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Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya

ornamen
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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 7 Documents

Search results for , issue "Vol 11, No 2 (2014)" : 7 Documents clear

MENYINGKAP LATENSI EKSOTIK CANDI SUKUH MELALUI MEDIA FOTOGRAFI Muji Soewasta
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

The presence of photographic technology is, of course, born to hunt objectivity because its capability topicture a visual reality with high precision level. In addition, photography as a very useful image emission inrepresenting a visual reality. Further, photography is not only a representation of a visual object it reproduces,but it also contains a message. It is said that photography is also message shaped by emission resourceand transmission channel. Accordingly, it occupies a position in which a photography technology is expectedto be able to reveal shadow of mystery shrouded the presence of Sukuh Temple.Keywords: high precision, visual reality, covered mysteryÂ

GAJAH SEBAGAI SUMBER IDE PENCIPTAAN BENTUK RANCAKAN GAMELAN GADHON BERBILAH PAMOR Sigit Pamungkas
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Elephants are known as the most large-sized animals among the animals that live on land. With its large, forhumans are considered capable of representing the meaning of grandeur. This is evidenced by the many worksinspired by the elephant. In the creation of the artwork, the authors attempt stylized elephant shape in the form ofa set of rancakan gamelan gadhon, with the intention of adding value majesty of the gamelan instruments.Rancakan gamelan is part of the buffer strip, as well as a resonance tube that allows the blades gamelan aregenerally made of metal can cause a melodious voice. Rancakan form of gamelan gadhon the author createdcomes from the shape of elephants, with the intention to increase the strength of philosophical and aestheticquality is visually distinct from the common gamelan in the palace and in the community . Gamelan gadhon a termof simplifying the number of devices gamelan instruments with a practical purpose in mobility and performancegoals are simple tone composition. Generally gamelan gadhon meant to be played softly as accompanist anevent. Gamelan gadhon generally have five ricikan the form of gender, slenthem, kendang, gambang, and rebab.However, the author makes a set of gamelan gadhon consisting of: kendang ciblon, gender barung, gambang,slenthem, rebab, demung, saron, peking, and gongs kemodhong. It was intended for gamelan gadhon made tobe played more varied in character as well as working on the musical sound . Gamelan blades generally made ofiron, brass, or bronze . Each of the blade material will form its own tone shades. In this case, the authorsconducted an experiment to make blades gamelan using the prestige. Commonly found on the prestige of keris,spears, swords, blades and other traditional weapons. The prestige of a blend of iron and nickel through theprocess of forging and annealed complex. Making blades gamelan with prestige materials intended to add uniquevalue, so that a set of gamelan gadhon made into a unified work of creative and innovative, full of philosophicaland aesthetic values visually.Keywords: elephant, rancakan, gamelan, pamor

PANDE MAS DAN PERKEMBANGAN GAYA SENI RELIEF PADA PERHIASAN MASA KLASIK AKHIR DI JAWA Ari Supriyanto
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Jewelry in this study, is one of the ancient Javanese artefacts from late classical period, made by an expertin the field of jewelry which is called pande mas. Gold jewelry from late classical period in Java can be foundin the National Museum in Jakarta. The purpose of this research paper is to know about the development ofgold jewelry, especially jewelry that has a relief of the classical period late in Java, and know the variousfactors behind them are related to one another. In connection with the various things that have to be revealedbehind the visual jewelry appropriately and correctly, then the writing of this research is a qualitative study,using a multidisciplinary approach.Keywords: Pande mas, jewelry in Java, late classical period.

KAJIAN VISUAL BATIK HOKOKAI PEKALONGAN MOTIF LERENG, BUNGA DAN KUPU Sutriyanto Sutriyanto; Veronika Kristanti PL
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Indonesia as the batik center of the world, where the one of them is Pekalongan city in the north coast of thejava island that famed with batik product. Furthermore, Pekalongan is also famed with the openess of influencefrom outside and able to catch out the sesitiveness of social change which embodied in an batik artisticwhether certain patterns and motifs, especially during the Japanese occupation. Japanese nation is a nationthat known as a nation which uphold the arts and culture by nature, where it is visible in Hokokai batik motifthat growing in Pekalongan. Lereng, Bunga, dan Kupu-kupu motifs are reflection from the nature of thatcountry. The emergence of that motif is clearly has a logical and philosophical reasons that those existencedominate the Hokokai batik motif. Besides having a high level of complexity, the Hokokai batik motif alsohas the characteristic of very bright colouration which turn that motif unique. Nowadays, that motif become amainstay of Pekalongan city as high class batik that has own certain market.Keywords: Batik, Motif, Pekalongan

SELENDANG LURIK: LAMBANG KEPERKASAAN PEREMPUAN-PEREMPUAN DUSUN NITEN, KELURAHAN POGUNG, KECAMATAN CAWAS, KLATEN (SEBUAH KAJIAN ESTETIKA) Damar Tri Afrianto
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Lurik scarves manifests in a functional artifacts that have values , ideas, and spirit for the Java communityagriculture. In Niten hamlet, village Pogung, sub Cawas, Klaten district, was found five craftsmen who producekinds of lurik scarves. This striped shawl users generally are women and function as equipment of their work,such as carrying herbs, lifting firewood, and bringing lunch to go to the field . Regardless of the functionalproperties, this study aims to find meaning and values contained in striated shawl . Discussion of lurik, thereare three aspects that characterize the embodiment of a lurik: pattern, style and meaning. Pattern, style andmeaning is represented in the composition of coherent lines. Through pattern, vertical lines and horizontallines, read a notion and meaning contained in lurik shawl . This study uses the concept of aesthetic JakobSumardjo use of â€œ a pattern of three â€œ to analyze the form of lurik . Study concept of aesthetics of the lineswhich manifests in the form of merging shawl striated vertical and horizontal lines. This shows the meaning ofefforts to balance the heavenly (vertical) and temporal (horizontal). Vertical and horizontal harmony producestranscendent paradox. Harmonization between vertical lines and horizontal in striated shawl implied a desire,purpose, hope, hard work, especially women in the village Pogung Niten to achieve a perfect life.Keywords : scarves, lurik, aesthetics

KERIS MAGIC BOOK SEBAGAI PENGENALAN KERIS KEPADA REMAJA Asmoro Nurhadi Panindias
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Kris as a weapon is a symbol of traditional aesthetic, which has a ceremonial significance and superiormetallurgical technology, in addition to valuable antiques. Kris is a masterpiece of cultural heritage of Indonesiaare highly valued and able to amaze the world community. Keris recognized as World Heritage and awardedthe Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO, which is a testament to theworldwide recognition of the kris as a masterpiece of Indonesian heritage. Books about the Kris with a targetaudience of teenagers has not been published. Though the nationâ€™s youth as the next generation, is expectedto be able to preserve and continue the existence of the kris as part of the cultural heritage of the archipelago.â€œKeris Magic Bookâ€ is a combination of conventional books with augmented reality technology. Narrative,illustration and paper as part of a conventional book will be added to the virtual object, when the book iscombined with augmented reality technology. This book will reduce the lack of books in digital technologyand so is its opposite. Kris will be shown with illustrations, 3D objects, sound and movie. One of the advantagesâ€œKeris Magic Bookâ€ is a case to solve communication and information between the presence of kris with aninterest in youth to learn it. Bring up a graphic design media in the form of a book with augmented realityapplication that is able to appreciate about the kris, not only physically but also in the philosophy of eachsymbol in the kris.Keywords: Kris, augmented reality, magic book.

KERIS KAMARDIKAN Kuntadi Wasi Darmojo
Ornamen Vol 11, No 2 (2014)
Publisher : Institut Seni Indonesia Surakarta

Kamardikan keris, historically is a continuation of previous tangguh keris and part of the ancient relics in theform of material culture. As a material culture, Kamardikan keris has the form (dhapur), technique andfunction with its own characteristics and uniqueness. Kamardikan keris has a variety of dhapur among others:dhapur tangguh (classic-conventional) and dhapur creations (contemporary). Creativity arises due to internalfactors (personal) of self Kamardikan kris artists, and externally influenced by the surrounding environment.Individually, they act as creators and communicators who then receive a response from community supporters.As the indicator support is the emergence of a variety of organizations and educational institutions kerislovers of art which is the agent of the keris activity. Keris has an important position in the cultural traditions ofthe people of Java, but as a sign and symbol (meaning), which in the past was considered as the legitimateroyal power, now turned into a branding of existence and social status of person.Keywords: keris, kamardikan, creativity

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