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LOKALITAS KERAMIK (KESINAMBUNGAN ESTETIKA DAN BUDAYA) Yustana, Prima
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

This study aimed to examine the characteristics of ceramic products produced by artisans in Indonesia that documented in the literature references. The problems that are very interesting to know isÂ whether there is continuity of the history of the development of the existing ceramic Indonesian territory or people also often refer archipelago. Indonesia has a lot of existing areas, each location thereis a life that determines the development of ceramics, various characteristics of ceramic products bothÂ artifacts and decorative and beauty has the sole purpose different. Under these conditions, theÂ sustainability of these developments are worth mentioning as ceramic locality. Analysis of literature isÂ needed to support the argument accuracy in analyzing a problem, various approaches by using areference would be very supportive in this study, this study will be very interesting when it first tried toÂ find out the origin of both the craft center through the historical approach, the accuracy of the dataÂ into better to use as a literature review of relevant literature artifacts through to dissect the artifacts.Multidisciplinary be a force in this literature-based research especially by taking samples directlyÂ image and any information contained in the relevant literature. This research method will use qualitative research methods that are supported by the data the theory according to some experts who haveÂ done research and the information is written in the book. Targeted research is to identify and analyzeÂ scientifically how the actual local forces or the values of existing locality on the archipelago so as toÂ address challenges both nationally and globally about the identity of the ceramic archipelago. ThroughÂ a multidisciplinary approach will provide greater insight from various angles both the beauty, cultureÂ and history so that if this research can produce a reference book, it can be used as a reference forÂ both students and students to strengthen national identity as a means of responding to global challenges as well as guidance on how the importance of locality in each nationâ€™s childrenKeywords: Locality, Ceramics, Aesthetics and Culture.

IKONOGRAFI RELIEF CANDI PENATARAN Afrizal, A.,
Acintya Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

The article titled â€œKajian Ikonografi Relief Candi Penataranâ€ was intended to find the textual andcontextual meaning of relief that was located in the Penataran Temple cluster, especially PendapaTeras II Penataran Temple. With iconography approach would be obtained a deeper and broadermeaning of an art work, although understanding on the contextual and symbolic aspects was alsoneeded. Thus, in the study of iconography there were aspects of diachronic, synchronic, and symbolic. In the study of Sri Tanjung relief, its diachronic aspects related to the history of temple relief asa dialectical motion, idea, or artistic concept based on the progress from beginning to end based onthe time sequence. The synchronic aspect related to the interrelatedness of the various social, cultural, and even mental facts of the society of an age in which art was produced. In the case, the SriTanjung relief would find its context when examined through the search of socio-cultural history atthe time of temple relief making and been analyzed based on the idea of relief presenting. In the studyof Sri Tanjung relief, it was understood that humans who had been willing to think about their Lord,humans who had been willing to obey or being obedient as an expression of their love for the God,and humans who had devotion to their God. If humans had reached a pure level in their heart andmind then that was where humans reached perfection. Perfection in the concept of Java meant humans had merge or â€˜manunggalâ€™ with God. Manunggal meant God was inside humans, in their heart thatcould not be separated. Perfection in terms of its form was because they was a perfect manifestationor image of Godâ€™s image, he reflected Godâ€™s name and attribuuted in complete. The perfection in termsof knowledge was because they had attained the highest level of consciousness, that was, to realizethe unity of their essence with God.Keywords: adaptation, iconography, morality, Sri Tanjung relief

SPIRITUALITAS MISTIS DI BALIK EKSPRESI KESENIAN RAKYAT JARANAN Alkaf, Mukhlas
Acintya Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

Jaranan is a piece of dance tradition belonged to Lencoh village, Selo district, town of Boyolali in Central Java. The existence of this dance tradition kind of thing has a special reason to be researched and itâ€™s attemption to expose a relationship among misticism and a saveral aspects of the living society itself. Through this article this research will strives the object in depth based on a discipline of anthropology in order to examine interrelation amongst a set of value belong to the village society which is supported way of live into them. From this domain a set of meaning simbolized and accompanied their way of live instead on balance values, and commnal values which is formed by their own costums, historicism, and spirit. According to this article mentioned an ethnographic method with strong emphases into several attemption optimalization of balance pattern founded by misticism values itself. In other way, it focused on the existence of jaranan dance tradition as a little tradition arts had relationship with religiousities view an misticism entirely could be studied by a stressing its cultural text can not be separated by anthropological aspects of dance studies. It will means Jaranan as a little dance tradition can be studied in the whole misticism aspects in the Lencoh village itself.Keyword : misticism, Jaranan dance, symbolism, society, ethnography

KARYA TARI GLADEN Rahayu, Nanuk
Acintya Vol. 2 No. 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

The continuity of physical exercises is most required for the dancer who depends on their body as a tool and expression source. Phisycal exercises or known as â€œ injeksi â€œ is expected to make the body smart, responsive and has a performance power or the expression power in every single dance work.â€œInjeksiâ€ as a body exercise can give provisions to the dancer candidate student in order to have a good stamina and be ready to do all kinds of movements. Through these â€œ Injeksi â€œ activities, the choreographer wants to revitaling again the dance concepts which has been created by The late Gendhon Humardani. One of those concepts is simple dance concept which is manifested through the dance workâ€Female group and push forward on active, lively and quick movements, also gentle and glorious movementsâ€. The working of this dance work takes the one of Srikandi figure with all her problems that attitude is placed and reflected in a whole united work â€œGLADHENâ€ Keywords: gladhen, stamina, dancework

PERANCANGAN DESAIN PERMAINAN MATERI PENDIDIKAN ANAK USIA DINI BERBASIS WAYANG BEBER Sutedjo, Agus; Prilosadoso, Basnendar Herry
Acintya Vol. 8 No. 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

The traditional game contains a lot of important elements such as aspects of educational, recreational, or competitive so that children can benefit. The traditional game according to the nature ofthe game can be divided into two, namely a game to play (games) that are competitive and games toplay (play) that are available. This study aims to provide solutions related to design problems oftraditional childrenâ€™s games based material introduction wayang beber in Pacitan and learning media character education for children early age as a way to preserve the traditional art to obtainalternative modification of traditional games. The crisis in various dimensions that many hit Indonesian life that impact on the crisis of morality can be prevented by reviving the character educationthrough the incorporation of traditional games children with puppet figure. Character education isthe transformation of the values of life in oneâ€™s personality to become one in the behavior of thatpersonâ€™s life. Draft experiment will be conducted with the involvement of a team of professors andstudents and practitioners in the field of craftsmen game and the offender (puppeteer) wayang beber.To map data is done through literature studies, interviews, observation, and documentation. Experiments performed with the shape design and game design approach is supported by the psychologicalapproach, educational, social and cultural. The use of SWOT analysis models used when going to theformulation of traditional game design as a medium for the introduction of the figure of wayangbeber and learning material character education to early childhood.Keywords: Wayang beber Pacitan, the character of early childhood education, traditional games,Art Tradition Preservation.

EKSPLORASI GERAK AIR DALAM VISUALISASI FOTOGRAFI STILL LIFE Prasetyo, Andry
Acintya Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

The research on the art work entitled â€œEksplorasi Gerak Air Dalam Visualisasi Fotografi Still Lifeâ€Â (The Exploration of Water Movement in Photography Visualization Still Lifeâ€ aims to create aÂ photography work with the object of water spot that quickly moves and forms a certain pattern thatÂ cannot be caught by eyes, that is then paused so that it can be enjoyed in detail by high speedtechnique. The research uses experimental approach. It is executed through two stages covering analysisÂ and development. The analysis includes identification and studies on the research object includingÂ water movement or water spot and the material forming a certain pattern as an object ofÂ photography. The method of photography creating Still Life covers three stages: exploration,Â planning, and realization. The result shows that firstly, the beauty of the photograph Still Life with theÂ object of water spot can be caught and seen by eyes with high speed technique. Secondly, the imageÂ of water movement that is freezed can produces visual element and aesthetic effect by adding the lightÂ of lamp in the background at the time the photograph is taken.Keywords: photography Still Life, water movement, exploration.

Estetika Tari Gambyong Solo Minulya Karya S. Maridi Sumargono, Sumargono
Acintya Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

This writing will disclose and identify the aesthetics of Gambyong Solominulya dance by applying a special attention to the analysis of danceâ€™s elements and the ralations of one element to the others. The notation patterns of the music dance were described in detail so that it was possible to identify the tempo, laya, rhyme, musical tate and the pattern of kendangan mungkus / mlaku. The result is that we know the choreography of Gambyong Solominulya dance has a harmonious impression. This aesthetic analysis was based on the aesthetic concept of Javanese traditional dancing of Surakarta style, both the technique and its taste. The concept covers pacak, pancat,lulut, luwes, ulat, wiled, rhyme and gendhing which are known as hastha sawanda. This writing at least can make a contribution to the aesthetic analysis on dance of Surakarta style and possibly other style.Keyword : Gambyong, aesthetic, gendhing, dance movement, dramatic design

SIMBOLISME PATUNG MACAN KURUNG JEPARA Adisukma, Wisnu
Acintya Vol. 10 No. 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

The existence of Macan Kurung statue nowadays is very rare. If there is craftsperson or artisan who made it, there was very rare of them who certainly recognize the Macan Kurung statue symbolism. In this research, this statue is considered as artifact that contain of expression of self-representation which is constructed by instinctive culture. This expression was represented by object i.e. art of Macan Kurung statue and the meaning of statue appareance. The searching for meaning was the existence from artist concept, Asmo Sawiran and Singowiryo. This research was conducted to obtain tension qualified information. Therefore, this research used qualitative research method. The result showed the message of anti-colonialism value from this statue. Macan Kurung statue was also as counter culture appearance. This culture was wished for assemble Javanese culture legality as adiluhung and dynamic although foreign culture considered as modern culture entered in Javanese people.Keywords : Jepara, Macan Kurung, Symbolism

KONTRIBUSI KARATE DAN TAI CHI TERHADAP GERAK TARI GAGAH, ALUS DAN PUTRI GAYA SURAKARTA Supriyanto, Mt.
Acintya Vol. 2 No. 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

This research conveys haw far the contribution of Karate and Tai Chi Chuan towards the movement ofÂ reï¬ne, dashing, and female dances is. Karate and Tai Chi are physical exercises given in Olah TubuhÂ (ï¬tness) course in semester llâ€™. One of the body treatments is the use of techniques or subjects in kinds ofsport such as Karate and Tai Chi. Kind of Karate namely self defense art comes from Japan while kind ofÂ Tai Chi namely self defense art comes from China. The diï¬‚erence between them is in case of charactenÂ Karate has hard, strict, and stnong character while Tai Chi has soft, slow, and streaming character. Bothhave training disciplinary that is useful for the development of traditional dance especially in supportingÂ the dance quality increase. As we can see that the physical aspects in body treatment are the same as thoseÂ in dance covering reï¬ne, dashing, and female dances. The aspects include power. endurance. balance.Â ï¬‚exibility, speed, liveliness, coordination, and accuracy. This research is descriptive qualitative namelyÂ the method which collecting data based an observation and interview. The data founded include data andÂ picture. The result of this research gives much contribution in increasing movement awareness andconcentration. dance deepening and enriching dance vocabularies.Key words: tai chi, karate, the movement of reï¬ne and dashing dances, dance of Surakarta style.

TEKNIK SENI LUKIS KLASIK BALI GAYA KAMASAN KARYA I NYOMAN MANDRA Suyasa, I Nyoman; Gozali, Amir
Acintya Vol. 7 No. 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

One of the most popular Bali Klasik (classical Bali) painting arts is the painting of Wayang Kamasan.Â It is called that because it comes from Kamasan village, Klungkung. Formerly, the painting formÂ follows the form of wayang kulit. The figures are painted in thin form of two dimensions with theÂ stories taken from epos Ramayana and Baratayuda, stories from Malat Panji (stories of the 12 -14centuries), the theme of â€œPelelintanganâ€ that forecast about the effect of earthquake in our lives, andÂ also the theme of folk stories such as Men Brayut as a mother who has many children. Object of thisÂ article is the painting arts of Wayang Kamasan as the classical Balinese painting that takes root anddevelops in the local culture. The article stresses on the studies of visual art of Wayang KamasanÂ especially on the design and process of making. The previous library results are used to analyzeÂ technique and the creative process of Wayang Kamasan creating by I Nyoman Mandra. SomeÂ methods of approach are used directly towards the craftsmen and the existing musicians especially IÂ Nyoman Mandra. The article also uses literature studies with the theoretical approach to solve theÂ problems. The aesthetic theory of sanggit says that an art work represents a reproduction form withÂ treatment innovation and a sanggit work with revitalization concept. The work has an interest refersÂ to the conservation form of traditional art by giving the alternative works with reproductiontechnique of treatment innovation. Technically, it experiences the processing reduction through theÂ elements, contour lines, coloring technique, and the field content as well as changes of the storyÂ theme. The art of revitalization vitally and mainly refers to the traditional arts. The work uses strategyÂ of conservation concept by mutrani (nunggak semi). The result of research shows that Mandraâ€™s workÂ has followed the proportion and structure formulated in traditional aesthetics, but he also adds hisÂ own unique citra at the work. His work is characterized by a high delicacy, a lofty delicate value thatÂ is Bali traditional art, WayangKamasan.Keywords: painting arts of Klasik Bali, Kamasanstyle, technique.

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Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum

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Location
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Jawa tengah

INDONESIA

Abstract

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Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum

Contact Email acintya@isi-ska.ac.id

Phone -

Journal Mail Official acintya@isi-ska.ac.id

Editorial Address -

Location Kota surakarta, Jawa tengah INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Albertus Rusputranto Ponco Anggoro, S.Sn., M.Hum

Contact Email
acintya@isi-ska.ac.id

Phone
-

Journal Mail Official
acintya@isi-ska.ac.id

Editorial Address
-

Location
Kota surakarta,

Jawa tengah

INDONESIA