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INDONESIA
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa
Published by Institut Seni Indonesia Surakarta
ISSN : 20870795     EISSN : 26220652     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
The main focus of this journal is to promote global discussion forums and interdisciplinary exchanges among academics, practitioners and researchers of visual arts and visual culture. Series will encourage practice and research innovation that focuses on visual arts and visual culture, contributing to a better understanding of the highly dynamic development of dynamic theories, practices and discourses of visual art and visual culture.
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Search results for , issue "Vol. 17 No. 2 (2025)" : 10 Documents clear
Perspektif Kritik Ekologi Di Kepulauan Karimunjawa Mengenai Terumbu Karang Dalam Praktik Artistik Seni Lukis Sofyan, Nur Ahmad; Marianto, Martinus Dwi; Dono, Heri
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7204

Abstract

This research is motivated by the increasing degradation of coral reef ecosystems in the Karimunjawa Islands caused by unsustainable tourism practices and low ecological awareness of the community and tourists. In response to these conditions, this study utilizes painting as a medium for ecological criticism that not only conveys aesthetic value, but also contains educational and communicative messages about the marine environmental crisis. The main findings show that coral reef damage, especially in the Menjangan Kecil Island area, has experienced a significant escalation. This was revealed through field observations, interviews with local communities, and visual documentation. The forms of damage identified include coral bleaching, physical damage due to direct interaction with tourists, vandalism, and pollution from domestic waste and tourism. Through an artistic approach, the researcher translates these ecological issues into works of art that are full of symbolism and social criticism. These works act as a reflective medium that arouses public ecological awareness and builds a visual narrative about the importance of marine conservation. The contribution of this research is theoretical and practical. Theoretically, this study expands the discourse of fine art by integrating the perspective of ecological criticism into artistic practice. Practically, the results of this study can be used as an effective visual campaign media in increasing environmental literacy, especially in coastal areas and natural tourism destinations. Thus, painting has proven to have the potential as a strategic means of voicing environmental issues as well as being an alternative approach in marine ecosystem conservation efforts. This study encourages cross-field collaboration between artists, academics, and policy makers to build collective awareness of the importance of coastal environmental sustainability, especially in Karimunjawa and other similar areas in Indonesia.
Integrasi Pengetahuan Tacit Knowledge Perajin Dalam Pengembangan Desain Batik Berbasis AI Kudiya, Komarudin; Atik, Saftiyaningsih Ken; Djatmiko, M. Djalu
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7226

Abstract

In the era of digital transformation, the integration of technology and cultural heritage has become a strategic issue, particularly in the preservation and development of batik design. This study aims to integrate artisans’ tacit knowledge—intuitive, experiential, and skill-based understanding—into AI-based design systems without compromising cultural and aesthetic values. Using a qualitative approach through ethnographic design thinking, the research involves participatory observation, in-depth interviews, and visual analysis of traditional batik motifs. The process of converting tacit knowledge into explicit form is carried out through narrative labeling and semantic mapping of batik’s visual elements, which are then incorporated into generative AI models. The findings indicate that this integration can produce batik designs that retain local authenticity while remaining visually relevant to contemporary contexts. Moreover, the active participation of artisans in the AI design process enhances both the aesthetic validity and social acceptance of the outcomes. This study asserts that AI should not be seen as a replacement for artisans, but rather as a collaborative tool that strengthens their role as creative subjects within the digital batik industry ecosystem.
Dari Galeri Ke Kedai: Komodifikasi Batik Di Keris Café Solo Dan Adaptasi Budaya Visual Dalam Ruang Konsumsi Milenial Ristya Rini, Denik; Hartono, Hartono; Raharjo, Eko
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7367

Abstract

Batik is a traditional Indonesian art that continues to be maintained and developed by the community from time to time. In maintaining the existence of batik art, of course there are many challenges faced by batik traders. To respond to this, batik business actors are required to be creative and innovative in creating strategies in carrying out innovation so that people have the desire to come to their showrooms. Based on observations made in the city of Solo, namely in the Keris Café Solo and Keris Café Solo areas, there is an interesting phenomenon that occurs in the sustainability of the batik business. This is an interesting theme to study about how the commodification of the batik industry in the city of Solo. The approach used in this study is descriptive qualitative and cultural study perspective. This study explores how traditional art is contextualized into contemporary consumption spaces. The findings show that this commodification is not only a strategy, but also a form of cultural expression that is relevant to art education and the involvement of the younger generation in cultural heritage.
Perempuan, Kebaya, Dan Narasi Visual: Studi Penciptaan Karya Kolase Digital Bergaya Lowbrow Art Faisal Akbar
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7425

Abstract

This study explores the process of creating digital collage artworks themed around women in kebaya in the modern era, focusing on the transformation of kebaya as a symbol of identity, empowerment, and resistance among Indonesian women. Once a traditional garment, the kebaya has undergone a shift in function, now serving as a part of contemporary lifestyle expression. This research responds to that phenomenon through a practice-based art approach, adopting Alma M. Hawkins' three-phase creative method: exploration, improvisation, and formation. The exploration phase involved investigating Javanese and Encim kebaya as representations of two distinct yet equally powerful cultural identities. The improvisation phase developed visual sketches and experimented with digital collage techniques using graphic design software. The formation phase synthesized all visual elements into cohesive, communicative compositions. The result is two main works titled Motherland in Kebaya: Java Vibes and Motherland in Kebaya: Encim Vibes, each portraying the identity of Javanese women and Chinese-Betawi Peranakan women through figurative visual approaches and lowbrow art style. The first work presents kebaya as a symbol of cultural resistance against colonialism, while the second emphasizes the Encim kebaya as a symbol of hybrid cultural identity that continues to thrive amid globalization. The digital collage medium enables the fusion of traditional and contemporary elements into a unified visual narrative. This study demonstrates that visual art can serve as a reflective medium to depict the dynamics of cultural identity and opens new space for kebaya as a flexible and relevant cultural artifact. Thus, the artworks produced carry not only aesthetic value but also social critique and cultural meaning.
Pengaplikasian Motif Busana Dayak Ngaju Menjadi Busana Ready To Wear Utami, Linda; Sunarmi, Sunarmi; Purnomo, Arif Jati; Nur , Afifah; Khoirunisa , Nabila
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7706

Abstract

Indonesia is rich in art and culture, one of which is the Dayak Ngaju tribe in Central Kalimantan with their traditional clothing full of symbolism, such as the Enggang and Kalalawit motifs. This research aims to transform Dayak Ngaju traditional clothing into ready-to-wear clothing for cultural preservation and promotion. Using the Design Thinking method, the process begins with understanding the philosophy of traditional attire (Empathize), identifying the needs of young people for comfortable and stylish traditional attire (Define), then conceptualizing ideas for simplifying motifs on modern materials using painting techniques (Ideate), and finally creating prototypes (Prototype). Testing results showed positive responses to the design, which blends modernity with authenticity, deemed attractive, boosting confidence, and potentially becoming a trend. However, constructive feedback was received regarding material comfort (polyester that feels hot), motif proportions, garment cuts (sleeves and collars), and the durability of the painting after washing. Further development is recommended in terms of size variations and formal touches. With this approach, it is hoped that the Dayak Ngaju adaptation clothing can preserve culture dynamically, promote innovation, empower the community, and open economic opportunities.
Kajian Visual Dan Filosofis Waruga Bodas Dalam Konteks Sosio-Kultural Desa Pusakanagara, Baregbeg Ciamis Setiadi Putra, Edi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7774

Abstract

The Waruga Bodas parade is a cultural expression of the people of Pusakanagara Village, Baregbeg District, Ciamis Regency, depicting the spiritual journey of legendary figures from the Galuh Kingdom, such as King Ciung Wanara and King Hariang Banga. This parade not only emphasizes visual beauty but also emphasizes the philosophy of life regarding purity, resilience, and human identity. However, the design of the figures and attributes of Waruga Bodas are not yet fully aligned with the underlying philosophical meaning. This study aims to examine the relationship between the visual form and philosophical meaning of Waruga Bodas through a Sundanese aesthetic approach and the socio-historical context of the Galuh community. The methods used include visual analysis of visual elements and symbolism based on social media documentation and local publications. The results demonstrate the importance of updating the design to better reflect Sundanese philosophical values ​​and aesthetics that are contextual to the culture of Pusakanagara Village.
p5.js Sebagai Medium Inklusif Dalam Praktik Seni Generatif Pada Pendidikan Seni Ratnasari, Devi; Welayana, Anitalia Stefany; Firmansyah, Arya
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7783

Abstract

The rapid development of digital technology has opened new opportunities in both art practice and education, one of which is through code-based generative art. However, for art students, programming is often perceived as a barrier due to its complexity and lack of beginner-friendly accessibility. This study aims to explore p5.js as an inclusive medium in generative art practice, focusing on the creation of algorithm-based visual works. The research employs a practice-based research approach, where the creation process is carried out through a series of algorithmic experiments involving iteration, branching, transformation, randomness, and mathematical functions. Each experiment produces visual outputs that are documented and reflectively analyzed to understand the relationship between algorithmic structures and the resulting aesthetic outcomes. The findings show that p5.js, with its simple, web-based, and easily accessible interface, is effective as an inclusive medium for learning generative art. This process not only produces representative artworks but also demonstrates how algorithms can function as a visual language that bridges art and technology within the context of art education.
Persepsi Visual dan Konstruksi Makna Spiritualitas pada Prasasti Telaga Batu: Analisis Arnheimian Terhadap Simbol Air, Batu, dan Ular Yulius, Yosef; Suryanegara, Erwan; Patriansah, Mukhsin; Amalia, Shalyna Nadya; Ubaidillah, Muhammad
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7786

Abstract

This study aims to understand how the visual elements of the Telaga Batu Inscription shape visual perception and spiritual meaning within the cultural context of the Sriwijaya Kingdom. The research applies Rudolf Arnheim’s visual perception theory, which defines seeing as an active mental process that organizes balance, direction, and structure to generate meaning. The method used is descriptive qualitative with visual analysis of three main elements of the inscription, namely stone, water, and serpent. Data were collected through literature review and visual documentation, then analyzed to identify principles of balance, rhythm, and unity that construct spiritual experience within the ritual of oath-taking. The results show that the Telaga Batu Inscription was designed with strong visual awareness to evoke a sense of sanctity and royal authority. The stone symbolizes stability and eternity, water functions as a medium of purification, and the seven-headed serpent represents cosmic protection. These elements together form a spiritual visual communication system that reinforces the values of loyalty and power in Sriwijaya. The findings demonstrate that visual perception theory can be applied to interpret ancient artifacts as visual communication designs carrying profound spiritual and cultural values.
Estetika Karya Seni Lukis Faiz Zaki Abdillah: Perspektif Teori Monroe C. Beardsley Dardiri, Thoriq Bidar; Aditya Eko Adrianto; I Nyoman Suyasa; Syamsiar
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7798

Abstract

This study analyzes the paintings of Faiz Zaki Abdillah using a descriptive qualitative approach, with Monroe C. Beardsley's aesthetic theory as its primary foundation. The method employed is analytical description, integrating visual analysis and interpretation of three primary works: Life (2022), Morp Transition (2023), and Amartha (2025). The findings indicate that the creative process behind Faiz Zaki Abdillah's paintings encompasses idea conception, concept development, technique and style, and the stages of creation. An aesthetic analysis based on the principles of unity, complexity, and intensity reveals that Faiz's works represent a synthesis of empirical experience and ecological spirituality, shaped by his closeness to nature, animals, and the agricultural world. Through detailed, meticulous, and symbolic visual structures, the ecological spiritual values in his works are organically realized, creating a contemplative and transcendental aesthetic experience. An examination of the creative background further reveals that the aesthetics of Faiz's works are a comprehensive crystallization of his creative process, where form and meaning, technique and spirituality, merge into a coherent, reflective, and aesthetically rich visual narrative.
Melacak Jejak Makna : Interpretasi Topeng Malangan Dalam Perspektif Hermeneutika Paul Ricoeur Iswandi, Heri; Sarwanto, Sarwanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 17 No. 2 (2025)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/brikolase.v17i2.7799

Abstract

This study aims to understand the deeper meaning and uncover the important values ​​contained in the Malangan Mask. This study uses Paul Ricoeur's hermeneutic analysis. The Malangan Mask is not just part of a performance; it also helps express the culture and identity of the Malang people. However, with today's developments, its meaning has become less clear because the role of masks has changed and art is often used for business purposes. By using Ricoeur's method, which looks at how meaning emerges from the three steps of prefiguration, configuration, and refiguration, we can better understand the symbols, appearances, and stories that are part of the mask. This study uses qualitative methods, observing the visual form of the mask, how it is used in performances, and speaking with local artists and cultural experts. The findings of this study indicate that the Malangan Mask explains the relationship between stories and real life, and contains messages about living a balanced life, having wisdom, and Javanese beliefs. This perspective on masks shows that masks are not just beautiful objects, but a living part of culture that can change and be understood differently depending on the context.

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