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Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa

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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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Articles 452 Documents

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Kajian Bentuk, Fungsi Dan Makna Patung Loro Blonyo Dengan Pendekatan Estetika Seni Nusantara Prasetyo, Raden Ersnathan Budi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 1 No. 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

According to historical records, the statue of Loro Blonyo has existed since the time of the leadership of Sultan Agung of Mataram Kingdom in 1476. Manifestation of Hinduism was later modified to be more universal, to the statue of the Dewi Sri to bridal pair. At first, Loro Blonyo ownership is closely related to art and culture. Only the gentry who have it. In joglo house, the statue Loro Blonyo is placed at sentong or middle part of the house. The part that is considered as a private area husband and wife. In addition, Loro Blonyo also to be Krobongan complementary. This relates to several miitos that accompanies the presence of the Statue of Loro Blonyo. Loro Blonyo Statue of traditional forms of symbolic display smoothly because it is associated with ritual functions. Once pulled, the statue of Loro Blonyo is still favored by the people, although it functions and how to interpret this statue has been changed. Symbolic display of this statue are parsed in this paper. With the nusantara aesthetic approach of this paper is expected able to dissect the meanings embodied in symbolic statue Loro BlonyoÂ Keywords: Loro Blonyo, symbolic meaning, nusantara aesthetics.

Transformasi Kreatif Fobia Pada Karya Seni Lukis Tryamei, Tito
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 4 No. 2 (2012)
Publisher : Institut Seni Indoensia Surakarta

Creation of art work â€œCreative Transformation of Phobia on Painting Art Workâ€ basically is subjective realization or personal expression. Itâ€™s a very common thing, because for translate feeling and emotion to visual language supported by experience of using media and technique. Generally, phobia caused having experience of fear, shyness and fault that there are pressed into sub conscious. For me, as artist, fear can be a positive influence, it is source of imagination to create visual objects. Iâ€™m use this phenomena fot theme creation of art works, ang I hope it can be treatment or decrease my fear.Â Keywords: creative, fobia, painting

PENGEMBANGAN MODEL CINDERAMATA ETNIK DENGAN MUATAN KEARIFAN LOKAL CANDI SUKUH Indratmo NS, Effy; Gozali, Amir
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 7 No. 2 (2015)
Publisher : Institut Seni Indoensia Surakarta

Saat ini, dunia telah memasuki era industri kreatif. Untuk memenangkan persaingan tak cukup hanya berbekal unik dalam memproduksi sebuah komoditi. Kelokalan harus dieksploitasi secara positif dan Indonesia memiliki keuntungan karena memiliki kekayaan budaya yang bisa diolah. Penelitian ini adalah salah satu bagian dalam mengolah kearifan lokal menjadi sebuah komoditi. Mengolah kearifan lokal Candi Sukuh yang terletak di lereng Gunung Lawu di Karanganyar Jawa Tengah menjadi produk cinderamata.Cinderamata atau souvenir adalah benda yang dibawa pulang oleh wisatawan sebagai kenang-kenangan bagi perjalanannya. Cinderamata merupakan mata pencaharian sebagian masyarakat di sekitar Candi Sukuh. Meskipun demikian penjualan cinderamata dari masyarakat tersebut masih minim dan tidak berkembang. Beberapa penyebabnya adalah ketidakmampuan dari masyarakat untuk memproduksi sendiri, model yang sedikit, dan kualitas yang rendah.Metode yang digunakan adalah pendekatan Research and Development. Dengan metode tersebut, peneliti melakukan serangkaian langkah yaitu tahap studi pendahuluan (studi literatur dan studi lapangan), perencanaan (mengimplementasikan kearifan lokal Candi Sukuh menjadi rancangan bentuk cinderamata), pembangunan (membuat model, mencetak, menuang, dan memproduksi), uji coba kualitas cinderamata dan evaluasi, dan yang terakhir adaalah diseminasi.Â Kata kunci: candi Sukuh, cinderamata etnik, kearifan lokal.Â

GAMBAR WAYANG KARYA SURIPNO DARI PERSPEKTIF RASA DALAM KEBUDAYAAN JAWA Widiyanto, Feri
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 10 No. 1 (2018)
Publisher : Institut Seni Indoensia Surakarta

ABSTRACTÂ Wayang purwa is a Javanese art and culture product. The existence of wayang purwa in Javanese culture is very influential on the life of Javanese society. Variants of wayang that can be found today is one of them is a puppet image made by Suripno. The process of creating Suripno puppet shapes also can not be separated from the experience and knowledge of Suripno as the maker. The method used in this study is an ethnographic method that emphasizes the observation of behavior, interviews and artifacts.Suripno's wayang pictures are an expression of his inward appreciation to the characters, mythology and the wayang story. Viewed from the perspective of taste in the Javanese culture aesthetics Suripno puppet pictures are a non-sensory aesthetic based on sense of appreciation, protection, tranquility, evenness and irony.Â Keywords: Suripno, puppet image, aesthetics, taste, Javanese culture.

Seniman Dalam Perputaran Pasar Seni Rupa Wulandari, Retno
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 4 No. 1 (2012)
Publisher : Institut Seni Indoensia Surakarta

After the booming, Indonesian art of painting come in to the era of the rise and the fall of the art of painting that happen very fast and drastic. Artists are often suddenly shocked and not ready to face a long famine era, because they are not ready and do not supply themselves with knowledge of their own art creating technique and infrastructure that built Indonesian art of painting market. It is only fitting that artists realize and ready to get in to the system that create art of painting market, because they have to behave as stakeholder for their own works, whether they want to or not. The principles â€œArt for Artâ€ and â€œArt for Marketâ€ have to pass and to do in harmony without forcing to sacrifice the idealism in art work creating. Cooperation in all line, including artists, curators, art galleries, collectors, market and press, have to be ran in balance. Although it can not be denied that there are still many artists are â€œlazyâ€ to get in and collaborate with one of those stakeholders. But, when artists start to have contact with market, the collaboration have to do for good cooperation and communication, because, however, market is one of the things that will establish Indonesian art of painting in the future, with focus on works quality and how the artist will survive in the world of art working.Keywords:Â artist, gallery, collector, market

Penciptaan Karya Seni Lukis Kaca Dengan Teknik Layer Isnanta, Satriana Didiek
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 6 No. 1 (2014)
Publisher : Institut Seni Indoensia Surakarta

Traditional glass painting in Indonesia are all just move the painting of medium canvas / cloth into the medium of glass. This makes traditional glass painting closed character of the medium. With this in mind it is ultimately the writer interested to study the creation of works of art glass to approach contemporary art discourse. Is expected to emerge glass paintings that have novelty or is present in the composition of the exploration areas, symbols, and meanings. In addition, this study also explores the creation of techniques, tools and materials work. Not only use metal paint painting techniques as well as traditional glass painting but using layer technique. This layer techniques to maximize the clarity of glass that had not explored in the practice of traditional glass painting.Keywords: Painting glass, experiment, layer technique

STUDI PENCIPTAAN LAMPION ROTAN LORO BLONYO SEBAGAI ELEMEN ESTETIK INTERIOR Syamsiar, S.,; Isnanta, Satriana Didiek
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 9 No. 1 (2017)
Publisher : Institut Seni Indoensia Surakarta

ABSTRAKStudi penciptaan, lampion rotan Loro blonyo sebagai elemen estetik interior ini merupakan penelitian terapan. Peneltian ini dilakukan berdasarkan pada perkembangan aplikasi lampion dan patung loro blonyo yang telah berubah fungsi dari sakral menjadi profan. Lampion dan Patung Loro Blonyo yang pada awalnya digunakan sebagai elemen ritual telah terkomodifikasi menjadi benda bernilai estetis dan ekonomis.Pemilihan materi rotan sebagai medium pembuat lampion dipilih dalam penelitian ini karena karakter lampion yang sangat luwis sehingga mudah dalam proses pembentukkannya, sedangkan pemilihan patung loro blonyo karena salah satu produk budaya Jawa yang sampai sekarang masih dikenal masyarakat.Metode penelitian yang digunakan adalah riset etik dan emik yang menjadi dasar penbuatan produk lampion rotan loro blonyo.Luaran studi penciptaan ini direncanakan dalam bentuk artikel untuk jurnal ilmiah dan prototype lampion rotan loro blonyo dan akan dipamerkan ke public sebagai bentuk pertanggung jawaban atas hasil penelitian yang telah dilakukan.Â Kata kunci: lampion, rotan, loro blonyo, elemen interior.Â Â ABSTRACTStudies creation, wicker lanterns Loroblonyo as interior aesthetic element is an applied research. This study is based on the development of applications Loroblonyo lanterns and sculptures that have changed the function of the sacred into the profane. Lanterns and sculpture Loroblonyo that was originally used as a ritual element has been commodified into valuable objects aesthetically and economically.Selection of rattan material as medium lantern maker chosen in this study because of the character of the lanterns very luwis so easy in the process pembentukkannya, while the statue Loroblonyo election for one of the products of Javanese culture, which is still known to the public.The method used is research ethics and EMIC the basis penbuatan lanterns rattan products Loroblonyo.Outcome studies of this creation is planned in the form of articles for scientific journals and wicker lanterns Loroblonyo prototype and will be exhibited to the public as a form of accountability for the results of research that has been done.Â Keywords: lantern, rattan, Loroblonyo interior elements.

Eksperimentasi Penciptaan Karya Keramik Monumental Dengan Tungku Rekayasa Marwanto, Aries Budi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 1 No. 1 (2009)
Publisher : Institut Seni Indoensia Surakarta

In the process of creating ceramic art, the size scale is a problem. When making large ceramic works, meaning the risk of failure too great. This relates well with the chemical composition of clay and the right mixture. After the drying process is also longer, but the longer the drying period is the longer the duration of the crack or rupture prone. Last is a burning issue that must use a big oven. Larger furnace is also more expensive. Some of these cons-traints which ultimately makes ceramic artists in Indonesia did not dare to experiment making great work. Complex process coupled with the limitations of the furnace equipment (oven) for high-priced, making leaps of the idea of creation of ceramic artists and Indonesia not seprogresif dyna-mic branch other art. Es-pecially in terms of its magnitude. Noted, functional ceramics produced most only 2 meters, which is in Plered West Java, while the ceramic art ever created by Dadang Chris-tanto very monu-mental in his "1000 man land". The fact is captured by the author. Article "Creation Experi-mentation Stove Works Engi-neering Ceramics Using" this merrupakan exploration of the possibility of aspects of the main raw material composition (clay structure and all materials mixed), initial combustion process, and the main thing is burning stove model development, which is inspired from the stove burning bricks. Keywords: Experimentation, Cera-mics, Sculptures Monumental, Furnace Combustion Engineering.

Mengukur Wayang Ukur Karya Ki Sukasman -, Sukirno
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 2 No. 2 (2010)
Publisher : Institut Seni Indoensia Surakarta

wayang Purwa, is one kind of puppet that has distinctive characteristics with humans in it a reflection of disposition. Typology thus, hard to find from a variety of ethnic art that is in the archipelago. Distinctive shape with a depiction of what is known than what is seen, is a distinctive characteristic of said visually unique way. In the development of new wayang come with a variety of concepts and styles pakelirannya, not to mention also the doll child. Since the days of Demak until now always appear wanda wanda new in order perfected. One is the "puppet measure/wayang ukur" Ki Sukasman creation of Jogja. The advantages of measuring Ki Sukasman puppet is no loss of character of child. Although if the observed puppet Sukasman Ki gauge is truly the work of individual expression of Ki Sukasman, but wanda perupaan puppet that characterize each of the characers in the puppet is not left, so when I saw a figure measuring puppet, people can still recognize it. Tjis is discussed in this article.Keywords : puppet measure, Ki sukasman

Visualisasi Banalitas Kejahatan Dalam Seni Lukis Jayanata, Banny
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol. 5 No. 2 (2013)
Publisher : Institut Seni Indoensia Surakarta

According to crimes which happens belong to our lives, crimes always give effects and impacts in our daily life as human being. Despite we have some feelings about crimes as a negative side of life, we should not beingso full-ignorance on it. Crime has its values like some moralities have. Ignore crime only make itmore invisible and undetected, by other name: make it more dangerous. In this project, writer means to bring crime into surface of life, using art for its medium. By art, we can express so many ideas and feelings we have, without being explicit showing or critisyzing. Crimes can be seen in a different way, not always in a dicotomic way: opposite of a goodness and beautiness.Keywords: Crime, banality, violence, art and painting.

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Contact Name
pramesti

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fadesti@gmail.com

Phone
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Journal Mail Official
fadesti@gmail.com

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Kota surakarta,

Jawa tengah

INDONESIA