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INDONESIA
Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya
Published by Institut Seni Indonesia Surakarta
ISSN : 16937724     EISSN : 2685614X     DOI : 10.33153
Core Subject : Humanities, Art,
Arts Humanities
Art craft journal contains scientific articles on the results of research on the art of craft and the creation of craft art within the scope of Indonesian culture. The substance presented is in the form of a mission to preserve the cultural values of the archipelago as well as the development of concepts and aesthetics, along with the development of the complexity and dynamics of people's lives. The critical approach method in an interdisciplinary scientific perspective can open the widest possible opportunity for scholars, researchers, and stakeholders to work together in advancing a dignified national culture in the midst of global competition. ORNAMENTS art craft journals are published twice a year.
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Articles 5 Documents
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Search results for , issue "Vol 10, No 1 (2013)" : 5 Documents clear
Visual Tradisi Dalam Karya Seni Lukis Kontemporer Sebagai Wujud Artistik Pengaruh Sosial Budaya Willy Himawan
Ornamen Vol 10, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1992.291 KB) | DOI: 10.33153/ornamen.v10i1.1057

Abstract

Visualization of tradition often appears in contemporaryworks in the form of signs or markers that link it to the visualizationof patterns in the tradition of works such as batik , wayangpainting , dance and so on. Due to the diversity of media andtype of artwork on the development of contemporary art , the dataprocessing of the contemporary works then leads to the readingof signs (visual) cultural given by the artwork , which is accompaniedby the development of accompanying cultural, the term ofcultural studies moved into visual culture (visual culture).The works are classified in several classes of work thattakes a visual tradition as a theme (context) , as follows ; 1. Thegroup 's work that simply displaying artifacts , visualization of traditionwithout making changes to the shape of the initial representation. 2. The Group's work that deforming the shape of the initialrepresentation visualization tradition.Research Focus On Artists Haryadi Suadi and I Wayan SudiartaIn Indonesia , the value of the tradition is not completelyexceeded (turned off) by modern values, but rather becomes acoexistent values. Research sharpened on the selection of twoartists whose each represent 2 classes of work in order to providea comprehensive assumptions initial review of the case ofthe emergence visualization of tradition in the works of contemporaryart as a socio-cultural artistic discourse. In the group withno change, selected artist I Wayan Sudiarta, Sudiarta did makechanges in his works that are visually different from the worksof Balinese traditional painting and derivatives. But however, it'sproviding a strong trace of visual on the composition of traditionpaintings like dancers and wayang tradition painting.In the change of tradition's group, selected artists HaryadiSuadi, because his works show changes almost in opposite directionswith Sudiarta, so that such elements are produced to bevery free, but still reminiscent of the elements of such a tradition .(Keywords : visual studies, visual deformation traditio , artcontext) 
Lurik Dan Fungsinya Di Masa Lalu Sri Wuryani
Ornamen Vol 10, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (967.251 KB) | DOI: 10.33153/ornamen.v10i1.1059

Abstract

Lurik is one of the traditional textiles ever developed in severalregions in Indonesia, and one of them is in Surakarta. Thereis an opinion that the wordlurik have the same root with the word lorek in Javanese, meaning lines, and also the word lirik-lirikmeaning striped by small lines.The syllable rik means a line oran imprint of a shallow trench. Javanese people are familiar withthe word mageri which means protecting from things that areevil and invisible . Visually lurik can be divided into two, namelylurik ciut and lurik wiyar In terms of pattern lurik is divided into3, pakan malang, lajuran and cacahan. Lurik in its times not justas a mere body cover, but it has a deeper meaning, a symbolicmeaning concerning with the culture, beliefs and expectations ofthe Javanese people, especially in Surakarta. Kain lurik worn bythe Javanese in ceremonies related to the human life cycle, frombirth to death. Lurik is used in ceremonies associated with beliefsuch as labuhan, adang ceremony etc. But along with the timesthat influence the worldview and human lifestyle, lurik is gettingabandoned . Even if there are still people who use and preserveit it’s only a small number , or already have another function justas for bags, table cloth, chair pads, so its deeper meaning hasbeen neglected.Keywords: Lurik, Fungtion, Symbolic
Rumah Tradisional Jawa Dalam Sudut Pandang Religi Joko Budiwiyanto
Ornamen Vol 10, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1178.186 KB) | DOI: 10.33153/ornamen.v10i1.1047

Abstract

This article is the result of research on traditional Javanesehouse in a religious viewpoint.The purpose of the study wouldlike to know the value of religious construction that is built intraditional Javanese house layout.To achieve the goal be takenthrough research with qualitative research methods, data sourcesused are literature, artifacts, and informants.The analysis modelis an interactive model of analysis.The results found that the Javanesecommunity in building his house, through some kind ofconsideration,such as site selection, building materials, home establishmenttime, ceremony to build a house, division of space,direction toward, until the determination of the type of ornamentsthat have a symbolic meaning.The process of ceremony is in-1 Joko Budiwiyanto, S.Sn.,M.A. Staf Pengajar Prodi Desain Interior Jurusan DesainFSRD ISI Surakarta
Aplikasi Motif Batik Tradisional Surakarta Pada Produk Keramik Dinding Dengan Teknik Glasir Prima Yustana; Nofrijon Sofyan; Veronika Kristanti Putri Laksmi
Ornamen Vol 10, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (3023.911 KB) | DOI: 10.33153/ornamen.v10i1.1049

Abstract

This research was aimed at creating a new prototype ofdecorative wall ceramic characterized by local cultural character.The proposed work was motivated by the traditional batik characterizedby local style of Surakarta on the decorative wall ceramicby using glaze coloring techniques. An experimental study withseveral stages of material testing, firing, and glazing temperaturesas well as coloring motif with glaze techniques has beenperformed. The successful application of the traditional batik onthe ceramic wall with a glaze technique is expected to contributeprimarily to the creative industries. In addition, this decorativewall ceramic products would be able to support the opportunitiesto create new jobs based on the creative economy, in line withthe government program in addressing the unemployment. Theresulting prototype of decorative ceramic wall is also expected toprovide a solution to overcome local art and cultural identity degradationphenomena. Finally, in particular, the results of this studyare expected to (1) generate the description and identification ofthe problems arising in the process of decorative wall ceramicmaking by using glaze technique, (2) provide a new alternativeproducts, and (3) support the era of the creative industry with thecreation of new products that carry local cultural character andas a solution to the creation of a new field for the unemployment.Keyword: Wall Ceramic, Glazing Teqnique, Traditional Batik Surakarta
Pendekatan Pemecahan Desain Interior Rumah Tinggal Sunarmi Sunarmi
Ornamen Vol 10, No 1 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (234.931 KB) | DOI: 10.33153/ornamen.v10i1.1053

Abstract

This paper is a review of literature that discusses the resultsof " Solving Approach Interior Design House Live " is a residentialinterior container as a private place for people to shelter thatcan reveal or reflect the attitudes and personal life as well aswell as a place residents formed human personality . Personalitycan be defined as an attitude or human responses to the eventsaround him . The function is to meet the physical and psychologicalneeds of human existence as a form of individual and social. Level needs of the residents affected by lifestyle or profession ,desires , hobbies , gender , age , economic . Interior design elementscomprising : Activities , Needs Space and Layout Spaces, Elements Shaping Space , Space Filling / Furniture , Conditioning, and Lay Out . Residential interior design approach include :Human Behavior , Lifestyle Market Orientation , and , PhilosophyShape . Approach to human behavior is is planning to make thebehavior as a factor to be considered in planning related to thesubject of interior design to formulate jenir space and form elements. Lifestyle approach is to make the planning profession asa basis for formulating the type and shape of the container interiorelements for professional development activities . Interior designis more concentrated on determining the type of space and shapespace as a place of everyday life and professional development. Solving approach to a market-oriented design is the planningthat led to the completion of design and attention to general usersgrouped by gender , age , class / economic group , class socialclass / status to determine the shape of the interior . Approachis a form of planning design philosophy that makes philosophya form of expressing the meaning behind a real visualized form .Keywords : Interior , approach , residence , lifestyle

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