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All Journal Jurnal Sinergitas PkM & CSR Texture : Art and Culture Journal Abdi Seni Acintya Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Dewa Ruci : Jurnal Pengkajian dan Penciptaan Seni Jurnal Citrakara Sanggitarupa INJECT Interdisciplinary Journal of Communication
Wisnu Adisukma
Institut Seni Indonesia Surakarta
Religion Arts Humanities Computer Science & IT Economics, Econometrics & Finance Education Environmental Science Languange, Linguistic, Communication & Media Public Health Social Sciences Other

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Makna Pendhapa Ageng Mangkunegaran Sebagai Bangunan Adat Jawa Adisukma, Wisnu
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 (202.287 KB) | DOI: 10.33153/bri.v5i1.379

Abstract

This article analized about themeaning of javanesse building which is represented byPendhapa Ageng Mangkunegaran. Pendhapa Ageng Mangkunegaran in cultural frame is not onlybuilding for conference or ceremony but also has wider role. Although, this building as materialbut still has psychological role meaning. Explicit or implicit meaning in building and ornamentform at Pendhapa Ageng Mangkunegaran has particular meaning, massage and role. As,particular system, the myth is built by second meaning system. In this myth, also signified thathas several signifier.
Simbolisme Ragam Hias Sisik Batik Demak Adisukma, Wisnu
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 2 (2013)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (308.296 KB) | DOI: 10.33153/bri.v5i2.415

Abstract

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
KAJIAN IKONOGRAFI KARYA DULLAH “PRAKTIK TENTARA PENDUDUKAN ASING” Adisukma, Wisnu
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (801.356 KB) | DOI: 10.33153/bri.v7i1.1585

Abstract

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.
MELACAK MAKNA KONSEP KERUPAAN PADA LAMBANG INSTANSI DI INDONESIA DENGAN SUMBER BENTUK MATAHARI adisukma, wisnu
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 11 No. 2 (2019)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v11i2.2908

Abstract

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.
MAKNA SIMBOL SURYA MAJAPAHIT Adisukma, Wisnu -; Yustana, Prima -; Kusmadi, Kusmadi -; Supriyanto, Ari -
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 14 No. 2 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v14i2.4558

Abstract

The historical development in the frame of Nusantara cultural art will not be separated from the role of the great empire that once triumphed in Indonesia. Majapahit as one of the great kingdoms that in history was able to unite the archipelago certainly had a hand in the development of nusantara cultural arts, for example is the Majapahit ornament. One of the ornaments that is considered monumental is the Majapahit solar, because most consider it as the symbol of the Majapahit State, some consider it a symbol of reminding life. Learning and living the form and meaning of ornaments, it requires a certain knowledge and skill and a long time, considering that ornaments have various aspects such as: types of motifs, patterns, representations, values or meanings behind the form, depiction techniques, and different applications. Surya Majapahit also has unique and diverse characteristics of each very complex visual presentation ranging from the shape of the image, the naming of the parts of the image, and its meaning. And one of the important elements is the learning of the meaning behind a form that is acceptable and correctly understood, that the presence of ornaments in every building, especially sacred buildings, certainly has words and teachings that are used as guidelines for the supporting community in its time.
PATAH HATI SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI GRAFIS Hidayati, Laili Nur; Adisukma, Wisnu
Sanggitarupa Vol. 1 No. 2 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/sanggitarupa.v1i2.4167

Abstract

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.
PERANCANGAN BUKU CERITA BERGAMBAR MELALUI ALIH WAHANA RELIEF TANTRI KAMANDAKA CANDI JAGO Adisukma, Wisnu
CITRAKARA Vol. 7 No. 1 (2025): APRIL 2025
Publisher : Universitas Dian Nuswantoro

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

Abstract

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
REPRESENTASI BADUT PADA KARYA SENILUKIS BUDI “UBRUX” HARYONO Harun, Hamdan; Adisukma, Wisnu
TEXTURE Art and Culture Journal Vol. 7 No. 1 (2024)
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/texture.v7i1.6083

Abstract

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
MAKNA ORNAMEN KUMUDAWATI PENDHAPA AGENG MANGKUNEGARAN Adisukma, Wisnu
Acintya Vol. 6 No. 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v6i1.177

Abstract

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
KAJIAN IKONOGRAFI KARYA DULLAH “PRAKTIK TENTARA PENDUDUKAN ASING” Adisukma, Wisnu
Acintya Vol. 8 No. 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v8i2.1951

Abstract

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.
Co-Authors Adhitya Pitara Sanjaya Amir Gozali Esti Widowati gozali, amir Harun, Hamdan Kusmadi, Kusmadi - Laili Nur Hidayati Laili Nur Hidayati, Laili Mutiara Putri Dhamastuty Rahmad, Cito Yasuki Sugihartono, Ranang Agung Sulistyani, Harmilyanti Supriyanto, Ari - Yustana, Prima -