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All Journal Imajinasi Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa
Dharsono -
Penulis adalah seorang dosen seni rupa STSI Surakarta, pendidikan doktor ITB Bandung
Arts Humanities

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 1 
SIMBOLISME BILANGAN DAN ARTEFAK BATIK DALAM SISTEM KEBUDAYAAN JAWA -, Dharsono
Imajinasi Vol 3, No 1 (2007): Imajinasi
Publisher : Jurusan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Memahami kebudayaan pada dasarnya sama dengan memahami masalah makna, nilai, dan simbol yang dijadikan acuan oleh masyarakat pendukungnya, sebagai sistem simbol dan pemberian makna, yang ditransmisikan melalui kode-kode simbolik. Pengertian kebudayaan tersebut memberikan konotasi bahwa kebudayaan sebagai ekspresi masyarakat berupa tingkah laku manusia yang di dalamnya terdapat gagasan dalam komunitasnya. Tulisan ini akan membahas permasalahan kebudayaan terkait dengan pandangan masyarakat berkaitan dengan penggunaan simbol bilangan dan motif batik dalam sistem kebudayaan Jawa.Kata Kunci: kebudayaan, simbol, kosmos, artefak budaya
Menyoal Seni Lukis Indonesia Kini -, Dharsono
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3288.758 KB) | DOI: 10.33153/bri.v1i1.239

Abstract

Our painting trip since pioneering   R. Saleh until the beginning of this XXI, was still swayed by the impact of conception. Indonesian art esta-blishment that has not reached the level of success, it has been devastating by western modernism that produce alternative art, with the emergence of the concept art (art conseptual): "Installation Art", and "Performance Art", which once flourished in college campuses throughout the art of the late 20th century. Then came the various alternatives such as "collaboration" as the final mode. Along the same conventions of painting adorned with a variety of styles-galleries, which is no longer as a token of appreciation to the community, but an alternative investment business. Now (the early 21st century) painting exposed to two forces; art remains a classic value of conventional forces from the inner consumption that belonged to the community, cha-llenged by the phenomenon of art as a market management forces in berorentasi leading commercial value in popular culture. Art no longer belongs to the people ....... Keyword: arts, painting, popular culture
Seni Dan Desain Sang Primadona, Seni Kriya Sang Penyelamat -, Dharsono
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 1 (2013)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (264.806 KB) | DOI: 10.33153/bri.v5i1.397

Abstract

As the dichotomy emerged in 1970s art , artists in the tradition of "fine art " artist called ,were the perpetrators in the category of " craft " so-called artisan or craftsman .Especially painting get a superior position , because of the success of the artist paintingthe west in the seat as part of a " liberal art " activities that reflect part of intelegtualitas ,being " craftmanship " merely " mechanical art " Then marginalized craft and fine art ofthe prima donnaFurther development , the emergence of trichotomy of art , design and craft ( the 1980s) , the more visible and tangible . Craft positions below , even debased or diinferiorkanby fine art or design . So the design of the prima donna .But what's the reality ? ! ...... When the Indonesian economic crisis of 1998, the craft isthrown down , the craft is thrown into marginal - hall , in reality it is instrumental tocreating jobs and even contribute significantly in moving the economy in layer " grassroot " . Even with the collapse of capital-intensive , it sparked the birth of entrepreneursto move the craft -based industries such as in Jepara , Cirebon , Surakarta . Kriyabecame the savior .
Menyoal Seni Lukis Indonesia Kini -, Dharsono
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v1i1.239

Abstract

Our painting trip since pioneering   R. Saleh until the beginning of this XXI, was still swayed by the impact of conception. Indonesian art esta-blishment that has not reached the level of success, it has been devastating by western modernism that produce alternative art, with the emergence of the concept art (art conseptual): "Installation Art", and "Performance Art", which once flourished in college campuses throughout the art of the late 20th century. Then came the various alternatives such as "collaboration" as the final mode. Along the same conventions of painting adorned with a variety of styles-galleries, which is no longer as a token of appreciation to the community, but an alternative investment business. Now (the early 21st century) painting exposed to two forces; art remains a classic value of conventional forces from the inner consumption that belonged to the community, cha-llenged by the phenomenon of art as a market management forces in berorentasi leading commercial value in popular culture. Art no longer belongs to the people ....... Keyword: arts, painting, popular culture
Seni Dan Desain Sang Primadona, Seni Kriya Sang Penyelamat -, Dharsono
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 1 (2013)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/bri.v5i1.397

Abstract

As the dichotomy emerged in 1970s art , artists in the tradition of "fine art " artist called ,were the perpetrators in the category of " craft " so-called artisan or craftsman .Especially painting get a superior position , because of the success of the artist paintingthe west in the seat as part of a " liberal art " activities that reflect part of intelegtualitas ,being " craftmanship " merely " mechanical art " Then marginalized craft and fine art ofthe prima donnaFurther development , the emergence of trichotomy of art , design and craft ( the 1980s) , the more visible and tangible . Craft positions below , even debased or diinferiorkanby fine art or design . So the design of the prima donna .But what's the reality ? ! ...... When the Indonesian economic crisis of 1998, the craft isthrown down , the craft is thrown into marginal - hall , in reality it is instrumental tocreating jobs and even contribute significantly in moving the economy in layer " grassroot " . Even with the collapse of capital-intensive , it sparked the birth of entrepreneursto move the craft -based industries such as in Jepara , Cirebon , Surakarta . Kriyabecame the savior .
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