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Rekonstruksi Perabot Rumah Tangga Berdasarkan Relief Karmawibhangga Candi Borobudur Rahmanu Widayat; Anung B. Studyanto
Mudra Jurnal Seni Budaya Vol 37 No 1 (2022): Februari
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i1.1893

The development of modern household furniture is currently experiencing rapid expansion. On the other hand, the legacy of ancient household furniture still survives; it can be seen from household furniture in the 9th century through the two-dimensional Karmawibhangga reliefs of Borobudur Temple. To understand the three-dimensional shape from the relief, it is interesting to make a replica of this household furniture. The problem of this study is to understand the form of household furniture found in the reliefs of Borobudur Temple. The method used in this study is identification, reconstruction, and analyzation the value of its benefits. The result is several types of household furniture replicas. The benefits of this study are as a source of inspiration forthe development of modern home furniture designs and also to respect and develop the legacy from the ancestors.

Ornamen Naga Dalam Konteks Kain Batik, Estetika, Budaya Jawa dan Tionghoa Di Indonesia Rahmanu Widayat
Mudra Jurnal Seni Budaya Vol 37 No 3 (2022)
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/mudra.v37i3.2017

This paper was created to discuss an interesting issue, dragon ornament in batik cloth, the value of its aesthetics, and its context to Javanese and Tionghoa (Chinese) culture in Indonesia. This paper attempts to answer several questions including what is a dragon ornament, why is a dragon ornament applied to batik cloth, how is it aesthetic, and how is the relationship between Javanese and Tionghoa dragon ornaments in Indonesia. This issue is approached using interpretation perspective, both specifically in the context of batik cloth and its aesthetics, as well as in a broader context of Javanese and Tionghoa cultures. The interesting findings show that dragon ornaments on classical batik cloth in the form of Javanese dragons and Chinese dragons have their respective characteristics. Dragon ornament is applied to batik cloth due to its visual beauty and meaning as a protector and symbol of power that is identical to the king or emperor. The two Javanese and Chinese dragon ornaments not only adorn batik cloth, but are also applied for the benefit of architecture and other art works. Specific findings indicate that Chinese dragon ornaments are more developed than Javanese dragon ornaments, especially for contemporary batik fashion. Another finding is that the Parang motif combined with the Chinese dragon looks aèng or strange but is favoured by the public. This article suggests that batik producers develop Javanese dragon motifs for contemporary batik (preservation with new functions). For researchers, in studying dragon ornaments, the use of Western and Eastern aesthetic approaches will complement each other and result in more comprehensive findings. Another phenomenon that is intriguing for future research is the presence of batik producers and online shops that offer batik products with a variety of motifs and patterns. It is an interesting phenomenon to be studied in terms of design and marketing.

Fine Art and Design Works In the Context of Intellectual Property Rahmanu Widayat; Deny Tri Ardianto
Lekesan: Interdisciplinary Journal of Asia Pacific Arts Vol. 3 No. 1 (2020): April
Publisher : Institut Seni Indonesia Denpasar

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.31091/lekesan.v3i1.1085

Fine Art and design works are classified as Intellectual Property that is protected by law. On the other hand, art creations are prone to be imitated or falsified on the grounds of being taken as inspiration or for commercial advantage. In Higher Education, especially in the field of Art and Design, methods to create original works have been taught to prevent intelectual property violation. However, due to dishonorable interests, the possibility of plagiarism and forgery can still occur. The questions that arise were: 1) what are classified as works of art and design? 2) What are the Intellectual Property Laws related to the field of art and design? 3) What are the prevention methods offered by fine arts and design higher education? Interpretation method was applied on the law concerning art and design, complemented with an explanation of art and design work creation process as a form of prevention to avoid imitations.

The Impact of Carbon Footprints and Restoration Efforts on Temples Using Andesite Stone Materials Herlambang, Rudy; Purwasito, Andrik; Warto, Warto; Widayat, Rahmanu
Research Horizon Vol. 3 No. 5 (2023)
Publisher : LifeSciFi

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54518/rh.3.5.2023.165

The various carbon footprints present in the environment can inevitably have a significant impact on cultural heritage sites. In fact, preserving cultural heritage buildings, including those made of andesite stone, is of paramount importance. This research aims to provide a clear understanding of the impact of carbon footprints generated by the degradation of temple buildings constructed with andesite stone. It also examines several strategies for restoring these structures as part of the broader effort to safeguard cultural heritage sites. The study's results indicate that the carbon footprint has resulted in the release of various chemical gases that have adversely affected the andesite stone, leading to structural issues. To address this, restoration efforts can be implemented through the establishment of a drainage system to control temple humidity and the improvement of concrete slabs to strengthen the temple foundations, which have eroded due to the impact of carbon footprints.

Content analysis of different types of nirmana teaching videos and the viewers’ perception Ardianto, Deny Tri; Wicaksono, Arif Ranu; Mataram, Sayid; Widayat, Rahmanu; Yuda, Jotika Purnama
Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni Vol. 19 No. 2 (2024)
Publisher : Pascasarjana Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/dewaruci.v19i2.6468

Nirmana is a mandatory basic competency for academic artists. Strengthening the basics of Nirmana is compulsory so that fine artists and designers maintain their bargaining position in society. One of the rising media to learn Nirmana is teaching videos available on online platforms such as YouTube. With the many types and styles of Nirmana learning videos available on YouTube, a study to analyze which type of videos are effective in learning Nirmana is needed. This study uses content analysis to classify videos that convey information about Nirmana into four groups: live demonstration videos, animated videos, conventional lecture videos, and tutorials (Step-by-step). To determine the video's effectiveness, the responses from viewers were analyzed using a pragmatic approach. From the analysis results, teaching videos in the form of live demonstrations, animations, and tutorials proved to be the most effective in assisting viewers to learn about Nirmana. Videos with these concepts can convey information in an engaging, clear, and visually understandable way, thus improving student understanding more effectively. Integrating the appropriate teaching videos into the Nirmana curriculum, such as live demonstrations for practical projects and animated videos or tutorials or theory, can help students understand Nirmana better.

"CARA JAWI” DALAM MEMBUMIKAN KAGUNAN RUPA DARI LUAR DAN PERSPEKTIF ESTETIKANYA widayat, rahmanu
Acintya Vol. 14 No. 1 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i1.4341

Abstract – Orang Jawa sering mendengar kesenian Jawa (kesenian suku Jawa di Indonesia) itu “adhi luhung” (bernilai tinggi) dan tidak sedikit yang mengagumi kagunan rupa (seni rupa) yang sarat dengan makna sebagai pedoman hidup. Sesungguhnya saat dikaji melalui wujudnya banyak kagunan rupa yang dianggap Jawa ini ternyata berasal dari luar budaya Jawa. Berdasarkan hal ini muncul pertanyaan apa saja wujudnya? Bagaimana kagunan rupa dari luar menjadi Jawa? dan bagaimana makna kagunan rupa tersebut setelah menjadi Jawa? dan Bagaimana Estetikanya? Ada metode yang menarik dari proses pembumian yang datangnya dari luar disebut dengan “cara Jawi” atau cara Jawa (Java style) sebagai tesis dari “cara Walandi” atau cara Belanda (penjajah suku Jawa). Warisan budaya kagunan rupa Jawa itu dapat diamati dalam arti luas di keraton-keraton penerus dinasti Mataram Islam berupa lampu robyong, kereta kuda, selop, topèngan pendhapa, tiang neoklasik dan beberapa ornamen bangunan keraton. Ada dua cara untuk menjadi Jawa yaitu pertama wujud apa adanya, kedua diowahi rupa-nya (dirubah bentuknya), kemudian diberi nama dan dimaknai dalam konteks budaya Jawa. Temuan menarik ketika keindahannya dikaji berdasarkan estetika rupa Jawa (estetika Timur) dan estetika Barat karena hasilnya saling melengkapi. Temuan ini menjadi penting karena orang Jawa saat ini untuk sekedar memberi nama Jawa pada produk rupa yang datangnya dari luar sudah tidak sempat, apalagi “ngowahi rupa cara Jawi” (merubah bentuk dengan cara Jawa). Penulis khawatir “cara Jawi” dalam konteks rupa ini semakin lama semakin pudar tergerus cepatnya kemajuan zaman. Keywords – cara Jawi, kagunan rupa, membumikan, estetika

Pelatihan Konten Digital Partisipatif sebagai Upaya Promosi Budaya melalui Tiktok di Desa Kreatif Pereng, Kabupaten Karanganyar, Jawa Tengah Ardianto, Deny Tri; Nurcahyanti, Desy; Purwantoro, Agus; Widayat, Rahmanu; Sulistyo, Bambang; Putri, Febi Rahma; Anshori, Siroj Ibnu Hajar Al; Ayob, Norhayati
Jurnal Abdi Masyarakat Indonesia Vol 5 No 5 (2025): JAMSI - September 2025
Publisher : CV Firmos

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.54082/jamsi.2076

Masyarakat Desa Pereng menghadapi keterbatasan kemampuan dalam memanfaatkan media digital secara optimal untuk mempublikasikan kekayaan seni dan budaya lokal, sehingga potensi desa belum terekspos secara luas di ranah digital. Kegiatan ini bertujuan membekali masyarakat dengan kemampuan dasar pembuatan dan penyuntingan video, strategi distribusi konten, serta pemahaman tren digital yang mendukung publikasi seni budaya secara lebih luas. Metode pelaksanaan menggunakan pendekatan partisipatif berbasis pelatihan dan praktik langsung, diawali dengan sosialisasi mengenai pentingnya publikasi digital. Rangkaian kegiatan mencakup pelatihan teknis mulai dari perencanaan konten, teknik pengambilan gambar, penyuntingan video menggunakan TikTok dan aplikasi pengeditan video, hingga strategi distribusi dan optimasi algoritma. Pelatihan diikuti oleh 25 peserta yang terdiri dari perwakilan masyarakat, pelaku seni, dan pengelola desa kreatif. Pendampingan pembuatan konten difokuskan pada penguatan citra seni, budaya, dan lingkungan desa, disertai evaluasi efektivitas melalui analisis keterlibatan audiens di media sosial. Dampak terhadap mitra melalui kegiatan ini adalah meningkatnya keterampilan digital masyarakat, tersedianya konten promosi yang konsisten, serta meningkatnya eksposur dan daya tarik Desa Pereng di platform digital. Dampak jangka panjang meliputi penguatan ekonomi kreatif desa dan pengokohan identitas budaya lokal dalam menghadapi tantangan era digital.

"CARA JAWI” DALAM MEMBUMIKAN KAGUNAN RUPA DARI LUAR DAN PERSPEKTIF ESTETIKANYA widayat, rahmanu
Acintya Vol. 14 No. 1 (2022)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/acy.v14i1.4341

Abstract – Orang Jawa sering mendengar kesenian Jawa (kesenian suku Jawa di Indonesia) itu “adhi luhung” (bernilai tinggi) dan tidak sedikit yang mengagumi kagunan rupa (seni rupa) yang sarat dengan makna sebagai pedoman hidup. Sesungguhnya saat dikaji melalui wujudnya banyak kagunan rupa yang dianggap Jawa ini ternyata berasal dari luar budaya Jawa. Berdasarkan hal ini muncul pertanyaan apa saja wujudnya? Bagaimana kagunan rupa dari luar menjadi Jawa? dan bagaimana makna kagunan rupa tersebut setelah menjadi Jawa? dan Bagaimana Estetikanya? Ada metode yang menarik dari proses pembumian yang datangnya dari luar disebut dengan “cara Jawi” atau cara Jawa (Java style) sebagai tesis dari “cara Walandi” atau cara Belanda (penjajah suku Jawa). Warisan budaya kagunan rupa Jawa itu dapat diamati dalam arti luas di keraton-keraton penerus dinasti Mataram Islam berupa lampu robyong, kereta kuda, selop, topèngan pendhapa, tiang neoklasik dan beberapa ornamen bangunan keraton. Ada dua cara untuk menjadi Jawa yaitu pertama wujud apa adanya, kedua diowahi rupa-nya (dirubah bentuknya), kemudian diberi nama dan dimaknai dalam konteks budaya Jawa. Temuan menarik ketika keindahannya dikaji berdasarkan estetika rupa Jawa (estetika Timur) dan estetika Barat karena hasilnya saling melengkapi. Temuan ini menjadi penting karena orang Jawa saat ini untuk sekedar memberi nama Jawa pada produk rupa yang datangnya dari luar sudah tidak sempat, apalagi “ngowahi rupa cara Jawi” (merubah bentuk dengan cara Jawa). Penulis khawatir “cara Jawi” dalam konteks rupa ini semakin lama semakin pudar tergerus cepatnya kemajuan zaman. Keywords – cara Jawi, kagunan rupa, membumikan, estetika

Visualization of paddy in Panel 65 of the Karmawibhangga section of Borobudur Temple ARYO ANGGOROJATI; RAHMANU WIDAYAT; SETYO BUDI
Biodiversitas Journal of Biological Diversity Vol. 24 No. 2 (2023)
Publisher : Society for Indonesian Biodiversity

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.13057/biodiv/d240239

Abstract. Anggorojati A, Widayat R, Budi S. 2023. Visualization of paddy in Panel 65 of the Karmawibhangga Section of Borobudur Temple. Biodiversitas 24: 990-1003. Borobudur Temple is a building whose reliefs depict the Buddhist scriptures in the form of pictures, reliefs, and statues. Each relief contains a certain message and interpretation that not all visitors can understand the storyline when they observe, especially only at a glance. The Karmawibhangga relief is found at the Borobudur Temple's lowest section. The lowest relief represents the hustle and bustle of worldly life, consisting of 160 panels, all of which have different images from one panel to another. Based on the existing literature results, an iconographic approach, reliefs in the form of paddy, is used to analyze the interpretation of the Karmawibhangga relief 65 on paddy to make it easier for people who desire to acquire information about it to symbolize prosperity. Paddy is depicted with plump grains, ready to harvest and being guarded by several people from rats. This study can be used as a reference in the future regarding the visualization description of paddy in the Karmawibhangga relief for future researchers.

Transformasi desain sarana duduk pada panel Karmawibhangga Borobudur melalui transformasi bergaya kontemporer Gege Noby Priohananto; Rahmanu Widayat; Pandu Purwandaru
Productum: Jurnal Desain Produk (Pengetahuan dan Perancangan Produk) Vol 9, No 2 (2026)
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/productum.v9i2.19764

Rapid technological advancement has created new opportunities for developing artistic products that integrate classical cultural heritage with contemporary design while maintaining their functional relevance to society. This study aims to transform traditional artistic forms into contemporary furniture design by reinterpreting the visual elements of the Karmawibhangga panels at Borobudur Temple. Specifically, the Arimbi relief, which depicts a seating form from the Mataram Kingdom period, was selected as the primary source of design inspiration. The traditional form was redesigned by incorporating contemporary minimalist principles while preserving its distinctive visual identity and cultural significance. This research uses a qualitative research method with the process of creating artworks. The work realisation stage is supported by the creative approach from Sullivan which consists of 1) Research as a search for data sources/inspiration through observation, interview, and literature review techniques, 2) Analysis of the required data, 3) Design from the research results, 4) Product Creation. This research found that the Karmawibhangga Panel on the reliefs of Borobudur Temple depicting traditional chair objects can be used as a source of inspiration for the creation of contemporary style chair furniture. The transformation of visual changes from traditional objects to more modern ones is made without eliminating the original characteristics. Thus, the goal of introducing cultural products that have been inherited by the ancestors can be realised through the transformation strategy of changing the form based on the period (trend). Publised Date: 2026-08-26

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