Article Per Year (5 Year)
p-Index From 2020 - 2025
5.207
P-Index
This Author published in this journals
All Journal Ars: Jurnal Seni Rupa dan Desain Harmonia: Journal of Research and Education Imajinasi Journal of Visual Art and Design Catharsis The Journal of Educational Development Jurnal Bahasa Rupa Jurnal Obsesi: Jurnal Pendidikan Anak Usia Dini Proceeding of International Conference on Art, Language, and Culture Haluan Sastra Budaya Gondang: Jurnal Seni dan Budaya Jurnal PAJAR (Pendidikan dan Pengajaran) JURNAL TATA KELOLA SENI Ekspresi Seni : Jurnal Ilmu Pengetahuan dan Karya Seni Gelar : Jurnal Seni Budaya JUDIKA (JURNAL PENDIDIKAN UNSIKA) Jurnal Artefak International Journal of Visual and Performing Arts GETER : Jurnal Seni Drama, Tari dan Musik Community Development Journal: Jurnal Pengabdian Masyarakat Budapest International Research and Critics Institute-Journal (BIRCI-Journal): Humanities and Social Sciences JESS (Journal of Education on Social Science) Jurnal Kajian Seni International journal of education and learning Prosiding Seminar Nasional Pascasarjana Proceeding of International Conference on Science, Education, and Technology Arty: Jurnal Seni Rupa Jurnal Bahasa Rupa Prosiding Seminar Nasional Pendidikan FKIP Universitas Lampung Barik Jurnal Bahasa Rupa
Djuli Djatiprambudi
Universitas Negeri Surabaya
Religion Arts Humanities Economics, Econometrics & Finance Education Environmental Science Health Professions Languange, Linguistic, Communication & Media Law, Crime, Criminology & Criminal Justice Public Health Social Sciences Other

Published : 39 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 39 Documents
Search

 1   2   3   4 
SPIRITUALITAS ZEN DALAM SENI RUPA KONTEMPORER JEPANG Djatiprambudi, Djuli
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

Seni rupa kontemporer Jepang memiliki watak khas yang bersumber pada peradaban klasik yang didasarkan pada Zen Budhisme. Pengaruh Budhisme yang datang dari Cina dan Korea dan kemudian berasimilasi dengan kepercayaan Shinto di Jepang membuahkan sekte Budha yang kemudian dikenal dengan Zen Budhisme. Prinsip kesederhanaan yang menjadi inti ajaran Budha bertemu dengan inti ajaran Shinto yang melebur dengan alam menjadi inti dasar dari paham estetik Zen, yang lebih cenderung bersifat esoterik. Semua ekspresi seni Jepang mulai periode Nara hingga sekarang tetap menjadi sumber inspirasi dan atruran normatif terhadap berbagai ekspresi seni seperti arsitektur, taman, interior, pakaian, lukisan, patung, dan sebagainya merujuk pada norma-norma estetik Zen Budhisme. Demikian pula spiritualitas Zen Budhisme terdapat pada karya-karya perupa kontemporer Jepang, antara lain Shigeo Toya,Tsuguo Yanai, Kurita Hiroshi, Maeyana Tadashi, dan Yukio Fujimoto. Prinsip-prinsip dasar estetik Zen Budhisme baik secara intuitif maupun formalistik serta simbolik menelusup pada dimensi estetik karya-karya mereka sebagai perupa kontemporer Jepang, sehingga membentuk identitas, karena itu berbeda dengan mainstream seni rupa Barat.Kata Kunci: seni rupa kontemporer, Zen Budhisme, estetik, spiritualitas, identitas.
Ki Hadjar Dewantara’s School of Arts Education: A Study of Philosophy on Arts Education Based on Habermas’ Critical Method Hari Pramono, Koko; Rohendi Rohidi, Tjetjep; Sumaryanto F., Totok; Djatiprambudi, Djuli
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : The Journal of Educational Development

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20739

Abstract

Ki Hadjar Dewantara’s school of arts education: A study of philosophy on arts education based on Habermas’ critical method. There are six steps of critical methods: the empirical analysis of historical philosophy, language analysis, hermeneutics analysis, analysis of ideology criticism, functional analysis, and construction of historical materialism. The research results and discussion show that in this study: (1) Dewantaras art education is defined as an education that is oriented on a system that liberates and instills moral values through arts. (2) The results of the critical analysis: the philosophy of empirical history, language, ideological criticism, functionalism, and historical materialism, in the field of arts education, contain the meaning of selecting the philosophy of applied arts education based on the consciousness of its own cultural basis. (3) In response to the development of human resources, arts education is capable of directing the nation to be superior in the world of science, technology, and arts, based on the fundamental capital of human creativity and cultural manifestations as a source of knowledge. The scientific contributions of this research are as the following. Firstly, in the form of explanatory and ideological analysis and national education and arts education systems through political-socio-cultural explanations. Secondly, the explanation of the ideology of arts education is based on historical, social, political, and cultural bases as a critical study of national and art education practices. Thirdly, the findings of this study are the implications of arts education based on the concept of Dewantaras arts education.
Ki Hadjar Dewantara’s School of Arts Education: A Study of Philosophy on Arts Education Based on Habermas’ Critical Method Hari Pramono, Koko; Rohendi Rohidi, Tjetjep; Sumaryanto F., Totok; Djatiprambudi, Djuli
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : Universitas Negeri Semarang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20739

Abstract

Ki Hadjar Dewantara’s school of arts education: A study of philosophy on arts education based on Habermas’ critical method. There are six steps of critical methods: the empirical analysis of historical philosophy, language analysis, hermeneutics analysis, analysis of ideology criticism, functional analysis, and construction of historical materialism. The research results and discussion show that in this study: (1) Dewantara's art education is defined as an education that is oriented on a system that liberates and instills moral values through arts. (2) The results of the critical analysis: the philosophy of empirical history, language, ideological criticism, functionalism, and historical materialism, in the field of arts education, contain the meaning of selecting the philosophy of applied arts education based on the consciousness of its own cultural basis. (3) In response to the development of human resources, arts education is capable of directing the nation to be superior in the world of science, technology, and arts, based on the fundamental capital of human creativity and cultural manifestations as a source of knowledge. The scientific contributions of this research are as the following. Firstly, in the form of explanatory and ideological analysis and national education and arts education systems through political-socio-cultural explanations. Secondly, the explanation of the ideology of arts education is based on historical, social, political, and cultural bases as a critical study of national and art education practices. Thirdly, the findings of this study are the implications of arts education based on the concept of Dewantara's arts education.
Representasi Identitas di Medan Pasar Seni Lukis Indonesia Djuli Djatiprambudi
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.3

Abstract

Since the middle of 1980s, Indonesian arts show striking growth, due to the dynamic appearance of painting market which was often referred as the boom of paintings. This phenomenon is triggered by the change of social-political-economical conditions of Asia, which are also influencing the infrastructure and suprastructure changes of the social-politics-and economy of Indonesia. It leads to the dialectical rise of the class of economical elite in Indonesia, which is dominated by the Chinese ethnic group. This group, which was politically pressurized during New Order regime, has built a tantalous room in economy. Their involvement in the arts market can bee seen as the starting point to comprehend the economical-capitalism of Indonesian Arts. It is expected that by constructing the role of Chinese ethnic group in art market, we will obtain a complete understandings of the social history of arts in Indonesia.
Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas Hasprita Restiamangastuti Boru Mangunsong; Djuli Djatiprambudi
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3410

Abstract

The interaction of Nusantara with various  nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.
ROLES AND FUNCTIONS OF ARTIFICIAL GALLERY FOR MODERN ART ARTIFICIAL GROWN IN SURABAYA AT 2000S Mohamad Arifin; Fabiola Dharmawanti; Djuli Djatiprambudi
-
Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (379.522 KB)

Abstract

Art gallery is one of fine arts infrastructures. Art galleries have important roles and functions in the modern arts development. It also distributes the artwork that is created by artists as the producer and presented to the public as the consumer. Surabaya is one of the big cities that became part of the modern art development. Moreover, the development of modern art is located in urban areas. It is also influenced by infrastructure and superstructure in synergy to form the social arts field. On the decade of 2000 in Surabaya, there are many new galleries that both established by individuals and private institutions. The appearance of the gallery certainly brings impact and influence on the art activities in Surabaya. It can be seen from the increase of exhibition activities that is organized by the gallery. The art gallery as a public space has the obligation to engage in artistic activity and foster the public's appreciation of cultural and commercial values of art.
NEGOSIASI PERMAINAN DIGITAL DALAM REKONTEKSTUALISASI DAN POSISIONING PEMBELAJARAN SENI BUDAYA Fitri Dinarti; Djuli Djatiprambudi; I Nyoman Lodra
Haluan Sastra Budaya Vol 4, No 2 (2020)
Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/hsb.v4i2.44849

Abstract

This study discusses digital games in the contextualization and positioning of arts and culture education in Indonesia. Furthermore, this research focuses on the history of Indonesian art. The method in this research uses qualitative research that discusses the context of games, education, and technology. Data was collected using observations, interviews, and questionnaires which were conducted from January 2019 to March 2020 with the spatial boundaries of senior high schools in Surabaya, East Java, Indonesia. The data that has been obtained then examined from the point of view of Mihaly Csikszentmihalyi's concept of art education and creativity. The results showed that digital games in arts and culture education in high schools encourage students to be more challenged, by having to switch from treating digital games of consumer goods to cultural artifacts that can have meaning, ideas, and knowledge. In addition, digital games in arts and culture education increase creativity in a complex manner in teachers and students. Increased creativity is based on the exploratory abilities of digital games and their complexity as an interdisciplinary field. Furthermore, digital games in arts and culture education in Indonesia can be positioning themselves as agents of the preservation of Indonesian arts and culture.
KAJIAN IKONOGRAFI DAN IKONOLOGI: RAGAM HIAS PADA BANGUNAN BALE RANTE DI KOMPLEKS MAKAM SUNAN DRAJAT Angga Fajar Ramadhan; Djuli Djatiprambudi; I Nyoman Lodra
Jurnal Artefak Vol 8, No 1 (2021): April
Publisher : Universitas Galuh

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1049.975 KB) | DOI: 10.25157/ja.v8i1.4725

Abstract

Kompleks makam Sunan Drajat merupakan warisan budaya yang memiliki hubungan dekat dengan periode kehiduan Sunan Drajat. Salah satu bangunan yang menarik dan memiliki konsep filosofis di kompleks makamnya yaitu bangunan bale rante. Bale rante digunakan oleh para Wali Songo untuk berkumpul dan bermusyawarah. Bangunan tersebut berbahan material kayu, berbetuk joglo, beratap limas, berhias ukiran ragam hias dan berasal dari kerajaan Majapahit. Bentuk ragam hias yang menghiasi bangunannya unik dan berbeda dengan bentuk ragam hias pada bangunan kompleks makam lainnya. Tujuan: mendeskripsikan makna ragam hias yang ada pada bangunan bale rante. Metode penelitian: penelitian ini menggunakan metode ikonografi dan ikonologi Erwin Panofsky, dengan tahapan: (1) tahap pra ikonografi, dilakukan dengan mengkaji bentuk penyusun ragam hias pada bangunan bale rante berdasarkan makna faktual dan makna ekspresionalnya. (2) Tahap analisis ikonografi, dilakukan dengan mengidentifikasi makna sekunder yang telah dikaji sebelumnya dengan mengaitkan pada tema dan konsep penciptaan sesuai peristiwa atau sejarah ragam hias tersebut diciptakan. (3) Tahap interpreasi ikonologi, melakukan intuisi sintesis untuk mengungkap makna yang terkandung dalam simbol yang ada dalam ragam hias. Hasil penelitian: Bentuk rantai menyimbolkan kesatuan dan pengayoman. Daun ukel menyimbolkan sumber kehidupan dan kebaikan hati. Pohon hayat dan bunga teratai menyimbolkan keabadian dan penyatuan manusia dengan Allah.The grave complex of Sunan Drajat is a cultural heritage that has a close relationship with the life period of Sunan Drajat. One of the interesting buildings and has a philosophical concept in the tomb complex is the Bale Rante building. Bale rante is used by the Wali Songo for gathering and deliberation. The building is made of wood material, in the form of a joglo, with a pyramid roof, decorated with ornate carvings and comes from the Majapahit kingdom. The forms of decoration that decorate the building are unique and different from the decorative forms in other tomb complex buildings. Purpose: to describe the meaning of the existing decorative styles in the bale rante building. Research method: this study uses Erwin Panofsky's iconography and iconology methods, with the following stages: (1) pre-iconography stage, carried out by examining the decorative forms of the bale rante building based on factual and expressive meanings. (2) The iconographic analysis stage is carried out by identifying secondary meanings that have been previously studied by linking to the themes and concepts of creation according to the events or history of the decorative motifs being created. (3) The iconological interpretation stage involves synthesizing intuition to reveal the meaning contained in symbols that exist in decorations. Result of research: The form of a chain symbolizes unity and protection. Ukel leaves symbolize the source of life and kindness. The tree of life and the lotus flower symbolize the immortality and union of man with Allah.
Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas Hasprita Restiamangastuti Boru Mangunsong; Djuli Djatiprambudi
Gondang: Jurnal Seni dan Budaya Vol 5, No 1 (2021): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2021
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (19.042 KB) | DOI: 10.24114/gondang.v5i1.21197

Abstract

Since long time ago, people of the archipelago have interacted with various foreign nations and it led to the integration of local cultures and migrant cultures and resulting some new cultures. One of them is Potehi Puppet, a puppetry originated from China then developed in Java. The purpose of this study is to find out and describe a face proportion of female character of Potehi Puppet in Gudo, Jombang. The method that  used is quantitative research by measuring some female characters of Potehi Puppet using Golden Proportion theory and calculate the mean of the measuring result also interview to the chairman, Toni and puppeteer of Hok Ho An (Potehi group in Gudo), Sonny and direct observation. Golden Proportion theory is not used to judge but used as tool to find out the mean of face proportion measuring. The result showed that there is an acculturation between Chinese and Javanese culture in visual, language, story, character and their characteristics and the artists behind Potehi Puppet. Potehi Puppet characters are distinguished majority by symbols on their clothes and accessories especially female characters. Some characteristics of female Potehi Puppet that Toni’s engravers made which quite different with female Potehi Puppet that made in China. It shows that artists background (Javanese) influences their Potehi Puppet work.
Pendidikan Seni Sanggar Teras Warna Di Kampung Kaliasin Surabaya Fajar Nugroho Sakti; Djuli Djatiprambudi; I Nyoman Lodra
Gondang: Jurnal Seni dan Budaya Vol 6, No 1 (2022): GONDANG: JURNAL SENI DAN BUDAYA, JUNI 2022
Publisher : Universitas Negeri Medan

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24114/gondang.v6i1.33078

Abstract

Penelitian ini bertujuan untuk mengungkapkan (a) konsep pendidikan Sanggar Teras Warna Kampung Kaliasin Surabaya, (b) metode pendidikan seni Sanggar Teras Warna, (c) dampak pendidikan seni Sanggar Teras Warna Kampung Kaliasin Surabaya. Dalam penelitian, peneliti menggunakan pengumpulan data melalui observasi partisipatif, wawancara, wawancara semistruktural, dan dokumentasi. Adapun informan yang dibutuhkan peneliti meliputi pengurus Sanggar Teras Warna, owner atau pendiri, pengurus Sanggar, anak-anak Kampung Kaliasin dan warga Kelurahan Tegalsari. Hasil penelitian ini menemukan konsep pendidikan di Sanggar Teras Warna bertujuan mengembangkan potensi anak-anak Kampung Kaliasin melalui kegiatan-kegiatan yang telah di programkan. Sasaran dari kegiatan tersebut adalah anak-anak Kampung Kaliasin sendiri dimana anak-anak Kampung Kaliasin sendiri merupakan generasi penerus yang akan merubah kondisi kampung. Metode yang digunakan pada dasarnya adalah kegiatan pembelajaran berbasis aktivitas yang kemudian menghasilkan produk berupa aktivitas event­ dari implementasi peserta belajar. Dampak yang terlihat dari proses kegiatan di Sanggar Teras Warna nantinya dapat mengurangi aktivitas-aktivitas yang bersifat negatif dari pengaruh luar Kampung Kaliasin
Co-Authors Abdulhafizh, Luthfi Ghiyats Agung E.B. W. Agus Cahyono AJISANTA, ROBET Alif Sukma Muclisin Amalia Hartiningrum Angga Fajar Ramadhan Angga Fajar Ramadhan Anisaluh, Anisaluh_1999 Athian, Muhammad Rahman AUTAR ABDILLAH Basri, Syaiful Qadar Candra, Erika Nur Cindy Wahyuningsih Dita Saraswati Fabiola Dharmawanti Fajar Nugroho Sakti Fitri Dinarti Hadiyatno Hadiyatno Handayani, Lucy Hanshi, Bao Hari Pramono, Koko Hasprita Restiamangastuti Boru Mangunsong I NENGAH MARIASA I Nyoman Lodra I Nyoman Lodra I Nyoman Lodra INDAR SABRI Mangunsong, Hasprita Restiamangastuti Boru Moh Sarjoko Moh Sarjoko Mohamad Arifin Muhammad Ibnan Syarif Muhammad Jazuli Muhammad Jazuli Muhammad Jazuli Naufal, Romzi Akram Al Nuning Y. Damayanti Nuning Y. Damayanti Parastuti, Hanin Kharisma Retno Tri Wulandari Rohendi Rohidi, Tjetjep Rohendi Rohidi, Tjetjep Romzi Akram Al Naufal S. Suharto Sakti Fajar Nugroho Sakuntala Verlista Sampurno, Muchammad Bayu Tejo Sani, Muhammad Budi Zaki Saraswati, Dita Setyo Yanuartuti Setyo Yanuartuti SETYO YANUARTUTI Suharto Suharto Suharto Suharto Suhartono, Suhartono - Sularso Sularso, Sularso Sumasno Hadi Sunarto Sunarto Sunarto Sunarto Sunarto Sunarto Suwarjiya, Suwarjiya Syakir Totok Sumaryanto F., Totok Trisakti Trisakti W., Agung E.B. Warih Handayaningrum WELLY SURYANDOKO Yasinda Widya Fahmi Yermiandoko, Yoyok