Claim Missing Document
Check
Articles

Found 2 Documents
Search

PERGESERAN MAKNA, FUNGSI, DAN BENTUK TEMBIKAR TRADISIONAL SUNGAI JANIAH DI TANAH AGAM SUMATRA BARAT Nuning Y Damayanti
Jurnal Budaya Nusantara Vol 2 No 1 (2018): NUSANTARA & TEKNOLOGI
Publisher : Universitas PGRI Adi Buana Surabaya

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36456/b.nusantara.vol2.no1.a1718

Abstract

The background of the establishment of the earthenware craft of Sungai Janiah is acquired from the legend TheSacred Fish, which is a “karma” of the nature’s authority against a mother who neglected the care of her child, so thatthe child be came a fish. Since then every mother is forbidden to leave her child alone at home. The mother may work athome while taking care of her children. The work chosen is making earthenware, because the easily available rawmaterial, and easily done. The philosophy of the earthenware of Sungai Janiah is “Mother and Child Philosophy”. This isreflected by the attitude and behaviour in making earthenware like child-caring, and each stage of making earthenware isbased on that.The traditional earthenware craft today is decreasingly developing due to its inability to compete with industrial products. The problems most commonly faced are the technological development- and the marketingproblems. This study was done in Sungai Janiah Kabupaten Agam, West Sumatera, because it has never before researchhas been done in this field, and no written reference yet exists concerning this craft. This study had to be done so the nation’s cultural asset will be not forgotten without more and is needed for the scientific world. The method of study used is the qualitative method with the cultural approach. Data of study was acquired by direct observation, and interviews and field notes were made concerning matters that can support the study findings. The study findings can be explained as follow:Commonly the earthenware of Sungai Janiah is round-formed, functioning as household utensils receptacles. The Sungai Janiah earthenware has not experienced many changes in form, but in function and meaning. No changes in form is due to the limited capacity of the craftsmen and the local socio-cultural factor. The change in meaning is due to scientific developments and socio-cultural changes.
PERAN PENDIDIKAN TINGGI DALAM MENGEMBANGKAN SENI GRAFIS DI INDONESIA Nuning Y Damayanti
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.a2114

Abstract

Conventional Graphic Art is understood by academics through the history of its development.The Chinese nation is thought to have started the tradition of print as the forerunner of graphicart in its 'primitive' era, while the Romans began etching-glass techniques for portraying gladiators.Furthermore, the Japanese in the 8th century had begun their first authentic print by tracing andprinting Buddhist faces. When the Europeans used it as a printing technique as a medium forartistic expression, the word "printmaking" emerged, which was later adopted by the field of artuntil now. Later the graphic arts were increasingly used to reproduce various human needs. Inearly 1900 the Dutch introduced the technique of Graphic Printing in education at the BandungTechnical College is now the Bandung Institute of Technology. History and development ofIndonesian Graphic Arts in history began at Institute of Technology Bandung (ITB) as the firstacademic provider of formal education in the Department of Fine Arts, then now a Faculty ofFine Arts and Design (FSRD) of ITB. Conventional Graphic Printing Techniques become oneof the main areas of interest, the Graphic Arts Studio of the Fine Arts Department, then becamethe Fine Art Study Program and the Graphic Art Printing Technique until now is still the mainarea of interest and subject matter in the curriculum of the FSRD ITB Fine Arts Study Program.