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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 Jurnal Eduscience (JES) 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 Jurnal Demi Pengabdian Masyarakat
Djuli Djatiprambudi
Universitas Negeri Surabaya
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Journal : Jurnal Artefak

 1 
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.
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 Aqim Amral Hukmi 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 I Nyoman Lodra Ika Anggun Camelia INDAR SABRI Kartika Herlina Candraning Shiam Mangunsong, Hasprita Restiamangastuti Boru Moh Sarjoko Moh Sarjoko Mohamad Arifin Muh. Ibnan Syarif, Muh. Ibnan Muhammad Ibnan Syarif Muhammad Jazuli Muhammad Jazuli Muhammad Jazuli Naufal, Romzi Akram Al Nuning Y. Damayanti Nuning Y. Damayanti Parastuti, Hanin Kharisma Pungki Siregar Ramadhan, Angga Fajar Retno Tri Wulandari Rohendi Rohidi, Tjetjep Rohendi Rohidi, Tjetjep Romzi Akram Al Naufal S. Suharto Sakti Fajar Nugroho Sakuntala Verlista 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 syakir syakir Totok Sumaryanto F., Totok Trisakti Trisakti W., Agung E.B. Warih Handayaningrum WELLY SURYANDOKO Yasinda Widya Fahmi Yasinda Widya Fahmi Yermiandoko, Yoyok