]>
