Article Per Year (5 Year)
p-Index From 2021 - 2026
0.751
P-Index
This Author published in this journals
All Journal Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Sanggitarupa
gozali, amir
Unknown Affiliation
Arts Humanities Social Sciences

Published : 20 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 6 Documents
Search
Journal : Acintya

 1 
TEKNIK SENI LUKIS KLASIK BALI GAYA KAMASAN KARYA I NYOMAN MANDRA Suyasa, I Nyoman; Gozali, Amir
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2808.024 KB) | DOI: 10.33153/acy.v7i1.1987

Abstract

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.
KAJIAN TEKNIK MENGGAMBAR WAYANG BEBER GAYA PACITAN JOKO SRI YONO Gozali, Amir; Sutriyanto, S.,
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2035.898 KB) | DOI: 10.33153/acy.v7i1.1989

Abstract

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.
DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA gozali, amir
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (560.343 KB) | DOI: 10.33153/acy.v11i1.2609

Abstract

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
TEKNIK SENI LUKIS KLASIK BALI GAYA KAMASAN KARYA I NYOMAN MANDRA Suyasa, I Nyoman; Gozali, Amir
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i1.1987

Abstract

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.
KAJIAN TEKNIK MENGGAMBAR WAYANG BEBER GAYA PACITAN JOKO SRI YONO Gozali, Amir; Sutriyanto, S.,
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v7i1.1989

Abstract

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.
DIMENSI SPIRITUAL DALAM SENI LUKIS ABSTRAK KONTEMPORER INDONESIA: SEJARAH DAN WACANA gozali, amir
Acintya Vol. 11 No. 1 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i1.2609

Abstract

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
Co-Authors -, Sutriyanto Adisukma, Wisnu Dardiri, Thoriq Bidar I Nyoman Suyasa Indratmo NS, Effy Masruri, Shubhan Pratomo, Tatto Jiwo Sutriyanto, S.,