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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.

Arjuna Subject : -

Articles 235 Documents

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Persepsi Visual Wisatawan Asing Pada Interior Via-Via Cafe, Janur Cafe Dan K-Meal's Resto Di Jalan Prawirotaman Dan Tirtodipuran Yogyakarta Martino Dwi Nugroho
Ornamen Vol 7, No 2 (2010)
Publisher : Institut Seni Indonesia Surakarta

Visual perception is one thing that is important for interior designers.The ability of how to view and respond to an order to be a learningdesign in achieving the satisfaction and development of artistic insight.Perception was present and spoke not be separated from an object ofperception, in this study selected objects based on purposive samplingof Via-Via Cafe, Janur Cafe, and K-Meal's restaurant in Jalan Prawirotamanand Tirtodipuran Yogyakarta with variable subjects (foreign tourists)were randomly. This research is descriptive and qualitative methodsof data analysis done by the field data acquisition process is furtl1ercommunicated in the form of descriptive writing and conclusions. Thisstudy aimed to answer the formulation of the problem, namely the visualperception of foreign tourists in the interior of Via-Via Cafe, CafeJanur. and K-Meal's Resto Yogyakarta with variable lighting, colors andshapes. Visual perception of foreign tourists in the interior of Via-ViaCafe is a bright, warm, relaxed I casual, lively. comfortable, inviting,attractive, simple, artistic, natural, fun, 11ommy. modern, universal atmosphere,style living room, family atmosphere, functional. spacious,sweet I beautiful, alive, creative, unique, traditional I ethnic, tranquil,tropical, and life. While tl1e perception on the interior ligl1ting Janur Cafeis enough (not too bright or dark) and dark, monotonous, warm. romantic,relaxed, flat, inviting, interesting, life, close I warm, a little crowded,ethnic, natural, universal I touristic, l1ommy. fun, convenient, simple,and creative. Visual perception in tl1e interior of K-Meal's restaurantis near I warm. comfortable, lively. relaxed, simple, elegant, attractive,inviting, fit, functional, does not fit, creative, and aesthetically. Can beseen that foreign respondents prefer something with a touch of tropicalnatural concept, simple but comfortable and warm, the combination oflocal I traditional and western I cosmopolitan, open space (open terraceI Verandah) with an open kitchen.Keywords: visual perception, interior, cafes and restaurants.

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

Nilai-Nilai Estetika Dalam Interior Arsitektur Tri Prasetya Utomo
Ornamen Vol 3, No 1 (2006)
Publisher : Institut Seni Indonesia Surakarta

Aesthetic experience just is experience of a workâ€™s aesthetic properties and formal relations. But this leads into problems concerning the attribution of aesthetic properties and whether we detect them or they are merely projected. Carroll suggests that the mere fact that we disagree about the attribution of aesthetic properties gives us at least some minimal reason to presume that aesthetic properties are objective. Our response to art is unique and not precisely intellectual, beauty and perfection that we find in works of art do not consist of concepts but sense impressions. Some aesthetic effects available in visual arts and architecture interior include tonal variation, juxtaposition, repetition, field effects, symmetry/asymmetry, perceived mass, subliminal structure, linear dynamics, tension and repose, pattern, contrast, perspective, 3 dimensionality, movement, rhythm, unity and proportion.key word : aesthetic, architecture, interior

Eksotisme Dari Loro Blonyo Sutriyanto Sutriyanto
Ornamen Vol 7, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Loro blonyo are wooden sculptures that resemble a pair ofÂ Â Â wedÂding using Java customary fashion, sitting cross-legged position. Often placed beside the statue of loro blonyo right and left door senthong is a room used for meditation (meditation) or pray to God Almighty Loro blonyo presence in our lives was a symbol of hope that bring prosperity fertile life. In the development of this sculpture not only be made by usÂÂ ing media of wood but use ceramic media, gibsum and so forth. Even now its experience deformatif (witty) which has a function that is shifted from its original function. Whatever the media and shape loro blonyo has an element of high-value fine art.Â Keyword: loro blonyo, sculpture, symbol, Jawa, art

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

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

Melukis Dengan Cahaya Melalui Kamera Lubang Jarum (KLJ) Andry Prasetya
Ornamen Vol 2, No 1 (2005)
Publisher : Institut Seni Indonesia Surakarta

Â From existing simple materials around us, we can get some discourse aspect in photography growth that happened continuesl. The technological growth specially photography represent the innovation from previous invention. Principal development work the photography â€œpaint with the lightâ€ and,â€.. ..the light Â makeÂ a move to through the straight line and an obyect will bounce the ray to all angle â€œ, ProgressivÃ«ly find its existence as according to epoch growth. To the last created by a sophisticated camera which many we meet in this time, principal its activity as according to camera pinhole, what in Indonesia can be called with the Camera of Needle Hole (KLJ) started from 25 century ago.Â The Process of create the picture started from determination of object field continued with the irradiating and ending with amazing process, if we see the process Â of image appearance from laminated paper of emulsion illuminated to enrich the in doing photographic activities.keyword :the light, camera, needle hole, photographic activities

Gunung Merapi Dalam Budaya Jawa Sumadi Sumadi
Ornamen Vol 2, No 1 (2004)
Publisher : Institut Seni Indonesia Surakarta

For Javanese, Merapi Mountain isÂ believed asÂ the place of their anchestor spirit, gods, and spirit. It is also believed as the place of ghost or spirit such as in Jogyakarta Palace. Merapi Mountain is also believed as the strong character and strong soul, as the anger and generous god. The myth of holly agreement between the pioneer of Mataram dinasty and Sapu Jagad (Merapi Master) andÂ RoroÂ Kidul (The Queen of South Sea). The myth raises a concept of â€œsedulur papa lima pancerâ€, itâ€™s about the myth of geographic (The Palace, Merapi MounÂtain and Sout Sea) and the location of the spirit of the death person. Merapi Mountain and its concept often been used as the inspiration of monumental creation in Javanese art and culture.Keyword : gunungan, mitos, merapiÂ

Bias Gender Dalam Kartun Editorial Di Media Cetak Basnendar Herry Prilosadoso
Ornamen Vol 4, No 2 (2007)
Publisher : Institut Seni Indonesia Surakarta

People as human being separated in two which are male and female, the difference called gender. Those differentiation base from biological function especially reproduction. Derivation from the natural aspect of male and female is bearing the gender concept that was effect from social construction. Once form of social construction that has relation with the differentiation gender peeping out gender term.Study cartoon and caricature means to look out on visual sign and word. This study use critical study with aims to unfold the meaning of sign or symbol. Unfolding that things isnâ€™t easy because there are a lot of problem expanding in society especially social and politic problem. Other, the cartoon and caricature element are complex. Itâ€™s consists from many science, for example fine arts, art, linguistic, etc.Cartoon is a picture that represent symbolic sign, consist insinuate, joke or humour. On publication cartoon attend in periodic time, almost of them focus with political and public problem. Rarely social problem became a target, example the society behaviour, gym or someone personality.Keyword: Gender, Cartoon Editorial, MetaphorÂ

VARIOUS DECORATIVE OF KALA AS AN ORNAMENTAL ART WORKS Sumadi Sumadi
Ornamen Vol 8, No 1 (2011)
Publisher : Institut Seni Indonesia Surakarta

Various kind of Kala is one of temple ornament, that are patterned face of the giant's head Kala at every Hindu Indonesia Java temple entrances. Kalaâ€™s ornament is come from India named Kirtimukha. It has beautiful form, strange, unique and mythic, it also is noted by many parties. Its presence raises contradiction. Giant Kirtimukha was born out of anger of Siva, which raised a fire of anger from between her eyebrows. Kirtimukha that has very big power called Mahakala, with grim face, grinning mouth and sharp fang, killer and cannibal, was assigned to keep the palace/temple. Giant Kirtimukha or Mahakala is ornament of palace doors in India deva and Java temple, and then spreads to the East Java named Banaspati, to Bali named Boma, the mask, Betara Kala, Barong, Gupala, Bhutakala and others. Frequently, the word Kala is also associated with time and the sun. Each Kala in separated region has its own form and function. Heaven Palace buildings architect named Wisvakarma. Kala as temple ornament in Dieng is classical style built on (Â± 600-900), in Plaosan Lor is middle classical style built on (Â± 900-1250 AD), in Panataran temple is late classical style built on (Â± 1250-1400 AD ). Form and function changes in classical style Kala were done in anthropomorphich, metamorphosis, deformative by creative and innovative artist in each period. Period of Hindu artist produce classical Kala ornament as enterance guard on temple or and the like. Period of Islam produces Batara Kala and Gunungan Wayang Kulit Purwa and others.The change of the political, religious and authorities in various regions, is a major cause of changes in form and function of Kala. In a classic Indonesian Hindu temple, Middle and modern period Kala have different name and form, but his function still as an ornamental and security guard of its owner. Modern period produce new type of reliefs and paintings for building wall and many others. Kala ornament is created by creative and innovative artist ranging from design, preparation of materials/equipment and the forming, till producing giant pattern art works or mask.Â

EFLEKSI PEMIKIRAN KARTINI SEBAGAI INSPIRASI PEMBUATAN KARYA TAPESTRI Ima Novilasari; F.P. Sri Wuryani
Ornamen Vol 12, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Tugas Akhir kekaryaan yang dikerjakan oleh penulis ini, adalah mengangkat tema Refleksi Pemikiran Kartinisebagai Inspirasi Pembuatan Karya Tapestri. Pembatasan pemikiran Kartini yang dibahas adalah pemikirantentang melawan feodalisme dan menjunjung emansipasi, karena dianggap sebagai permasalahan yangsering terjadi di lingkungan masyarakat hingga saat ini. Jadi, bisa dikatakan karya yang dibuat penulisdengan tema pemikiran Kartini masih relevan dengan masa kini.Visualisasi karya tugas akhir ini, lebih menekankan pada kegiatan eksplorasi bentuk. Sebagai acuan dalamproses penciptaan adalah bentuk dekoratif, serta objek perempuan imajinatif. Ketika mengolah bentukperempuan imajinatif yang dekoratif digunakan proses stilasi (penggayaan bentuk), distorsi (penggambaranbentuk yang menekankan pada capaian karakter), dan deformasi (penggambaran bentuk yang menekankanpenafsiran karakter). Bentuk dasar yang diambil adalah bagian-bagian bentuk gerak tubuh dan yangdianggap dapat mewakili sebagai gagasan yang bersumber dari pemikiran-pemikiran Kartini.Karya tapestri ini berbentuk dua dimensional. Warna yang digunakan adalah warna-warna kontras, dandikombinasikan dengan susunan garis-garis yang dihasilkan dari sulaman dan lilitan benang. Karyadilengkapi dengan hiasan permukaan menggunakan manik-manik, sehingga menjadikan karya nampaklebih indah.Kata Kunci: refleksi, Kartini, tapestri.

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