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All Journal Ars: Jurnal Seni Rupa dan Desain Corak : Jurnal Seni Kriya MUDRA Jurnal Seni Budaya
SP. Gustami
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Religion Arts Humanities Education Languange, Linguistic, Communication & Media Social Sciences

Published : 3 Documents Claim Missing Document
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Cahaya Bagi Kreasi Estetik SP. Gustami
Ars: Jurnal Seni Rupa dan Desain No.1 TH.1 April 2004
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.236

Abstract

Cahaya sebagai suatu gejala harus sudah disadari, sejak orang mengenal siang danmalam. Pada siang hari suhu udara menjadi hangat atau panas akibat terkena pancaransinar matahari. Oleh sebab itu, wajar jika cahaya diasosiasikan dengan panas; panasdiasosiasikan dengan iklim, yakni bagian siklus realitas alam yang ditimbulkan oleheksistensi matahari. Cahaya tidak hanya sebagai kekuatan (energi) yang memberikan dayahidup segala makhluk di dunia, tetapi disadari bahwa tanpa cahaya segala sesuatu tidakmungkin terlihat atau digumuli adan dikembangkan bagi kepentingan hidup.Pada dasarnya sumber cahaya dapat dipilahkan menjadi dua macam, yaitu sumbercahaya alami dan buatan. Sumber cahaya alami antara lain, berasal dari matahari dan kilat(lightningj dengan segala implikasinya; sedangkan sumber cahaya buatan antara lain,berasal dari api dan listrik. Efek yang ditimbulkan oleh kedua sumber cahaya itu telahmempengaruhi kesadaran manusia, sehingga setelah mengalami sentuhan estetik umbulfenomena tertentu yang terkesan dramatik, mitis, dan religius, atau sama sekali bersifatprofan. Hal itu bergayut dengan eksistensi manusia yang memiliki kesadaran rasional danirasional sekaligus. Sejalan dengan itu, pengenalan dan pemahaman manusia mengenaicahaya juga terbagi menjadi dua alur pikir yang berbeda, termasuk di dalamnyaperanannya di bidang penciptaan karya seni. Kehadiran cahaya dalam seni juga memilikidua kecenderungan terpisah, yaitu munculnya sifat sacral (dramatik, mitis, dan religius)dan profan. Bukti untuk itu dapat diperhatikan melalui uraian berikut.
UNSUR KOMBINASI PADA VISUALISASI RAGAM HIAS BATIK KLASIK SEMÈN GAYA YOGYAKARTA Suryo Tri Widodo; G.R. Lono Lastoro Simatupang; R.M. Soedarsono; SP. Gustami
Corak : Jurnal Seni Kriya Vol 5, No 2 (2016): NOVEMBER 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (891.505 KB) | DOI: 10.24821/corak.v5i2.2387

Abstract

Semèn motifs on classical batik of Yogyakarta style, is a motif which visualize floral form withvarious elements motifs on it. Semèn motifs influenced Hindu-Java and Islamic culture. Influencefrom Islamic culture delivere a few motifs in stylization. From visual aspect, some of elementsmotifs on it visualize combine motifs. It become visual concept characteristic in Islam art includein semèn motifs on classical batik of Yogyakarta style. Visualization of motifs can be hide withcombined elements motifs. Keywords: semèn motifs, Yogyakarta classical batik, combine motifs
Cultural Materialism and Aesthetic Analysis of Ikat-Woven Sarong Production in Parengan Village, Lamongan, East Java Asmi Nusantari, Okta Viviana; Fitriasari, Rr. Paramita Dyah; Gustami, SP.
Mudra Jurnal Seni Budaya Vol 40 No 4 (2025)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v40i4.2998

Abstract

This research investigates the cultural and aesthetic dimensions of ikat-woven sarong production in Parengan Village, Lamongan Regency, East Java, using a material culture biography approach. The research addresses how traditional sarongs—particularly those with legendary patterns such as tempean, botolan, and putihan—function as cultural commodities shaped by communal production, religious practice, and regional identity. Drawing on Raymond Williams’ theory of cultural materialism and Edmund Burke Feldman’s aesthetic theory, the research analyzes the visual structure, motif repetition, and socio-cultural functions of the sarong as both a physical object and a symbolic medium. Data were collected through ethnographic fieldwork, including interviews, visual documentation, and observations in representative weaving centers. The findings reveal that sarong production in Parengan is not only a site of artisanal heritage but also a dynamic cultural practice influenced by commodification, Islamic traditions, and intergenerational knowledge transmission. The research contributes to the discourse on material culture by demonstrating how textile production reflects broader social transformations and cultural negotiations. It highlights the importance of integrating visual analysis and cultural theory to understand the evolving meaning and function of traditional craft in contemporary society.
Co-Authors Asmi Nusantari, Okta Viviana Fitriasari, Rr. Paramita Dyah G.R. Lono Lastoro Simatupang G.R. Lono Lastoro Simatupang Hariana, Hariana Priscilla Tamara R.M. Soedarsono Senen, I Wayan Suryo Tri Widodo Timbul Haryono