MUDRA Jurnal Seni Budaya
AIMS The journal presents as a medium to share knowledge and understanding art, culture, and design in the area of regional, national, and international levels. In accordance with the meaning of the word “Mudra”, which is a spiritual gesture and energy indicator, it is hoped that the journal will be able to vibrate the breath of art knowledge to its audience, both academics, and professionals. The journal accommodates articles from research, creation, and study of art, culture, and design without limiting authors from a variety of disciplinary/interdisciplinary approaches such as art criticism, art anthropology, history, aesthetics, sociology, art education, and other contextual approaches. SCOPE MUDRA, as the Journal of art and culture, is dedicated as a scientific dialectic vehicle that accommodates quality original articles covering the development of knowledge about art, ideas, concepts, phenomena originating from the results of scientific research, creation, presentation of fine arts, performing arts and new media from researchers, artists, academics, and students covering areas of study: Performing Arts: dance, puppetry, ethnomusicology, music, theater,performing arts education, performing arts management Fine Arts: fine arts, sculpture, craft art, fine arts education,fine arts management, including new media arts Design: interior design, graphic communication design, fashion design,product design, accessories and/or jewelry design Recording Media : photography, film, television, documentary, video art, animation,game Culture : linguistic, architecture, verbal tradition, as well as other communal tradition The object of research is explored in a variety of topics that are unique, relevant, and contextual with environmental and sustainability aspects, local wisdom, humanity and safety factors. In addition to that, the topic of research needs to be original, creative, innovative, excellence, and competitive.
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<![CDATA[Directing Of Documentary Bilingual “Lukisan Barong Gunarsa†In Exspository Style ]]>
<![CDATA[Nyoman Lia Susanthi]]>;
<![CDATA[Ni Kadek Dwiyani]]>;
<![CDATA[I Kadek Puriartha]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.522
<![CDATA[Latha Mahosadhi Museum of ISI Denpasar is a memorial place for displaying art objects. But the function of the museum as a center of art information cannot be realized because the information provided is only verbal information and not specific. So that information media is created in museum, namely bilingual documentary film. One of the interesting a film to be researched is “Lukisan Barong Gunarsa†by Nyoman Lia Susanthi as a director. The aim of this study is to determine the process of creating a documentary film that shows the side of Gunarsa as famous person and secret element that have never been published before. Based on it, documentary bilingual can be applied to other 127 objects collection. The method used qualitative. The data were obtained through observation, interview, and literature study. The result of this study was the director observed in three roles, such as: a leader, an artist and a technical advisor. The pre-production, the director created in the form of production concept, technical concept and story line. The concept of film was expository style with television documentary format using narrator as a single speaker. The director as a leader directed the cameraperson in taking pictures. In editing, director was involved directly in the process of arranging the images. The resulting visual beauty cannot be separated from the director’s firmness that directed the taking of beauty shot. The director as a technical advisor was able to take over the role of cinematography, sound and editing.Museum Lata Mahosadhi ISI Denpasar adalah tempat pemajangan benda seni baik dari Bali maupun luar Bali. Namun fungsi museum sebagai pusat informasi seni belum bisa terwujud karena informasinya hanya berupa verbal dalam Bahasa Indonesia dan tidak spesifik. Untuk itu dilakukan penelitian terkait media informasi efektif untuk museum yaitu bilingual dokumenter menggunakan 2 bahasa (Indonesia-Inggris). Salah satu bilingual dokumenter yang menarik untuk dikaji adalah film berjudul “Lukisan Barong Gunarsa†karya Nyoman Lia Susanthi sebagai sutradara. Alasan memilih konten ini karena terdapat elemen rahasia yang belum dipublikasikan yaitu makna dan deskripsi lukisan. Dalam proses pembuatan film maestro berpulang, sehingga film ini benilai informasi tinggi. Tujuan dari penelitian adalah mengetahui penyutradaraan film dokumenter yang menunjukkan sisi intim orang terkenal yaitu Gunarsa. Dengan mengetahui penyutradaraan film ini, maka dapat juga diterapkan penciptaan bilingual dokumenter pada 127 benda koleksi museum. Metode yang digunakan untuk mengetahui manajemen produksi film adalah kualitatif. Data diperoleh melalui observasi, wawancara, dan studi pustaka. Hasil penelitian ini adalah sutradara dalam melahirkan film diamati dalam tiga peran yaitu sebagai pemimpin, seniman dan penasehat teknis. Saat pra produksi sutradara berperan besar melahirkan konsep penciptaan berupa konsep karya, teknis serta story line. Konsep karya menggunakan gaya exspository, format dokumenter televisi dengan narator sebagai penutur tunggal. Peran sutradara sebagai pemimpin yaitu mengarahkan kameramen dalam mengambil gambar sesuai tuntutan cerita. Tahapan editing sutradara terlibat dalam proses penyusunan gambar. Keindahan visual yang dihasilkan juga peran sutradara yang turut mengarahkan pengambilan beauty shot. Sutradara sebagai penasehat teknis mampu mengambil alih peran teknis dalam sinematografi, tata suara dan editing.]]>
<![CDATA[The Reflection of Society Culture in Visual Art Illustration of Javanese Manuscript ]]>
<![CDATA[Nuning Damayanti Adisasmito]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.528
<![CDATA[The tradition of writing and drawing in illustration was found in the old manuscript. Some parts of those old manuscripts show unique illustrations as well as the local identity of Nusantara’s society. The manuscript reflects the society culture of thinking and aesthetic achievement of visual art. The Illustrations of old Javanese manuscripts were well documented and has various representation in visualization art and style, drawing method, theme, and visual objects, even though the visualization of the visual concepts is practically similar to another. The illustration in the old Javanese manuscript in 1800-1920 shows continuous correlation of the visual language in the past era to the present and becomes the characteristics of Indonesian visual states. It reflects the structured illustration and style as well as expression symbol of the Javanese society in that era. Illustration of the old Javanese manuscript in the year 1800-1920 has changed and developed its visual state as the interaction between the animism in the Pre-Hinduism era, cultural paradigm of Hinduism-Buddhism, Islamic and Colonialism. The illustration style of the old Javanese manuscripts is decorative, naturalistic, realistic, simplified form and deformative.Tradisi menulis dan menggambar ilustrasi ditemukan pada manuskrip lama Nusantara. Sebagian dari manuskrip lama Nusantara itu memuat ilustrasi yang unik dan khas menjadi identitas masyarakat Nusantara. Naskah-naskah tersebut merefleksikan ketinggian budaya berpikir dan pencapaian estetik bidang seni rupa pada masyarakat Jawa dimasa itu. Sejumlah Manuskrip Jawa kuno didokumentasi dengan cukup baik, diantaranya merepresentasikan konsepsi seni dan ga-ya hidup pada masanya, juga memuat metode menggambar, objek visual, tema, dan konsep estetik yang tampaknya memiliki kesamaan satu dengan yang lain. Hasil analisis pada Ilustrasi yang dipilih dalam manuskrip Jawa periode tahun 1800-1920 menunjukkan adanya benang merah yang muncul secara terus-menerus bahkan hingga saat ini. Wujud visual art ilustrasi menjadi ciri khas ilustrasi Indonesia, gaya ilustrasi yang terstruktur dan menjadi simbol ekspresi di era itu. Konsep estetik dan wujud visual Ilustrasi manuskrip Jawa kuno mengalami perubahan dan pengembangan menunjukan gambaran dinamisasi interaksi antara paradigma animisme era Pra-Hindu, budaya Hinduisme-Buddha, Islam dan Kolonialisme. Gaya ilustrasi manuskrip Jawa kuno adalah bentuk dekoratif, naturalistik, realistis, disederhanakan dan deformatif. ]]>
<![CDATA[Body As Media In Action Drawing Titled Metamorposer 6 ]]>
<![CDATA[Luna Dian Setya Avissa]]>;
<![CDATA[Agus Purwantoro]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.533
<![CDATA[The artist observe her own life and choose metamorphosis of butterfly as a metaphor. The idea of a visual artwork entitled Metamorposer 6 particulary taken from the phase of metamorphosis called pupa stage, the work is about the artist who needs to be alone like a caterpillar in a chrysalis to contemplate her selfish side and the desire to devote to her family. Action of drawing as a form of art is chosen to represent the process of making a distance with the surrounding environment and building a space of seclusion. The artist tried to improve her way of creation through media exploration, she also make some conventional result-oriented drawing on the transparant media prior to her action drawing. The idea is communicated not only through strokes of pigment on the transparent panel but also through a process that unifies the space, time and body as media in action drawing. The blank field on the panel is filled with drawings made analogously by the artist throuh manipulating the alkohol-based permanent marker with her right hand and the execution takes about 16 hours in total. The performance in this action drawing displays the drawing lines that slowly covered the body of the artist in a vitrine or transparent case constructed on a table. The present of the body in the action drawing as one of the media being compared with other previous works of notorious artist in an effort to conclude its meaning, function and experience.Seniman mengamati kehidupannya sendiri dan memilih metamorfosis kupu-kupu sebagai metafora. Ide karya seni visual yang berjudul Metamorposer 6 secara partikular berfokus pada fase metamorfosis yang disebut pupa, karya adalah tentang seniman yang perlu sendirian seperti ulat di dalam kepompong untuk merenungkan sisi egoisnya dan keinginan untuk berbakti kepada keluarganya . Action drawing sebagai sebuah bentuk seni dipilih untuk mewakili proses pembuatan jarak dengan lingkungan sekitar dan membangun ruang pengasingan. Sang seniman berusaha memperbaiki cara kreasinya melalui eksplorasi media, ia juga membuat beberapa gambar berorientasi hasil pada media transparan sebelum action drawing. Idenya dikomunikasikan tidak hanya melalui goresan pigmen pada panel transparan tetapi juga melalui proses yang menyatukan ruang, waktu dan tubuh sebagai media dalam aksi menggambar. Bidang kosong pada panel diisi dengan gambar yang dibuat secara analog oleh seniman yang memanipulasi marker permanen berbasis alkohol dengan tangan kanannya. Eksekusi karya memakan waktu sekitar 16 jam secara total. Seniman melalui action drawing menampilkan garis gambar yang perlahan-lahan menutupi tubuhnya yang dipajang dalam vitrine atau kotak transparan yang biasa untuk menyajikan benda seni. Kehadiran tubuh dalam action drawing sebagai salah satu media perlu dibandingkan dengan karya seniman terkenal lainnya yang berbasis aksi dan tubuh guna menemukan makna, fungsi dan menjabarkannya sebagai sebuah pengalaman. ]]>
<![CDATA[Preferable Interior Elements On Instagram Photos At Contemporary Coffee Shops ]]>
<![CDATA[Setiamurti Rahardjo]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.534
<![CDATA[Today we are facing an era where the massive usage of Instagram has been utilized as a means of competitive marketing between hospitality industries, namely coffee shops. The more hashtags of a particular coffee shop indicate its prospect to gain popularity and win the market competition. Instagram users also benefits the coffee shop owners through their personal photo documentations that become a costless marketing. Although there have been numerous discussions about how aesthetic interior design and visual advertising increases the customer visits to coffee shops, there is still a lack of information about specific interior elements that are frequently framed on Instagram photos. Thus, this paper aims to explore interior elements on Instagram photos at contemporary coffee shops in order to find a particular interior element or setting which is more preferable as a photo background or object. This study is performed through the content analysis method with Instagram photo samples of 180 Coffee and Music, Mimiti Coffee and Space, Sejiwa, and Sydwic, all of which have more than a thousand hashtags on Instagram and represent various interior design styles. The result shows vegetation and concrete wall as the most preferred interior elements, accompanied by monochromatic color tone of the furniture or decoration. This result is able to contribute a form of knowledge to both designers and coffee shop owners to keep the continuation of this business industry by giving more considerations on the preferable interior elements.Sekarang ini Instagram sudah banyak digunakan dalam persaingan media marketing di antara berbagai industri bisnis, salah satunya kedai kopi atau populer disebut dengan coffee shop. Semakin banyak tanda tagar yang dimiliki sebuah coffee shop di Instagram sejalan dengan tingkat kepopuleran coffee shop tersebut dan kemungkinannya untuk memenangkan dunia persaingan. Para pengguna Instagram juga mendukung penngusaha dengan unggahan dokumentasi pribadi berupa yang dimanfaatkan sebagai marketing gratis. Meski pembahasan mengenai keterkaitan antara estetika desain interior dan marketing visual dan tingkat ketertarikan pengunjung, namun belum ada ulasan spesifik mengenai elemen interior apakah yang kerap muncul dalam foto-foto Instagram. Dengan demikian, artikel ini bermaksud untuk mengulas elemen interior pada coffee shop di era kontemporer, yang lebih disukai sebagai latar maupun objek foto. Penelitian untuk artikel ini dilakukan dengan metode konten analisis, dengan mengkaji sampel-sample foto dari 180 Coffee and Music, Mimiti Coffee and Space, Sejiwa, and Sydwic. Tempat-tempat tersebut memiliki lebih dari seribu tagar di Instagram dan mewakili penggayaan desain yang berbeda-beda. Penelitian ini memperlihatkan bahwa preferensi elemen interior untuk foto Instagram terletak pada keberadaan vegetasi dan tembok beton, yang disertai dengan penggunaan warna monokrom dari furnitur dan dekorasi yang ada di dalam ruang. Hasil ini kemudian dapat dipergunakan sebagai wawasan bagi desainer maupun pemilik usaha coffee shop untuk mempertimbangkan pengembangan usahanya melalui pengolahan elemen-elemen interior.]]>
<![CDATA[Handmade Eco Print as a Strategy to Preserve the Originality of Ria Miranda’s Designs in the Digital Age ]]>
<![CDATA[Desy Nurcahyanti]]>;
<![CDATA[Ulfa Septiana]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.543
<![CDATA[Abstract Digital technology eases many aspects in human life and leads to the phenomenon of working without human touch. Although human skills are still required to operate the system, 90% of final products are produced by software called the digital applications. Moreover, the applications work automatically after the ‘save’ and ‘create’ buttons were clicked. Product characters that have been resulted by digital applications tend to be consistent in terms of visual and efficiency, production time, as well as quantity. This is one of the problems for fashion designers that have personal touch on their limited, private, and exclusive product designs. Regardless of the trend and market demand influence, a strategy for maintaining originality concept is absolutely necessary. The majority of consumers today have been adept at distinguishing between the works that are produced by mature concept or works that are only good in physical appearance. This paper describes the reasons behind Ria Miranda’s strategy in making moslem woman fashion designs with handmade eco print in terms of concrete form, originality criteria, and the impact of the strategy implementation to her product image and other supporting aspects. The interesting finding about Ria Miranda’s designs using handmade eco print is that it can eliminate the impression of mass produced products and bring a new image for her design branding as eco fashion designer. Furthermore, her works with handmade eco prints result in an exclusive form, because it has advantage point of not being able to be reproduced with the same form repeatedly. This strategy is called One Process One Product (OPOP). This technique makes it difficult for plagiarists to make similar works in mass quantity.Teknologi digital memudahkan kehidupan manusia di berbagai lini kehidupan manusia. Hal ini terlihat khususnya pada bidang desain fesyen, aplikasi digital telah memudahkan desainer dalam menuangkan ide kreatifnya, hingga dapat diaplikasikan sebagai digital print pada produk kreatifnya. Karakter karya yang dihasilkannya pun cenderung konsisten secara visual, efisien waktu produksinya, dan berpengaruh dalam hal jumlah. Hal ini menjadi permasalahan untuk rancangan fesyen yang mengutamakan sifat personal, terbatas, intim, dan eksklusif. Terlepas dari pengaruh tren dan pasar, strategi untuk mempertahankan orisinalitas mutlak dilakukan. Uraian alasan tersebut menjadi pokok bahasan yakni strategi di balik rancangan Ria Miranda, yang pada awalnya dikenal sebagai desainer fesyen muslimah dengan teknik digital print, beralih menggunakan teknik eco print untuk mempertahankan orisinalitas karyanya. Temuan yang menarik tentang rancangan Ria Miranda dengan eco print, yakni mampu menghilangkan kesan mass product dan memunculkan image baru terhadap rancangannya sekaligus branding sebagai desainer fesyen muslimah ramah lingkungan. ]]>
<![CDATA[Visual Adaptation Of Wayang Characters In Teguh Santosa’s Comic Art ]]>
<![CDATA[Mohammad Isa Pramana Koesoemadinata]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.544
<![CDATA[Wayang tradition with its Indian epics of Mahabharata and Ramayana adaptations is the Indonesian high culture acknowledged by UNESCO since 2003. Its stories and characterizations has become philosophical, moral ethics and character learning for the young generations. Those Indian epics have acculturated in every aspect of theatrical and visual arts which are presented in shadow puppet theatre. As the part of traditional visual art, the visual aspect of wayang puppet consists of particular and systematic patterns (systems), in relation to role and characterization. In accordance with technological development, the famous epics of wayang are presented through popular modern media such as comic. Comic art is a popular media which adored by children and teenagers due to its visual narrative appeal. Many Indonesian comic artists such as Ardisoma, R.A. Kosasih, Oerip and Teguh Santosa adopt wayang epics through their own styles. The later artist, Teguh Santosa with his unique visual styles, has contributed color in wayang genre of Indonesian comic. Mostly, parallelities between Teguh’s style and the visual system of wayang role and characterization are detected. This paper discusses how visual adaptations of protagonists and antagonists wayang characters into Mahabharata comic series created by Teguh take place. Those visual adaptations are compared with the visual system of Javanese wayang puppetry, analyzed qualitative-descriptively with Sociology of Art and Aesthetical Morphology (Art Critic) methods. The results indicate that Teguh comprehends the essence of Javanese wayang’s visual aspect, since he adapted it with his own style yet still retains the visual system of Javanese wayang role and characterization.Tradisi Perwayangan dengan adaptasi wiracarita Mahabharata dan Ramayana adalah budaya adiluhung Indonesia yang sudah diakui UNESCO sejak 2003. Kisah-kisah dan penokohannya dijadikan model pembelajaran filsafat, etika moral dan karakter kepada generasi muda. Kisah-kisah tersebut mengalami akulturasi dalam berbagai aspek seni pertunjukan dan senirupa, di mana mereka disajikan dalam pertunjukan wayang kulit. Rupa boneka wayang kulit sendiri sebagai artefak senirupa tradisi memiliki pola yang khas dan sistematis, terkait dengan aspek perwatakan dan raut peranan tokoh. Seiring perkembangan zaman, kisah-kisah terkenal Perwayangan seperti Mahabharata dan Ramayana disajikan melalui media modern populer seperti komik. Komik adalah media populer yang lazim digemari anak-anak dan remaja karena memiliki daya tarik berupa narasi visual. Banyak komikus Indonesia mengadaptasi kisah perwayangan dengan gayanya masing-masing, seperti Ardisoma, R.A. Kosasih, Oerip, termasuk Teguh Santosa. Teguh Santosa (1942 – 2000) dengan kekhasan gaya visualnya telah memberikan nuansa tersendiri dalam komik indonesia khususnya genre perwayangan. Terlebih lagi penulis mendapati adanya kesejajaran pola visual antara gaya Teguh dengan pola rupa wayang kulit terkait perwatakan atau raut peranan tokoh. Tulisan ini mengkaji bagaimana adaptasi visual pada beberapa tokoh wayang protagonis dan antagonis dalam seri komik Mahabharata (1983-1985, 1986-1987) sisipan majalah Ananda dan terbitan Misurind karya Teguh Santosa. Adaptasi visual tersebut diperbandingkan dengan pola visual wayang kulit Jawa, dianalisis secara kualitatif-deskriptif, dengan pendekatan Sosiologi Seni dan Morfologi Estetik (Kritik Seni). Hasil analisis menunjukkan bahwa Teguh sebagai komikus memang memahami betul esensi rupa wayang Jawa, karena ia mengadaptasinya dalam komik dengan gaya visualnya sendiri namun tetap mempertahankan pola visual raut peranan dari wayang kulit Jawa.]]>
<![CDATA[Ornament on the Pendhok of the Surakarta Kris ]]>
<![CDATA[Guntur -]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.545
<![CDATA[The type of ornament found on the Javanese kris pendhok is rarely discussed from an iconographic point of view. The pendhok is the decorative protection plating found on the sheath of the kris, usually made from metals such as silver, bronze, copper, brass, and even gold. The kris is a Javanese dagger. This essay focuses on the pendok ornament of the Surakarta kris, and on its symbolism. The pendhok is a ‘patronage’ art, traditionally manufactured by palace’s mranggi-s(the sheath maker), and today by kris craftsmen. Its various motifs--vegetation, plants, animals, or other motifs--are combined with lung-lungan (curly, vegetation-looking forms) in such a way as to create symmetric-vertical ornaments. The lung-lungan and alas-alasan (the forest as cosmos) motifs are more numerous than flora, wayang puppets, and geometrical motifs. The designs emphasize symmetry, repetition and harmony as their basic principle. The ornament style is believed to embody the ‘syncretic-mystique’ of Javanese Islam. The ornaments embossed on the surface usually refer to pre-Islamic, Hindu-Buddha notions.Ornamen pendhok keris sebagai ikonografi Jawa jarang dibahas. Pendhok adalah lapisan dekoratif pelindung keris, yang biasanya terbuat dari berbagai logam seperti perak, perunggu, tembaga, kuningan, dan bahkan emas. Keris adalah jenis senjata tusuk Jawa. Artikel ini difokuskan pada hiasan pendhok dari keris Surakarta, dan simbolismenya dalam pencitraan Jawa. Pada awalnya, ornamen pendhok adalah seni ‘patron’, yang dibuat oleh mranggi istana (pembuat sarung), dan saat ini ‘diciptakan kembali’ oleh para pembuat keris di banyak tempat. Motif bunga, tanaman, hewan, atau figural pada pendhok, adalah komposisi dan penggabungan dengan lung-lungan (penggayaan tanaman) sebagai cara untuk membentuk irama ornamen secara simetris-vertikal, ornamen disederhanakan sebagai lung-lungan. Motif lung-lungan dan alas-alasan (kosmos hutan dalam imajinasi spiritual), mendominasi gaya ornamen dibandingkan dengan motif lain seperti tanaman/flora, wayang (boneka), dan geometri. Komposisi simetri, repetitif, dan harmoni menjadi yang paling ‘prinsip’ pada desain. Gaya ornamen diyakini melambangkan ‘sinkretis-mistik’ dari Jawa - Islam, ornamen yang ‘timbul’ pada permukaan yang berdimensi, menjadi ekspresi relief, yang sebagian besar menandakan seni yang diadopsi pra-Islam: Hindu – Buddha ]]>
<![CDATA[Wangun Visual Concept In Pawukon Figures And Interior Design Contexts ]]>
<![CDATA[Rahmanu Widayat]]>
<![CDATA[ Mudra Jurnal Seni Budaya Vol 33 No 3 (2018): September ]]>
Publisher : <![CDATA[Institut Seni Indonesia Denpasar ]]>
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DOI: 10.31091/mudra.v33i3.546
<![CDATA[Many of cultural heritages of the past are detting less known by the present generation. One of which is a pawukon figures and their aesthetic values. Pawukon is a Javanese prediction or calculation based on Hindu mythology regarding time and its association with the prediction of human life based on their wuku (time characteristics). There are 30 pawukon figures, from the Wuku Sinta figure to Wuku Watugunung figure accompanied by a picture of their respective deities. Pawukon figures can be found in primbon books or enlarged and displayed in the interiors of Javanese houses. Pawukon figures such as wayang purwa are equipped with figures of buildings or gedhong, figures of weapons, figures of various types of trees, birds and other figures which each have a certain purpose and meaning. The composition of the various elements makes the overall visuals very interesting to be explored regarding the concept of visual, visual aesthetics and meaning. The pawukon figures also needs to be studied aesthetically regarding to their placement in the Javanese home interior and how to develop them to be better known by the present generation. To explore the aesthetics and development of Pawukon figures, the concept of wangun (aesthetic) derived from the Javanese culture was used. The research findings were interesting because the pawukon figures have the wangun elements and wangun visual arrangenments, wangun placement, and the development of the pawukon figures which is related to the concept of wangun and ora wangun (not aesthetic) or aèng (strange). Pawukon figures were made to remind people to be cautious, and their applications and development into interior design were meant to present the atmosphere of Java.Banyak warisan budaya masa lalu yang kurang dikenal oleh generasi sekarang. Salah satunya adalah angka-angka pawukon dan nilai-nilai estetika mereka. Pawukon adalah prediksi atau perhitungan Jawa berdasarkan mitologi Hindu tentang waktu dan hubungannya dengan prediksi kehidupan manusia berdasarkan wuku mereka (karakteristik waktu). Ada 30 tokoh pawukon, mulai dari tokoh Wuku Sinta hingga tokoh Wuku Watugunung yang disertai gambar dewa masing-masing. Tokoh-tokoh Pawukon dapat ditemukan di buku-buku primbon atau diperbesar dan dipajang di interior rumah-rumah Jawa. Tokoh Pawukon seperti wayang purwa dilengkapi dengan tokoh-tokoh bangunan atau gedhong, tokoh-tokoh senjata, tokoh berbagai jenis pohon, burung dan tokoh-tokoh lain yang masing-masing memiliki tujuan dan makna tertentu. Komposisi dari berbagai elemen membuat keseluruhan visual sangat menarik untuk dieksplorasi mengenai konsep visual, estetika visual dan makna. Tokoh-tokoh pawukon juga perlu dipelajari secara estetis mengenai penempatannya di interior rumah Jawa dan bagaimana mengembangkannya agar lebih dikenal oleh generasi sekarang. Untuk mengeksplorasi estetika dan perkembangan tokoh Pawukon, konsep wangun (estetika) yang berasal dari budaya Jawa digunakan. Temuan penelitian ini menarik karena tokoh pawukon memiliki unsur-unsur wangun dan wangun pengaturan visual, penempatan wangun, dan pengembangan tokoh-tokoh pawukon yang terkait dengan konsep wangun dan ora wangun (bukan estetika) atau aèng (aneh). Sosok-sosok Pawukon dibuat untuk mengingatkan orang agar berhati-hati, dan aplikasi serta pengembangan mereka ke dalam desain interior dimaksudkan untuk menghadirkan suasana Jawa. ]]>
