Articles
<![CDATA[Simbolisme Ragam Hias Sisik Batik Demak ]]>
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 2 (2013) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v5i2.415
<![CDATA[Sisik ornament on Demak’s Batik is considered as cultural form, artifact that is contains self representation discourse which is framed by cultural ideographic aspect. However, Demak’s Batik vanished for hudred years from Demak society and emerged in 2006. Therefore, there is cultural communication that vanished in Demak society, particularly it is connected to meaning or value system which is contained in sisik ornament Demak’s Batik for life of Demak’s society. Therefore, it is essential to observe about sisik ornament as particular motif of Demak and the symbolism of sisik ornament on Demak’s Batik and the implication to Demak’s life society. The approach that is used is cultural approach. This approach observes sisik ornament on Demak’s Batik as culture and as part that is never divide, even become the cultural center of Demak’s society.Keywords: Demak’s Batik, Sisik Ornament, Simbolism]]>
<![CDATA[KAJIAN IKONOGRAFI KARYA DULLAH “PRAKTIK TENTARA PENDUDUKAN ASING†]]>
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 1 (2015) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/bri.v7i1.1585
<![CDATA[The article tittled The Iconography of Dullah’s artwork "Foreign Occupation Soldiers Practice" is intended to seek the textual and contextual meaning of Dullah’s art work. With iconographic approach will be obtained deeper and broader meaning from a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless also necessary to understand the contextual and symbolic aspects. At the time of independence Dullah documentating the events related to the struggle of the Indonesian nation to seize and retain independence in his works. Dullah even led a group of young artists to paint directly of events during the occupation of Yogyakarta as an effort to document the history of the struggle of the nation. One of his very famous is"Foreign Occupation Soldiers Practice". This work depicts the atrocities of the Japanese army against the population Indonesia. It is a very strong art work is the "Foreign Occupation Soldiers Practice" that depicts cruelty colonizers against the indigenous population. In this case the work of "Foreign Occupation Soldiers Practice" finds its context as understood by tracing the socio-cultural history during the years 1930-1940. From the art work we can find out how the socio-historical situation of the community when the colonial era. Keywords :Dullah, Iconography, Praktik Tentara Pendudukan Asing.]]>
<![CDATA[MELACAK MAKNA KONSEP KERUPAAN PADA LAMBANG INSTANSI DI INDONESIA DENGAN SUMBER BENTUK MATAHARI ]]>
<![CDATA[adisukma, wisnu]]>
<![CDATA[ Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 11 No. 2 (2019) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/brikolase.v11i2.2908
<![CDATA[The article tittled Melacak Makna Konsep Kerupaan Pada Lambang Instansi di Indonesia dengan Sumber Bentuk Matahari is intended to pursue the textual and contextual meaning of institution sign with basic shape of sun. With iconographic approach would be obtained deeper and broader meaning from a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless still necessary to understand the contextual and symbolic aspects. As the results, sign with basic shape of sun is the cosmic center, cental, foundation point, origin, sangkan paran, or axis mundi. Therefore, it is as the sun that is the problem solving of many problematics in its era.]]>
<![CDATA[PATAH HATI SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI GRAFIS ]]>
<![CDATA[Hidayati, Laili Nur]]>;
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Sanggitarupa Vol. 1 No. 2 (2021) ]]>
Publisher : <![CDATA[Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/sanggitarupa.v1i2.4167
<![CDATA[Patah hati merupakan pokok pembahasan yang dilatarbelakangi pengalaman percintaan yang memuncul- kan kenangan menyedihkan membuat penulis ingin mengenal diri lebih dalam. Patah hati dipilih karena pernah diduakan dan dikhianati, sehingga pengalaman ini menjadi kenangan, pembelajaran dan muncul- nya terapi luka. Pengalaman tersebut menjadi landasan penciptaan karya seni grafis yang selanjutnya diekspresikan melaui karya seni grafis bergaya surealisme. Gaya suralisme dari Amy Sol menjadi pijakan untuk mewujudkan karya seni grafis yang diciptakan. Metode penciptaan dari Herman Von Helmholtz yang digunakan terdiri: Saturation (Pengumpulan Data), Incubation (Pengendapan), dan Ilumination (Perwuju- dan Karya). Metode tersebut digunakan untuk mewujudkan karya-karya seni grafis. Proses penciptaan karya seni grafis ini menghasilkan pengalaman empiris dalam penciptaan karya seni grafis dan pembelaja- ran dalam proses kreatif baik berupa teknik, konsep maupun pesan yang ingin disampaikan melalui karya.]]>
<![CDATA[PERANCANGAN BUKU CERITA BERGAMBAR MELALUI ALIH WAHANA RELIEF TANTRI KAMANDAKA CANDI JAGO ]]>
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ CITRAKARA Vol. 7 No. 1 (2025): APRIL 2025 ]]>
Publisher : <![CDATA[Universitas Dian Nuswantoro ]]>
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<![CDATA[Buku cerita bergambar dengan pesan moral dan etika untuk pembaca anak-anak menjadi tujuan penelitian, melibatkan alih wahana dari relief tantri Kamandaka di Candi Jago, Tumpang, Malang, Jawa Timur. Relief candi, salah satu tradisi sastra Indonesia, tampaknya kehilangan daya tariknya bagi generasi muda, terutama anak-anak. Dimungkinkan oleh invasi budaya asing di Indonesia dan menjamurnya perangkat teknologi seperti smartphone, yang telah menjadi candu dan bagi anak-anak kini. Relief candi menyimpan pengetahuan budaya asli Nusantara yang bermanfaat bagi generasi saat ini, itulah sebabnya upaya pelestarian diperlukan. Hal ini dilakukan dengan mengalihwahanakan sejumlah cerita dari relief tantri Kamandaka di Candi Jago menjadi buku bergambar]]>
<![CDATA[REPRESENTASI BADUT PADA KARYA SENILUKIS BUDI “UBRUX” HARYONO ]]>
<![CDATA[Harun, Hamdan]]>;
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ TEXTURE Art and Culture Journal Vol. 7 No. 1 (2024) ]]>
Publisher : <![CDATA[Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta ]]>
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DOI: 10.33153/texture.v7i1.6083
<![CDATA[The process of creating Budi'spainting"Ubrux"emphasizes that social reality is the main basis for the inspiration for its creation.Direct involvement with social,political and cultural issues is reflected in the themes raised in his work, such as the figure of the clown which is used as a critique of the abuse of power by government officials. This research uses a descriptive qualitative approach with in-depth interview methods, observation and document analysis. The analysis was carried out by applying StuartHall's theory of representation,especially the encoding and decoding approach, to understand how the meaning in Budi's work "Ubrux" is produced and received by the audience.This study reveals the complexity of visual messages through symbols such as clown faces,haircolor,and facial expressions.The representational analysis approach makes it possible to explore the symbolic meaning and social context in these works,enriching our understanding of the social,political and cultural criticism conveyed by Budi "Ubrux" through the clown theme]]>
<![CDATA[MAKNA ORNAMEN KUMUDAWATI PENDHAPA AGENG MANGKUNEGARAN ]]>
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Acintya Vol. 6 No. 1 (2014) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v6i1.177
<![CDATA[This article aims to identify, comprehend, and explain the influence of Mangkunegaran fortress previouslythrough mind concept of Mangkunegara VII in initiative making of ornament kumudawati atPendhapa Ageng Mangkungaran; and symbolic meaning consisting of barbed in ornament kumudawatiwith Java culture order. Bearing in mind that culture is an element which influences the existence ofornament kumudawati, an overall understanding of the form, role, and meaning of ornament kumudawatiis based on the cultural approach that is a way of looking at culture as a system. According to thisresearch, Kumudawati ornament presented by Mangkunegara VII is the effort to dynamics Javaneseculture lofty values that is adiluhung and combined with western hesitant. Kumudawati ornament isassociated with the mind concept of Mangkunegara VII that the concept of counter culture and toacquire Javanese culture legality as adiluhung and dynamic although western culture as modernculture stays inside Javanese people.Keywords: Kumudawati Ornament, Meaning, Mangkunegara VII]]>
<![CDATA[KAJIAN IKONOGRAFI KARYA DULLAH “PRAKTIK TENTARA PENDUDUKAN ASING†]]>
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Acintya Vol. 8 No. 2 (2016) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v8i2.1951
<![CDATA[The article with the title Iconography Study of Work Dullah “Army Practice of Foreign Occupation“ intended to seek the textual and contextual meaning of painters Dullah. With the approach of iconography will be obtained meaning that deeper and broader than a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless alsonecessary to understand the contextual and symbolic aspects. At the time of independence, Dullah many immortalize the events related to the struggle of Indonesian nation in seizing and maintaining independence in his works. Dullah even led a group of young artists to paint directly events duringthe occupation of Yogyakarta as an effort documenting the history of the national struggle. One of his very powerful is the “Army Practice of Foreign Occupation“ that depicts cruelty colonizers against the indigenous population. In this case the work Dullah Practice Foreign Occupation Army will findits context as understood by tracing the history of socio-cultural-years 1940-1950an. From the work we can find out how the socio-historical situation of the community when the colonial era.Keywords: Dullah, Iconography, Army Practice of Foreign Occupation.]]>
<![CDATA[SIMBOLISME PATUNG MACAN KURUNG JEPARA ]]>
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Acintya Vol. 10 No. 2 (2018) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v10i2.2283
<![CDATA[The existence of Macan Kurung statue nowadays is very rare. If there is craftsperson or artisan who made it, there was very rare of them who certainly recognize the Macan Kurung statue symbolism. In this research, this statue is considered as artifact that contain of expression of self-representation which is constructed by instinctive culture. This expression was represented by object i.e. art of Macan Kurung statue and the meaning of statue appareance. The searching for meaning was the existence from artist concept, Asmo Sawiran and Singowiryo. This research was conducted to obtain tension qualified information. Therefore, this research used qualitative research method. The result showed the message of anti-colonialism value from this statue. Macan Kurung statue was also as counter culture appearance. This culture was wished for assemble Javanese culture legality as adiluhung and dynamic although foreign culture considered as modern culture entered in Javanese people.Keywords : Jepara, Macan Kurung, Symbolism]]>
<![CDATA[DESIGN OF THE ANIMATED FILM SRI TANJUNG THROUGH THE PANATARAN TEMPLE RELIEF TRANSFER ]]>
<![CDATA[Rahmad, Cito Yasuki]]>;
<![CDATA[Adisukma, Wisnu]]>
<![CDATA[ Acintya Vol. 16 No. 1 (2024) ]]>
Publisher : <![CDATA[Institut Seni Indoensia Surakarta ]]>
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DOI: 10.33153/acy.v16i1.6030
<![CDATA[Research was conducted to create animation as a vehicle for the relief of Sri Tanjung in Panataran Temple as an education of cultural insight of the archipelago. The development of technology has brought changes in various aspects, one of which is education and entertainment (edutainment) media. Temple reliefs, which are one of the cultures of Indonesian literature, are starting to be less attractive to the younger generation now, especially the onslaught of foreign cultures that enter Indonesia. Preservation efforts need to be made because the temple reliefs contain local wisdom of Nusantara culture, which contains moral values that are beneficial to today's generation. By transforming the reliefs of Sri Tanjung stories in Panataran Temple into animated form, it is hoped that literacy through technological adaptation and education of Nusantara cultural insights is expected to be disseminated to the younger generation. The method of creation and presentation is carried out through stages: (1) exploration of ideas and ideas for the creation of Sri Tanjung animation creations; (2) model design to find animation designs through the outsourcing approach; and (3) the presentation of animated films to facilitate the delivery of educational messages of Nusantara cultural insights for today's generation. The results of the research are expected to be through the transfer of vehicles and technology adaptation, namely animation, the younger generation will have a reference to the extraordinarily rich cultural insights of the archipelago. So that a sense of national nationalism grows and is aware of the cultural richness of one's own nation.]]>
