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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 Suluh: Jurnal Seni Desain Budaya Kasta: Jurnal Ilmu Sosial, Agama, Budaya dan Terapan 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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SIMBOLISME PATUNG MACAN KURUNG JEPARA Adisukma, Wisnu
Acintya Vol. 10 No. 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v10i2.2283

Abstract

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
DESIGN OF THE ANIMATED FILM SRI TANJUNG THROUGH THE PANATARAN TEMPLE RELIEF TRANSFER Rahmad, Cito Yasuki; Adisukma, Wisnu
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.v16i1.6030

Abstract

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.
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 | 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 | 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 | 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.
Surya Majapahit’s Visual Transformation: From Hindu Temples to the Great Mosque of Demak Wisnu Adisukma; Ranang Agung Sugihartono; Harmilyanti Sulistyani
KASTA : Jurnal Ilmu Sosial, Agama, Budaya dan Terapan Vol. 6 No. 2 (2026): June
Publisher : Lembaga Bale Literasi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.58218/kasta.v6i2.2908

Abstract

This study traces the visual transformation of the Surya Majapahit, the eight-pointed solar emblem of Majapahit, as it moved from Hindu-Buddhist temples to the Islamic Great Mosque of Demak in Java. While prior scholarship has focused on the motif within its original religious context, how it was actively renegotiated during the Hindu-Islamic transition remains underexamined. Using Erwin Panofsky’s iconological method integrated with translocality, data were drawn from direct observation of six key artifacts spanning the Majapahit, transitional, and Demak periods, supplemented by interviews with site custodians. The analysis identifies a three-phase transformation: from a dense mandala containing anthropomorphic deities, through progressive figurative reduction, to a fully abstract geometric ornament integrated into Islamic decorative schemes. The radial core and central circle persistently survived, while narrative theological content was systematically eliminated. This process, termed “semiotic thinning,” involves the selection of a pliable structural core, reduction of specific iconography, and repositioning across mediums and spaces to align with aniconic Islamic aesthetics. The study concludes that this mechanism of visual negotiation enabled cultural continuity and the production of a new Javanese-Islamic identity. The findings contribute a model of symbolic adaptation in contexts of religious change.
REPRESENTASI IDENTITAS LOKAL DAN PERLAWANAN BUDAYA DALAM PATUNG MACAN KURUNG JEPARA Wisnu Adisukma
SULUH: Jurnal Seni Desain Budaya Vol. 9 No. 1 (2026): Vol. 9 No. 1 SULUH: Jurnal Seni Desain Budaya
Publisher : Universitas Islam Nahdlatul Ulama Jepara

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34001/cnxczk67

Abstract

Macan Kurung statue is a distinctive cultural artifact from Jepara, which is now becoming increasingly rare. This study aims to reveal a discourse of self-representation and counter-culture, constructed by the socio-cultural conditions of Javanese society during the colonial period. The research employs a qualitative method with an ethnographic approach and cultural semiotic analysis. Data were collected through observation, document studies, and in-depth interviews with heirs and artisans. The results indicate that the Macan Kurung Statue is not merely an aesthetic product but a visual narrative containing an anti-colonial message. Moreover, after R.A. Kartini took a role in making the Tiger Statue which was guided directly by Singowiryo. Through the symbols of a caged and chained tiger, a mighty Garuda bird, and a dragon. It’s founders, Asmo Sawiran and Singowiryo, conveyed criticism ofvcolonialism and an effort to reaffirm the legitimacy of Javanese culture as an adiluhung (sublime and majestic) and dynamic entity amidst the penetration of foreign cultures. These findings contribute significantly to the understanding of the role of folk art as a medium for political expression and a guardian of cultural identity.
Semiotic Thinning of the Surya Majapahit in Java’s Hindu-to-Islamic Transition Wisnu Adisukma; Ranang Agung Sugihartono; Harmilyanti Sulistyani
INJECT (Interdisciplinary Journal of Communication) Vol. 11 No. 1 (2026)
Publisher : FAKULTAS DAKWAH UIN SALATIGA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.18326/inject.v11i1.6775

Abstract

The transformation of visual symbols in contexts of religious transition is a complex phenomenon of cultural communication. This article analyzes the symbolic negotiation of Surya Majapahit, the eight-pointed solar emblem of the Majapahit Empire, as a visual communication medium that persisted across the shift from Hindu-Buddhist to Islamic cosmology in Java. Existing scholarship has largely overlooked how this symbol was actively renegotiated rather than passively inherited. Using a qualitative iconological method integrated with translocality theory, data were collected through artifact observation at temples, tombs, and the Great Mosque of Demak; semi-structured interviews with site custodians and cultural practitioners; and document analysis. The findings reveal a three-phase transformation: (1) full cosmological icon, (2) figurative reduction, and (3) geometric abstraction. The radial core was strategically retained as the communicative core, while Hindu-Buddhist figurative content was gradually eliminated to adapt to the aniconic Islamic visual regime. This symbol, therefore, functioned as a translocal node that actively produced a new Javanese-Islamic locality. The study contributes to intercultural visual communication by proposing “semiotic thinning” as a mechanism of symbolic continuity amid religious change. Limitations and recommendations for heritage interpretation and future research are outlined.
Co-Authors Adhitya Pitara Sanjaya Amir Gozali Esti Widowati Harmilyanti Sulistyani Harmilyanti Sulistyani Harun, Hamdan Kusmadi, Kusmadi - Laili Nur Hidayati Laili Nur Hidayati, Laili Mutiara Putri Dhamastuty Rahmad, Cito Yasuki Ranang Agung Sugihartono Ranang Agung Sugihartono Supriyanto, Ari - Yustana, Prima -