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THE ELABORATION OF SACRED AND PROFANE IN FINE ART WORK ENTITLED "WHEN HANDS AND FEET ARE TALKING” Zarkasi, Much. Sofwan; Suwasono, Bening Tri
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.6028

The article "Sacred and Profane Elaboration in a Work of Art Titled When Hands and Feet Speak" by Much. Sofwan Zarkasi and Bening Tri Suwasono explores the intersection of sacred and profane elements in art, a convergence rarely seen in modern works that typically separate art and religion. This meeting of sacred and profane is grounded in Islamic prophetic values derived from Quranic knowledge. The authors argue that since the purpose of human life is to worship, and art is a part of human activity, art should also encompass the concept of worship. Thus, art becomes a blend of sacred and profane activities, presenting visual beauty and values that remind humans to protect the world from harm. The method used in creating "When Hands and Feet Speak" follows the stages of creation by L.H. Chapman: a) finding ideas, b) refining, developing, and solidifying initial ideas, and c) visualizing in the medium. This process is enhanced by adding d) the intention to work for worship at the beginning and including evaluation and gratitude at the end. The technique combines printmaking and collage to produce the final artwork. Keywords: Elaboration, Sacred, Profane, Fine Arts

PENCIPTAAN KARYA SENI RUPA ABSTRAKSI WAJAH TOGOG DAN TOPENG BUJANG GANONG DENGAN TEKNIK CBT (CETAK BENANG TARIK) Zarkasi, Sofwan; Suwasono, Bening tri
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

ABSTRACT”Penciptaan Karya Seni Rupa Abstraksi Wajah Togog Dan Topeng Bujang Ganong Dengan Teknik CBT (Cetak Benang Tarik)”( The Creation Of Abstraction Artworks Of Togog’s Face And The Mask Of Bujang Ganong With CBT (Print Thread) Technique) by Sofwan Zarkasi and Bening Tri Suwasono is based on the opportunities related to creativity and experimentation in two-dimensional works of art that utilize systems or techniques of creation in graphic arts, which have two-dimensional print art characters. One of them is creating mono print graphic artwork with a print process that utilizes tensile threads, namely threads that are colored and printed on paper and pulled with a little pressure. This research aims to open wide opportunities for creativity in two-dimensional works of art. The method applied in the creation of works in this study is using the theoretical approach of L. Chapman, which mentions three stages. The first stage is finding ideas by approaching the source of inspiration; the second stage includes refinement, development and establishment of the initial idea, including how the artist perfects, develops and establishes the initial idea which in this case relates to the search of forms, the choice of medium, tools, materials, and techniques; and the third stage, visualization into media, namely how artists visualize in the media. Indirectly the theory also put forward the experimentation, which in this study is the technique of Tensile Print (CBT) which produces the image prints in the form of lines that form the visual subject of Togog’s face and Bujang Ganong’s face mask in two-dimensional media. The results of this aristic research are two-dimensional works of art in the form of abstractions of Bujang Ganong masks with the characteristics of printed characters from the attraction of colored threads.From the creation of abstraction artworks of Togog’s face and the mask of Bujang Ganong with CBT (Print Thread) technique, this two-dimensional art works with the traditional dimensions is expected to be rich of innovation, both in technique and form, so that it can raise the prestige of the arts.Keywords: Fine Arts, two dimensions, abstraction, puppets, CBT.

CETAK TELAPAK TANGAN SEBAGAI STRATEGI KREATIF PENCIPTAAN KARYA SENI RUPA POTRET TOKOH WAYANG Zarkasi, Much. Sofwan; Suwasono, Bening Tri
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v12i1.3305

Artistic research which took the title of Printing the Palm as a Creative Strategy in the Creation of Portrait of Wayang Figure, in 2019 by Much. Sofwan Zarkasi and Bening Tri Suwasono, based on the existing opportunities related to creativity and experimentation in fine art that utilizes print printing techniques. One of them is creating mono print graphic art with primitive printing process utilizing the palm of the hand, to bring up images of wayang figures on the surface of canvas or paper. So this research aims to open up opportunities as wide as possible related to creativity in print art print. The method applied in artistic research in the form of the creation of this work is the creation method of L.H. Chapman who divided the three stages in the process of creation, namely 1) Finding Ideas, 2) Perfecting, developing and consolidating initial ideas, 3) visualization of the media. Experimentation in this creation process is the technique of printing the palm of the hand on the surface of the canvas or paper, the result of which is a monoprint of graphic artwork in the form of a picture that has a unique character, namely the appearance of a handprint shape in which there is a portrait picture of a puppet character.It is hoped that the Printing of Palm as a Creative Strategy for the Creation of a Portrait of Puppet Art which has a dimension of tradition can provide a diversity of innovations, both techniques and forms, in the development of visual arts, especially printing. AbstrakPenelitian artistik yang mengambil judul Cetak Telapak Tangan Sebagai Strategi Kreatif Penciptaan Karya Seni Rupa Potret Tokoh Wayang, tahun 2019 oleh Much. Sofwan Zarkasi dan Bening Tri Suwasono ini, didasari adanya peluang yang ada terkait kreatifitas dan eksperimentasi pada karya seni rupa yang memanfaatkan teknik cetak mencetak. Salah satunya adalah menciptakan karya seni grafis mono print dengan proses cetak primitive memanfaatkan telapak tangan, untuk memunculkan gambar tokoh wayang pada permukaan kanvas atau kertas. Maka penelitian ini bertujuan untuk membuka peluang selebar-lebarnya terkait kreatifitas pada karya seni rupa cetak mencetak.Metode yang diterapkan dalam penelitian artistik berupa penciptaan karya ini adalah metode penciptaan dari L.H. Chapman yang membagi tiga tahapan dalam proses penciptaan, yaitu 1) Menemukan Gagasan, 2) Menyempurnakan, mengembangkan dan memantapkan gagasan awal, 3) visualisasi pada media. Eksperimentasi pada proses penciptaan ini adalah teknik cetak telapak tangan pada permukaan kanvas atau kertas, yang hasilnya adalah karya seni garfis monoprint berupa cetakan gambar yang memiliki karakter unik yaitu munculnya bentuk cetakan tangan yang di dalamnya terdapat gambar potret tokoh wayang.Diharapkan Cetak Telapak Tangan Sebagai Strategi Kreatif Penciptaan Karya Seni Rupa Potret Tokoh Wayang yang berdimensi tradisi ini bisa memberi keragaman inovasi baik teknik maupun bentuk pada perkembangan karya seni rupa terutama seni cetak mencetak

WATER AS THE IDEAS FOR KERIS CREATION Fajri, Muhammad Ra'uf Dwi; Suwasono, Bening Tri
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.v4i1.5076

Water is a natural element that inspires artistic creation. Water is crucial for life. Almost all organisms inhabit habitats ecosystems with sufficient water availability. Water as a source of inspiration in the creation of this artwork is embodied in the dhapurkeris. This work uses the Mor-Jo-Si-Ngun aesthetic approach, with exploration, design, and embodiment serving as its production method. There are three keris made with the names dhapurTirtaPanguripanluk-7, TirtaSegara luk-5, and TirtaAwang-awang. Each created work carries a meaning according to the title and philosophy of water as a symbol of life.

PENCIPTAAN KARYA SENI RUPA ABSTRAKSI WAJAH TOGOG DAN TOPENG BUJANG GANONG DENGAN TEKNIK CBT (CETAK BENANG TARIK) Zarkasi, Sofwan; Suwasono, Bening tri
Acintya Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v11i2.2756

ABSTRACT”Penciptaan Karya Seni Rupa Abstraksi Wajah Togog Dan Topeng Bujang Ganong Dengan Teknik CBT (Cetak Benang Tarik)”( The Creation Of Abstraction Artworks Of Togog’s Face And The Mask Of Bujang Ganong With CBT (Print Thread) Technique) by Sofwan Zarkasi and Bening Tri Suwasono is based on the opportunities related to creativity and experimentation in two-dimensional works of art that utilize systems or techniques of creation in graphic arts, which have two-dimensional print art characters. One of them is creating mono print graphic artwork with a print process that utilizes tensile threads, namely threads that are colored and printed on paper and pulled with a little pressure. This research aims to open wide opportunities for creativity in two-dimensional works of art. The method applied in the creation of works in this study is using the theoretical approach of L. Chapman, which mentions three stages. The first stage is finding ideas by approaching the source of inspiration; the second stage includes refinement, development and establishment of the initial idea, including how the artist perfects, develops and establishes the initial idea which in this case relates to the search of forms, the choice of medium, tools, materials, and techniques; and the third stage, visualization into media, namely how artists visualize in the media. Indirectly the theory also put forward the experimentation, which in this study is the technique of Tensile Print (CBT) which produces the image prints in the form of lines that form the visual subject of Togog’s face and Bujang Ganong’s face mask in two-dimensional media. The results of this aristic research are two-dimensional works of art in the form of abstractions of Bujang Ganong masks with the characteristics of printed characters from the attraction of colored threads.From the creation of abstraction artworks of Togog’s face and the mask of Bujang Ganong with CBT (Print Thread) technique, this two-dimensional art works with the traditional dimensions is expected to be rich of innovation, both in technique and form, so that it can raise the prestige of the arts.Keywords: Fine Arts, two dimensions, abstraction, puppets, CBT.

THE ELABORATION OF SACRED AND PROFANE IN FINE ART WORK ENTITLED "WHEN HANDS AND FEET ARE TALKING” Zarkasi, Much. Sofwan; Suwasono, Bening Tri
Acintya Vol. 16 No. 1 (2024)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v16i1.6028

The article "Sacred and Profane Elaboration in a Work of Art Titled When Hands and Feet Speak" by Much. Sofwan Zarkasi and Bening Tri Suwasono explores the intersection of sacred and profane elements in art, a convergence rarely seen in modern works that typically separate art and religion. This meeting of sacred and profane is grounded in Islamic prophetic values derived from Quranic knowledge. The authors argue that since the purpose of human life is to worship, and art is a part of human activity, art should also encompass the concept of worship. Thus, art becomes a blend of sacred and profane activities, presenting visual beauty and values that remind humans to protect the world from harm. The method used in creating "When Hands and Feet Speak" follows the stages of creation by L.H. Chapman: a) finding ideas, b) refining, developing, and solidifying initial ideas, and c) visualizing in the medium. This process is enhanced by adding d) the intention to work for worship at the beginning and including evaluation and gratitude at the end. The technique combines printmaking and collage to produce the final artwork. Keywords: Elaboration, Sacred, Profane, Fine Arts

CETAK TELAPAK TANGAN SEBAGAI STRATEGI KREATIF PENCIPTAAN KARYA SENI RUPA POTRET TOKOH WAYANG Zarkasi, Much. Sofwan; Suwasono, Bening Tri
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 12 No. 1 (2020)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v12i1.3305

Artistic research which took the title of Printing the Palm as a Creative Strategy in the Creation of Portrait of Wayang Figure, in 2019 by Much. Sofwan Zarkasi and Bening Tri Suwasono, based on the existing opportunities related to creativity and experimentation in fine art that utilizes print printing techniques. One of them is creating mono print graphic art with primitive printing process utilizing the palm of the hand, to bring up images of wayang figures on the surface of canvas or paper. So this research aims to open up opportunities as wide as possible related to creativity in print art print. The method applied in artistic research in the form of the creation of this work is the creation method of L.H. Chapman who divided the three stages in the process of creation, namely 1) Finding Ideas, 2) Perfecting, developing and consolidating initial ideas, 3) visualization of the media. Experimentation in this creation process is the technique of printing the palm of the hand on the surface of the canvas or paper, the result of which is a monoprint of graphic artwork in the form of a picture that has a unique character, namely the appearance of a handprint shape in which there is a portrait picture of a puppet character.It is hoped that the Printing of Palm as a Creative Strategy for the Creation of a Portrait of Puppet Art which has a dimension of tradition can provide a diversity of innovations, both techniques and forms, in the development of visual arts, especially printing. AbstrakPenelitian artistik yang mengambil judul Cetak Telapak Tangan Sebagai Strategi Kreatif Penciptaan Karya Seni Rupa Potret Tokoh Wayang, tahun 2019 oleh Much. Sofwan Zarkasi dan Bening Tri Suwasono ini, didasari adanya peluang yang ada terkait kreatifitas dan eksperimentasi pada karya seni rupa yang memanfaatkan teknik cetak mencetak. Salah satunya adalah menciptakan karya seni grafis mono print dengan proses cetak primitive memanfaatkan telapak tangan, untuk memunculkan gambar tokoh wayang pada permukaan kanvas atau kertas. Maka penelitian ini bertujuan untuk membuka peluang selebar-lebarnya terkait kreatifitas pada karya seni rupa cetak mencetak.Metode yang diterapkan dalam penelitian artistik berupa penciptaan karya ini adalah metode penciptaan dari L.H. Chapman yang membagi tiga tahapan dalam proses penciptaan, yaitu 1) Menemukan Gagasan, 2) Menyempurnakan, mengembangkan dan memantapkan gagasan awal, 3) visualisasi pada media. Eksperimentasi pada proses penciptaan ini adalah teknik cetak telapak tangan pada permukaan kanvas atau kertas, yang hasilnya adalah karya seni garfis monoprint berupa cetakan gambar yang memiliki karakter unik yaitu munculnya bentuk cetakan tangan yang di dalamnya terdapat gambar potret tokoh wayang.Diharapkan Cetak Telapak Tangan Sebagai Strategi Kreatif Penciptaan Karya Seni Rupa Potret Tokoh Wayang yang berdimensi tradisi ini bisa memberi keragaman inovasi baik teknik maupun bentuk pada perkembangan karya seni rupa terutama seni cetak mencetak

Keris Dhapur Inu: Inovasi Dhapur Klasik Berbahan Mangalloy Sebagai Penghasil Pamor Suwasono, Bening Tri; Muh. Arif Jati Purnomo
Besaung : Jurnal Seni Desain dan Budaya Vol. 10 No. 3 (2025): Besaung: Agustus-November
Publisher : UNIVERSITAS INDO GLOBAL MANDIRI

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36982/jsdb.v10i3.6237

This research represents an effort to develop form and material in the art of tosan aji (sacred metalwork) through the creation of the Keris Dhapur Inu. The formal inspiration is drawn from the character Panji Inu Kertapati, who embodies the refined and wise qualities of a noble Javanese knight. The urgency of this study lies in the limited exploration of alternative materials capable of producing pamor (surface patterns on keris blades) and the scarcity of new dhapur innovations grounded in the cultural symbolism of the Panji tradition. The research problem is addressed through an art-based applied research approach focusing on material experimentation and innovation in dhapur design. This study aims to identify the characteristics of Mangalloy as an alternative pamor-producing material, develop a new dhapur form rooted in Panji symbolism, and realize a keris artwork that synthesizes modern metallurgical knowledge with the traditional values of tosan aji. The primary material used is manganese alloy steel (Mangalloy), which was initially misidentified as ataxite meteoritic iron. X-ray Fluorescence Spectrometer analysis—employed for non-destructive chemical composition identification—shows that the material contains high Fe–Mn and low nickel content, classifying it as manganese steel. Through processes of fold-forging, shaping, tinatah carving of Panji mask motifs on the gandhik (facial section of the blade), and pewarangan (blade finishing), the research produces a keris with strong contrast pamor and dense metal structure. Dhapur Inu emerges as a synthesis of modern metallurgy and tosan aji traditions, demonstrating the potential of Mangalloy as an alternative metal for generating pamor.

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