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INDONESIA
Jurnal Rupa
Published by Universitas Telkom
ISSN : 25031627     EISSN : 25031066     DOI : -
Core Subject : Art,
Arts
JURNAL RUPA is a peer-reviewed academic journal to provide a platform for an interdisciplinary forum in the area of visual arts. This journal welcomes submissions from artists, makers, designers, researchers, historians, and other writers in the field of visual arts. This journal is published two times a year by Telkom University.
Arjuna Subject : -
Articles 5 Documents
 1 
Search results for , issue "Vol 9 No 1 (2024): Open Issue" : 5 Documents clear
Studi Literatur Berbagai Zat Warna Alam dan Ketahanannya pada Kain Batik Christian, Jane Eunike; Susanti, Elizabeth
JURNAL RUPA Vol 9 No 1 (2024): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i1.6912

Abstract

Indonesia has a cultural heritage in the form of batik cloth that is specially made by human hands to produce a beautiful work or motif. Batik cloth coloring uses 2 types, namely natural dyes and synthetic dyes. Natural dyes do not have as good resistance as synthetic dyes, but synthetic dyes produce waste that damages nature. The use of natural dyes is in line with current movements such as Go Green, Sustainable Development Goals (SDGs), and Back to Nature. With more than 150 types of natural dyes in Indonesia, it will certainly be difficult for beginners to choose the natural dyes to use. The purpose of the study was to determine several natural dyes for batik cloth that have good resistance and how to apply them. This research is important to do because it is hoped that natural dyes will be an alternative chosen to replace synthetic substances in producing traditional Indonesian cloth while protecting the environment from waste. This research method was carried out in a descriptive-qualitative manner, namely with a literature review approach methodology for experimental journal data about dyeing batik fabric. The results of the study showed several comparisons of coloring materials in batik using natural substances that have good colorfastness; in addition, the use of natural dyes has the advantage that the longer the color, the older/more mature and beautiful it will be.
Sebuah Perbandingan Visual Preliminer antara Ceki dan Ujang Omi: Dua Kartu Permainan Tradisional Indonesia dan Leluhur Masing-masing Perdana, Aditya Bayu; Pollard, George
JURNAL RUPA Vol 9 No 1 (2024): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i1.7301

Abstract

Historically, three kinds of game cards are known to be played in Indonesia: remi (the standard French deck), ceki, and ujang omi. Existing literature has established that the now niche ceki and ujang omi are descendants of Chinese and Portuguese cards, based on evidence such as game mechanics and terms. Discussion of their visual characteristics, however, is still limited. Through archival comparative analysis, this paper compiles relevant samples from existing publications and digital repositories, then qualitatively describes visual similarities and dissimilarities (particularly in the suit system and court figures) in exemplary decks. The overall suit systems of ceki and ujang omi still preserve many aspects of their ancestors, but their design underwent considerable stylizations and abstractions. The visuals of ceki, which have been homogenized, are characterized by strong geometric stylization of the Chinese prototype. The underlying suit and rank are obscured, due to the stylization and Sino-centric references which are not widely understood by Indonesian players. The visuals of ujang omi are based on looser standards. Naturalistic depictions in the prototype Portuguese deck are generally simplified. Suit symbols tend to become abstract, conflating shapes. Comparison to more variations of ujang omi is needed to make a more definitive evaluation. Thus, despite their now limited usage, the design of ceki and ujang omi still shows historic cosmopolitan influence woven into the everyday life of Indonesians.
Analisis Penerapan Teknik Lipat Origami Folded Plate dan Yoshimura pada Purwarupa Kap Lampu Berbahan Kulit Fahmi, Amelia Isti
JURNAL RUPA Vol 9 No 1 (2024): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i1.7341

Abstract

Origami is a form of paper craft with techniques that can applied to other materials, one of which is leather. This study attempts to identify a number of physical characteristics of leather materials in the author's previous work, namely decorative lamp shades in three lamp prototypes. Specifically, the author examines the physical characteristics that arise when leather materials are formed using the folded plate and Yoshimura origami techniques. The application of origami technique to leather has limitations due to conventional leather’s inherent elasticity and material thickness which are unable to produce sharp crease angles. During the making of the prototype, it was found that the fold crease can be made more prominent by cutting lines to the leather surface and applying pressure parallel to the direction of the lines. Cut line on the outside surface of 1,5 mm thick vegetable tanned leather pattern produce the sharpest crease fold that is visually closest to the paper folds. However, scratches on the outside produce visible cuts that are less aesthetic, therefore scratches on the inside surface of the leather are used as an alternative that produces the closest shard fold crease. In addition to emphasizing the fold line, the process of soaking in water can make the folds on the leather last longer and allow for more extreme shapes.
Atraksi Wisata Kete’ Kesu sebagai Representasi Identitas Kelokalan Tana Toraja Rustiyanti, Sri; Listiani, Wanda; Dwiatmini, Sriati; Ningdyah, Anrilia E. M.; Suryanti
JURNAL RUPA Vol 9 No 1 (2024): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i1.7942

Abstract

Tana Toraja is a captivating destination for tourists situated in South Sulawesi. The Tana Toraja’s traditional iconic that famous for their rich local heritage are Tongkonan and Kete’ Kesu. These architectural treasures serve as tangible expressions of Tana Toraja’s distinct cultural identity. Tongkonan and Kete’ Kesu represent non-verbal forms of folklore, categorized among the ancient legacies that include grave sites resembling boats affixed to and suspended along cave cliffs. Within these stone graves lie numerous remains of skulls and human bones, some dating back decades or even centuries, moreover, alongside these hanging stone graves. There exist grandiose tombs reserved for nobility, adorned with unique features and displaying identity photographs of the deceased. This research used a qualitative approach and ethnographic methods. The ethnographic method is one of the methods of cultural anthropology studies. This research delved into the essence of Tana Toraja’s tourist allure. Researchers directly experience the daily lives of local people, collecting data through observation and interviews. The research results mapped the elements of Tana Toraja tourist attractions in various types of folklore consisting of oral folklore, partially oral folklore, and non-oral folklore.
Cenotaphe Bleu: A Fictional Monument Akbar, Muhammad
JURNAL RUPA Vol 9 No 1 (2024): Open Issue
Publisher : Telkom University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25124/rupa.v9i1.8044

Abstract

Cenotaphe Bleu is a research-based artwork that integrates motion-image creation with socio-political analysis through the depiction of a fictional monument, using the obelisk form as a symbol of Western colonial authority imposed upon colonized lands. The obelisk’s visual and cultural distance from local everyday life is intentionally constructed to emphasize the disconnection between the lived realities of the public and the utopian promises projected by the state promises that ultimately manifest as fictional narratives imposed upon society. The work critiques the state’s perspective, which mirrors the colonial gaze: projecting ideals onto its citizens without engaging their actual experiences. The visual presentation is developed through cinematographic techniques that use continuous camera movement to construct a spatial illusion, reflecting urban decay and social deterioration in relation to neglected monumental architecture. The chosen medium is 3D digital animation perceived as fabricated realism, and intaglio printmaking evoking the texture of archival documentation are deliberately juxtaposed to convey conflicting perceptions of truth, mirroring the contradictions in Bandung’s urban infrastructure and the unfulfilled narratives of state-led development.

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