Article Per Year (5 Year)
p-Index From 2020 - 2025
0.61
P-Index
This Author published in this journals
All Journal ARTISTIC : International Journal of Creation and Innovation Sanggitarupa
Yuwono, basuki Teguh
Unknown Affiliation
Arts Languange, Linguistic, Communication & Media

Published : 3 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 3 Documents
Search

 1 
PENCIPTAAN TOMBAK DHAPUR IKAN KOI Listiani, Yuni; Yuwono, Basuki Teguh
Sanggitarupa Vol. 2 No. 1 (2022)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sanggitarupa.v2i1.4772

Abstract

Koi fish (Cyprinus carpio) is a type of ornamental fish that easily adapts to its new environment, this fish is classified as carp (carp). Koi have senses in the form of a pair of eyes (sight), nose (smell), and antennae (taste). And has a swim bladder that helps in swimming such as floating, swooping, or looking up. The creation method used in the process of creating this koi fish spear uses the theory of S.P. Gustami, namely: the first stage of exploration which includes exploration activities to explore sources of ideas through observation, literature study, interviews, and documentation by collecting data in the form of references to writings, pictures, journals, final project reports, photographs of works, photos of objects related to theme. The two design stages include ideas in the form of alternative sketches, selected designs, and working drawings. The three stages of embodiment include the final process starting from the forging, grinding, turning, nyangkling, tinatah, ngamal and warangi processes. Koi fish are a source of inspiration for writers because of the attractive, beautiful, symbolic aspects, meanings and benefits that can be visualized into spear work. Spear is a traditional weapon that is found in all civilizations of the world, during the stone age. Derived from a pointed stone that is given a long stalk, the tool is used for hunting, fishing, and fighting. Over time, spears were used for traditional ceremonies, and were used as heirlooms for generations.
THE CREATION OF RADEN ADJENG KARTINI’S PUTUT DHAPUR KERIS Saputri, Puput; Yuwono, Basuki Teguh
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4454

Abstract

Raden Adjeng Kartini, an Indonesian national hero from Jepara, Raden Adjeng Kartini, is an interesting inspiration for keris art. This creation seeks to realize the keris putut’s work with Raden Adjeng Kartini's dhapur as a form of respect and to imitate her character. The putut keris is made using a forging (tempa) technique and the primary ingredients of iron, nickel, and steel. The method of creation used is exploration, design, and embodiment. Meanwhile, the conceptual basis consists of greget, guwaya, and wangun. This creation results in three keris: the Putut Dhapur Emansipasi Raden Adjeng Kartini Keris, the Putut Dhapur Madhurya Raden Adjeng Kartini Keris, and the Putut Dhapur Anggit Raden Adjeng Kartini Keris. Each keris has a meaning related to Raden Adjeng Kartini’s character.
JAVANESE FARMERS’ PRANATA MANGSA CONCEPT AS THE IDEAS OF WAYANG BEBER CREATION Wibisono, Faris; Yuwono, Basuki Teguh
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.4499

Abstract

Javanese farmers practice the pranatamangsaas their agricultural way. This conception has guided the Javanese agricultural approach in treating nature for generations from their ancestors to the present day. This teaching also inspires the creation of wayangbeberwith the sunggingtechnique. The creation process consists of three phases, namely (1) exploration, (2) design, and (3) realization. The resulting work is divided into 24 pejagongsand six scrolls of wayangbeber, with each pejagongcontaining a continuous narrative. The applied sunggingancolors represent the changing seasons, while the gununganof kala at the beginning and conclusion of each pejagong represents the change in time and setting. The descriptions are separated into various categories, including the farming community, village officials, religious leaders, and intermediaries.
Co-Authors Listiani, Yuni Saputri, Puput Wibisono, Faris