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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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
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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.
Aplikasi Desain Motif Tenun Songket Bali
Nyoman Dewi Pebryani;
Tjok Istri Ratna, C.S.;
Putu Manik Prihatini
Mudra Jurnal Seni Budaya Vol 37 No 3 (2022)
Publisher : Institut Seni Indonesia Denpasar
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DOI: 10.31091/mudra.v37i3.2025
Songket weaving is an Indonesian cultural heritage that has been passed down from generation to generation. Every region in Indonesia has its own Songket weaving, depending on the region’s characteristics. Bali island is one well-known region in Indonesia for Songket weaving. In the past, Songket weaving in Bali was only made for caste members and the royal family. At that time, only people in the royal family were able to make Songket weaving. The songket weaving process in Bali was mainly performed using a weaving tool called cagcag. The songket weaving pattern (motif) was made using a sungkit technique—interlace between threads to create a motif. The making of the songket motif begins with arranging the thread according to the desired motif before the weaving process. Information about the motif was spread in Guun. In general, songket weaving in Bali island has tens to hundreds of Guun. The skills to break the desired motif into the Guun is quite a complicated process. Therefore, not many weavers master the process of making songket motifs. Most of the motif makers continue or imitate existing motifs. Currently, a motif maker who can make a motif from scratch is rare. In order to help break motifs into Guun, an in-depth understanding of the calculation of making songket motifs is required. Then, this understanding is transformed into an application that can help motif makers to visualize motifs into Guum. The design application will provide multiple benefits for the motif makers and serve as an effort of culture preservation by introducing a design application to make songket motifs for younger generations. Therefore, they are expected to contribute to making songket weaving motifs.