Article Per Year (5 Year)
p-Index From 2021 - 2026
0.61
P-Index
This Author published in this journals
All Journal Harmoni: Jurnal Pendidikan dan Penelitian Seni Budaya ARTCHIVE: Indonesia Journal of Visual Art and Design Suluh: Jurnal Seni Desain Budaya
Didung Putra Pamungkas
UIN Walisongo Semarang
Arts Humanities Education Languange, Linguistic, Communication & Media

Published : 5 Documents Claim Missing Document
Claim Missing Document
Check
Articles

Found 5 Documents
Search

 1 
Titik Dan Garis Sebagai Simbol Ekspresi Dalam Berkarya Seni Lukis Didung Putra Pamungkas
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 2, No 2 (2021): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v2i2.2105

Abstract

Titik dan garis bukan hanya sekedar komponen dasar bagi seni-seni visual, akan tetapi juga sumber dari ekspresi itu sendiri, hal ini lah yang menjadi tujuan utama dari penelitian ini. Penulis memperlakukan titik dan garis tidak sebagai komponen visual akan tetapi sebagai media utama pembentuk karya lukis itu sendiri. Metode dan teknik penelitian yang penulis gunakan adalah eksperimentasi, dimana idiom-idiom seperti titik dan garis menjadi sumber dimulainya sebuah penciptaan karya lukis, sementara itu, konsep visual dari karya adalah kemunculan-kemunculan spontan. Artinya, penulis bergantung kepada potensi-potensi dari titik dan garis untuk membentuk sesuatu yang bersumber pada kesadaran spontan. Hasil dari penelitian ini adalah, titik dan garis ternyata mampu merepresentasikan simbol-simbol tertentu yang mengandung ekspresi murni, karena penulis menggunakan pendekatan abstrak.  Kata Kunci : Titik Dan Garis; Simbol; Ekspresi; Seni Lukis ABSTRACTDots and lines are not only basic components for visual arts, but also the source of expression itself, this is the main goal of this research. The author treats dots and lines not as visual components but as the main media forming the painting itself. The research method and technique that the author uses is experimentation, where idioms such as dots and lines are the source of the start of a painting creation, meanwhile, the visual concept of the work is spontaneous occurrences. That is, the author relies on the potentials of points and lines to form something that is rooted in spontaneous awareness. The result of this research is that points and lines are able to represent certain symbols that contain pure expressions, because the author uses an abstract approach.
KARYA PUTU SUTAWIJAYA SEBUAH REFLEKSI ATAS TUBUH Didung Putra Pamungkas
SULUH: Jurnal Seni Desain Budaya Vol 4, No 1 (2021): SULUH: JURNAL SENI DESAIN BUDAYA
Publisher : SULUH: Jurnal Seni Desain Budaya

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

Abstract

Reading Putu Sutawijaya's painting entitled "Single Energy" portrays the body as a central focus, through documentation, and direct observation through his painting which is then analyzed using Roland Barthes's semiotic approach, genealogy of body Foucault, Phenomenology ponty, Heidegger's Existentialism, and Freud's Psychoanalysis. Roland Barthes's semiotic approach divides signs in denotation and connotation. At the level of denotation, Putu is describing the movements of figures with the burden that surrounds them. At the level of connotation explains that the burden on social systems and value systems, binding and not dehumanizing people. Then Foucault explained the body as a soft body. Putu shows that there is no aspect of freedom possessed by free humans in their own bodies. Phenomenology Ponty, the world has been available for individuals. So human relations and their world are never truly distant, but are dialectical. Heidegger's existentialism, saw the relationship of the body with his world. In his paintings, Putu sees culture as always constructing a person, showing the form of one's relationship with his world. Freud's psychoanalysis of libido, as a form of individual freedom to actualize itself, but is always limited by rules, values and norms, Putu's work illustrates that there are efforts to escape, but are still charged by social considerations. With the study of this painting it is hoped that it can stimulate enthusiasm in creating art and enrich new discourses in the world of Indonesian art.
SENI LUKIS OPLOSAN SENI YANG DEKAT DENGAN MASYARAKAT DIDUNG PUTRA PAMUNGKAS
Harmoni: Jurnal Pemikiran Pendidikan, Penelitian Ilmu-ilmu Seni, Budaya dan Pengajarannya Vol 6, No 1 (2016): HARMONI
Publisher : Program Studi Pendidikan Seni Rupa Fakultas Keguruan dan Ilmu Pendidikan Universitas Muham

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

Abstract

Art is so close to the people, an artist creates a work of art is also so close from their people. Then a work of art created and appreciated by people. With art, an artist deliver an idea or ideas to be delivered to the general public. Art and the people a kind of relationship that both need each other and complement each other, each formed and shaped. Therefore, painting movement oplosan have purpose to get closer to the general public. It’s why the movement of painting oplosan always done in public places.oplosan painting is painting that in its creation mixing technique, materials, and may also be thought or idea, who performed together in one place is determined.
REFLEKSI ATAS TUBUH DALAM KARYA PUTU SUTAWIJAYA “ENERGI TUNGGAL” Pamungkas, Didung Putra; Y., Eva
ARTCHIVE: Indonesian Journal of Visual Arts and Design Vol 4, No 2 (2023): ARTCHIVE : Indonesia Journal of Visual Art and Design
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.53666/artchive.v4i2.4060

Abstract

"Analyzing Putu Sutawijaya's painting titled "Energi Tunggal" (Single Energy) portrays the body as a central focus, through documentation and direct observation of his paintings, which are then analyzed using Roland Barthes' semiotic approach, Foucault's genealogy of the body, Ponty's Phenomenology, Heidegger's Existentialism, and Freud's Psychoanalysis. Roland Barthes' semiotic approach divides signs into denotation and connotation. At the denotative level, Putu depicts a figure's movement with the burdens surrounding it. At the connotative level, it explains that the burden on the social and value systems binds and does not liberate its people. Then Foucault describes the body as a soft body. Putu shows the absence of freedom that a free person owns over his own body. In Ponty's Phenomenology, the world is available to individuals. Thus, the relationship between humans and their world is never genuinely distant but needs to be more dialectical. Heidegger's Existentialism views the relationship of the body with its world. In his paintings, Putu sees that culture always constructs an individual, showing the form of a person's relationship with his world. Freud's Psychoanalysis on libido, there is a form of individual freedom to actualize themselves that is always limited by rules, values, and norms. Putu's work depicts efforts to break free but are still burdened by social considerations. This study on the painting is to spur the spirit of creating art and enrich new discourses in the Indonesian visual arts world.
SENI LUKIS OPLOSAN SENI YANG DEKAT DENGAN MASYARAKAT PAMUNGKAS, DIDUNG PUTRA
Harmoni: Jurnal Pemikiran Pendidikan, Penelitian Ilmu-ilmu Seni, Budaya dan Pengajarannya Vol 6 No 1 (2016): HARMONI
Publisher : Program Studi Pendidikan Seni Rupa Fakultas Keguruan dan Ilmu Pendidikan Universitas Muham

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26618/jh.v6i1.11699

Abstract

Art is so close to the people, an artist creates a work of art is also so close from their people. Then a work of art created and appreciated by people. With art, an artist deliver an idea or ideas to be delivered to the general public. Art and the people a kind of relationship that both need each other and complement each other, each formed and shaped. Therefore, painting movement oplosan have purpose to get closer to the general public. It’s why the movement of painting oplosan always done in public places.oplosan painting is painting that in its creation mixing technique, materials, and may also be thought or idea, who performed together in one place is determined.
Co-Authors Y., Eva