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PERKEMBANGAN MOTIF HIAS MEDALION PADA BANGUNAN SAKRAL DI JAWA PADA ABAD IX – XVI Iswahyudi -
Imaji Vol 7, No 1 (2009): IMAJI FEBRUARI
Publisher : FBS UNY

Dalam tulisan ini akan disampaikan tentang perkembangan makna simbolik medalion. Sebagai salah satu artefak unsur hias yang terdapat pada seni bangun baik sakral maupun sekuler, ternyata medalion dapat digunakan untuk menganalisis diversifikasi budaya yang berlaku. Gagasan ini dilihat dan digarap secara diakronik-sinkronik-semiotik, yaitu menyangkut pada perkembangan struktur dan analisis visual yang menyertai, sehingga medalion secara spasial temporal momentumnya bertolak dari India dan dikembangkan di Jawa dari abad IX – XVI, kemudian dieksplanasikan dengan tinjauan estetik visual. Apabila ini benar maka dalam tulisan ini secara metodologi historiografi terbayang dapat membuktikan bahwa medalion mengalami perkembangan. Maksudnya ketika agama Hindu dan Budha mendominasi produk budaya, penciptaan medalion juga dipercanggih secara estetik, kemudian ketika beralih ke Islam penciptaan medalion juga tidak berubah bahkan mengalami perkembangan yang signifikan sehingga terjadilah lokal genius dalam perihal penciptaan medalion. Kata kunci: medalion, bangunan sakral, bermakna simbolik dan sebagai unsur hias

The Implementation of the Cultuurstelsel in Java: Cases in Afdeeling Demak and Grobogan, Central Java versus in Afdeeling Pacitan, East Java 1830-1870 Iswahyudi
Britain International of Humanities and Social Sciences (BIoHS) Journal Vol 2 No 3 (2020): Britain International of Humanities and Social Sciences, October
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biohs.v2i3.316

The Dutch colonial government in applying the Cultuurstelsel policy in Java in 1830 used traditional Javanese patterns of power to persuade farmers in certain regions to be willing to work in export plantations and surrender a portion of their land to be planted with governorate crops. Based on the description above, it would be interesting to see further about the implementation of the cultivation system in several afdeeling areas or regencies in Java because in Pacitan, East Java, it is said to have an impact on prosperity and welfare for farmers. On the other hand, in other regions, in Afdeeling Demak and Grobogan, Central Java, the opposite happened, namely that the implementation of the forced cultivation system actually had an impact on misery and poverty among the population. Regardless of whether Cultuurstelsel should be valued positively or negatively, most historians agree that the system had been one of the most important parts of Dutch colonialism in the Dutch East Indies from 1830 to 1870. Some at that time even thought that cultuurstelsel was the best colonial model that can be imagined.

The Development of the Tarekat among the Madurese Population until the Beginning of the 20th Century Iswahyudi
Britain International of Humanities and Social Sciences (BIoHS) Journal Vol 3 No 2 (2021): Britain International of Humanities and Social Sciences, June
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biohs.v3i2.451

In its development, the number of tarekat found in Madura was three, namely the tarekat Qadiriyah, the tarekat Qadiriyah Wa Naqshabandiyah, and the tarekat Tijaniyah. In addition, the tarekat Syatariyah, which had a lot of contact with the traditions of the local Madurese community, had also been influential, even though it was not so big. In this case it is known that starting from the development of the performing arts among the Madurese population called rateb, or from the Arabic language ratib which is similar to the debus performances in Banten and Aceh, there is a strong suspicion that the tarekat Samaniyah has also developed in Madura since the 18th century. In its journey, the popularity of the tarekat Sammaniyah, especially in Madura, was replaced by the Qadariyah wa Naqsabandiyah. This tarekat in its development has replaced the fame of the tarekat Sammaniyah in the archipelago. The description from the sketch shows that in reality, we are often faced with local Islamic sketches, in the form of rituals, such as tarekat, tahlilan, salvation, and so on. The approaches used to telescope this are textual-contextual and structural-functional approaches. From the analysis, it is found that the patterns of understanding and attitudes of the majority of rural communities, especially Madurese, practice Islamic teachings in the form of rituals that are independent, walk alone, without recognizing the relationship between students and sheikhs or murshids.

Sarekat Islam Madura: Between Social Religious and Political Movements, 1913 – 1920 Iswahyudi
Britain International of Humanities and Social Sciences (BIoHS) Journal Vol 4 No 1 (2022): Britain International of Humanities and Social Sciences, February
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biohs.v4i1.569

Madura during the colonial period or at the turn of the 20th century, indicated that it was not a fertile ground for mass mobilization. Starting from the community because it is almost completely divided as a result of scattered settlements and scarcity of resources. The movement that rejects various kinds of prejudice is shown at a glance with the development of the Madura branch of the Sarekat Islam led by the hajj, so that the Dutch government still feels the symptoms of Islamophobia and is also supported by the small people, in this case oreng kenek with its distinctive ideology such as milleniarism and Islamic messianism. . The limitations of each kyai are closer to the peasants from the village, whereas a haji is generally a trader who lives in urban areas. So in this case a kyai is considered a power broker to mobilize the population, especially from among the peasants, while a haji acts as a cultural broker, especially for the revival of Islam. Related to the ideals of self-determination in politics, it is a reflection of the capabilities of the Madurese Sarekat Islam figures to the various social changes or modernity that were taking place at that time.

Towards Remediation of Indonesian New Fine Arts Iswahyudi
Britain International of Linguistics Arts and Education (BIoLAE) Journal Vol 2 No 3 (2020): Britain International of Linguistics, Arts and Education - November
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biolae.v2i3.332

Modern Indonesian painting mainly developed from the situation of the Dutch East Indies and Mooi-Indie art that was dominant at that time. The independence of the Republic of Indonesia became a very important milestone in the development of modern Indonesian painting. This is inseparable from the occurrence of a high dynamics and change through various political regimes in power starting from the leadership of Sukarno, Suharto and subsequent presidents. Each of these political regimes also played an important role in the development of modern art that occurred so as to bring out its own characteristics. Until the early 1990s, talking about art was something that seemed synonymous with painting. Although works of art with a combination of mediums have been included in exhibitions since the 1970s, but works in the form of paintings are still very dominant, even in some writings on art the imaginary boundary between painting and other art is discussed explicitly, but the term "Painting" is usually interchangeable with the term "fine art". The development of art that has become increasingly hybrid has helped to shape the climate and new audience, affirming real ideas that are at odds with painting that has already been established. Being different from established art knowledge, hybrid art agents become newcomers who find a place in the struggle in the realm of Indonesian art. Western characters which are an important consideration for painters become subject to change in the fourth phase. This change is caused by a variety of things, including the emphasis on the use of traditional forms, symbolic and decorative, because as a reaction to the political situation. Since 1942-1965, Indonesians have produced more figurative art. The pioneers in this field are artists who when abroad are like in the United States, Europe, and Japan already acquainted with traditional non-Western art in the arena of modern and international circuits.

Paul Gauguin and the Quest for World Spirituality Iswahyudi
Britain International of Linguistics Arts and Education (BIoLAE) Journal Vol 3 No 1 (2021): Britain International of Linguistics, Arts and Education - March
Publisher : Britain International for Academic Research (BIAR) Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33258/biolae.v3i1.428

Paul Gauguin was born in Paris, France on June 7, 1848. The dynamics of his life journey greatly motivated his search for something deeper and more meaningful in his life and work. Gauguin's disillusionment with the bourgeois society in his environment and his desire to create his art works encouraged his decision to devote himself totally as an artist, especially outside his environment. He traveled from one region to another outside Europe. This experience will influence his development as a painter. The trips that Gauguin often undertook were influenced by his work as well as seeking broader and deeper experiences. As a European he sought a "primitive" lifestyle that was neither tangible nor considered "exotic". He is looking for geographic answers to his professional and personal searches while living in Tahiti. By examining his personal life, it is known that Gauguin's wandering led him to a deeper spiritual life, which is reflected in his works and writings. In order to understand the expression of spirituality in his work, we will examine several major works by Gauguin that clearly depict images of Buddhism and other Eastern religions.

ESTETIKA DALAM SENI ISLAM MENURUT SAYYED HOSSEIN NASR Iswahyudi .
Jurnal Budaya Nusantara Vol 3 No 1 (2019): NUSANTARA & MEDIA
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol3.no1.a2113

The discussion about the phenomenon of religion and the cultural arts system is very interestingbecause the two have a close relationship. Islamic art, according to Nasr, has three elements.First, religious art is art that completely avoids something secular, can be a fence of expressionto hold back pagan art or the like. Secondly, Islamic art must be extracted from aesthetic elementswhich must animate the meaning of monotheism, so that it contributes to always remind againof the majesty of God. Third, Islamic art must be truly wisdom, because it is inspired by spiritualvalues. Associated with aesthetics, is to provide beauty that reflects aspects of positive judgment.The problems that arise in this case, how far beauty can be felt by someone and once able toevaluate it. Ethical and aesthetic freedom are often seen in relation to diametric patterns. Binaryopposition between ethical freedom governed by various normative rules and aesthetic freedomthat tends to be explosive is often a problem especially when art is associated with religiousvalues. Based on this, it is known that Nasr paid great attention to spirituality in building hisphilosophy of Islamic aesthetics and rejecting modernism.

Metal Craft Studio Development: An Idea to Prepare a Teaching Factory Education Concept Model in the Craft Education Study Program, Yogyakarta State University Iswahyudi Iswahyudi
Randwick International of Education and Linguistics Science Journal Vol. 2 No. 3 (2021): RIELS Journal, September
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rielsj.v2i3.302

This study aims to prepare a model for the development of a metal craft practice studio which includes space, equipment, maintenance and occupational safety and health. This study uses a qualitative method with research locations in the metal craft studio at P4TK, Vocational High School 5 Yogyakarta, BRTPD Bantul, and the Indonesian Institute of the Arts Surakarta. Research time March-July 2018. Research instruments are interview, observation, and documentation guidelines. The validity of the data used the validity of interview data, observation, and documentation. Data analysis of data collection, data display, data reduction, and drawing conclusions. The expected result of the research is the realization of a Craft Education studio that is representative and relevant to the world of vocational education and the world of the craft industry. The development of Kriya educational studios refers to existing studios in training institutions and vocational schools. The expected product is the formulation of the Craft Education studio as a studio learning guide. The realization of a studio arrangement that makes it easy for users to produce and manage craft studios. The results of this studio research are expected to be used for the development of the Craft Education studio, Faculty of Language and Arts, Yogyakarta State University.

The Depiction of Heaven and Hell in the Karmawibangga Reliefs of Borobudur Temple: An Overview of Character Education Iswahyudi Iswahyudi
Randwick International of Education and Linguistics Science Journal Vol. 2 No. 4 (2021): RIELS Journal, December
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rielsj.v2i4.344

Karmawibhangga comes from the words karma and wibhangga. If karma can literally be interpreted as actions that come from causes and cause effects, then wibhangga is a designation for one of the holy books in Buddhism (Buddhist scripture). Literally karma can be interpreted as actions that come from causes and cause effects. In Buddhism, karma is the basic doctrine formulated and taught by Siddhartha Gautama. According to this doctrine, every living being has karma, both generated by himself and inherited from his ancestors. It is this karma that has caused samsara and is a barrier to attaining heaven or nirvana. Births in heaven and in hell seem to be at the core and there is a belief that some kind of hell is known in written sources both inscriptions and ancient manuscripts in Java. The state of life in heaven is marked by the kalpawrksa tree flanked by kinaras.

The Existence of Taman Siswa Amidst the Domination of Colonial Education in the Dutch East Indies Iswahyudi Iswahyudi
Randwick International of Education and Linguistics Science Journal Vol. 4 No. 3 (2023): RIELS Journal, September
Publisher : RIRAI Publisher

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.47175/rielsj.v4i3.793

Taman Siswa, which was founded in 1922, aims to achieve a nation state that must and can be achieved through education. It also regenerates the native population so that it can throw off its colonial constraints and control its own political, social and economic development. In the first years of its existence, this organization was relatively unnoticed by the nationalist movement or by the colonial government. Taman Siswa's role in the constellation of the colonial state was to advance education for the native population because this institution functioned as a rival institution to the colonial government by rejecting the education system run by the colonial government and continuously trying to define Indonesia and the type of national education system that it was. ideal. The concept of Taman Siswa education was actually to adapt teaching to local values and customs, and at that time it prioritized Javanism rather than Indonesian nationalism itself. This is in accordance with one of the principles of Taman Siswa education, namely cultural nationalism. Ki Hajar Dewantara's educational ideas were largely influenced by many current discussions regarding education in the Netherlands itself as part of a wider global discourse.

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