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ARTic
Published by Universitas Komputer Indonesia
ISSN : -     EISSN : 27152618     DOI : https://doi.org/10.34010/artic
Core Subject : Art,
Arts
The aim of ARTic journal is the dissemination of knowledge related to design. It covers particular issues on education, practice, and research of design (Interior, Industrial Product, and Visual Communication) . Letters and commentaries of our published articles are welcome.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 5 Documents
 1 
Search results for , issue "Vol 1 No 2 (2018)" : 5 Documents clear
BAHASA RUPA TRADISI DALAM LUKISAN KACA KONTEMPORER KARYA HARYADI SUADI TAHUN 1989-2011 Indah Rosniawati
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2522.51-57

Abstract

Every artists studies art from society tradition. That is every creation are tradition assets a society, at he begining constitue creation of creative on new creation at period. The strength of visual artist thinks with visual language. Visual language can use for expressing many kinds of visual tradition art. Focus to research that is in tended to creation painting glass Haryadi, because the elements visual as produce inelined. Disposed to become very free but constant for remind the elements of visual language tradition Haryadi to become artist contemporer since following research visual language with Primadi Tabrani. So that to become Haryadi Contemporer in his tradition. The background Haryadi in glass painting is one of living to creation art glass painting to the elements tradition painting glass Haryadi in that periode at 1989-2011 to take the element tradition pupet, batik, culture Cirebon, Cina, Jawa, Islam, Hindu and from the elements visual language Haryadi only getting shapes his visual only is comoted in art creation. Haryadi didn't take throughly the tradition of elements, except visual language tradition.
STUDI KOMPARATIF PADA KOSTUM TARI MERAK KARYA RADEN TJETJE SOMANTRI DAN KARYA IRAWATI DURBAN ARDJO MELALUI PENDEKATAN ESTETIKA Miraci Kartiyani
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2523.59-66

Abstract

West Java is one of the provinces that has a religious community with a wealth of cultural heritage and traditional noble values. As one example of the culture of West Java is dance, there are various kinds of dances in West Java. One dance that is widely known by the public is the Peacock Dance. The Peacock Dance is a dance originating from West Java and was created by Raden Tjetje Somantri in 1955. However, in contrast to the Peacock Dance that is often found today is the work of Irawati Durban which was remade costumes and choreography in 1965. Therefore researchers chose "Study Comparative on Peacock Dance Costumes Rd. Tjetje Somantri and Irawati Durban Ardjo's Work Through Aesthetic Upholding”. This research uses descriptive qualitative research methodology using aesthetic theory. The classicist technique used is literature study, observation, interview and documentation. In the visual form of the peacock dance several differences and similarities were found in the Tjetje Peacock Dance costume and the Irawati Peacock Dance costume. Likewise with the choreography that has the same aspects, different, and added, so that the two peacock dances are compared. Research focuses on aesthetic elements in the visual form of peacock dance costumes and choreography.
KAJIAN BENTUK DAN SIMBOL KUJANG SUNDA Hendri Saifulhayat
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2524.67-72

Abstract

Kujang is known and considered as a weapon tradition that represents Sundanese society culture. Looking back, that a knife is the development of a sharp-sided discovery made up of rocky chunks of kalcedon that make humans rank first in the food chain on the face of the earth. The knife transforms into a long sword, thrown into a spear, jagged into a saw, squeezed with axis into scissors and many other more specific functions into a variety of tools because of the growing demands of life needs. Kujang comes from Kudi Hyang. Kudi is functionally a farming tool that is prepared to honor and worship Hyang, the supreme ruler of the universe. The concept of Kujang is far from the utility function of a tool or a weapon. Kujang is a symbolic artifact that functions intrinsically, and not a weapon, because planning from the beginning can be distinguished by making weapons. Then Kujang in form follows function proven not to fulfill utility requirement. Kujang which is identified with the term "nyumput buni dinu caang" or hidden in a visible / bright place, can be fully revealed through a scalpel of Sundanese cultural teaching that is Panca Niti or five stages of understanding. This teaches us to understand something more deeply, from the meaning, meaning, nature, divinity and understanding in a comprehensive way. Kujang is loaded with full of spectacle, guidance, teaching or education to the state, and the potential will be revealed more positive things behind its appearance.
KAJIAN BENTUK, FUNGSI DAN MAKNA RAGAM HIAS RUMAH BOLON SIMALUNGUN BERDASARKAN TATANAN SOSIAL BUDAYA MASYARAKAT SIMALUNGUN Roseilda Regita
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2525.73-82

Abstract

This research, entitled "Study of Form, Function and Meaning of Decorations in Rumah Bolon Simalungun “Traditional House” based on the culture society". This research, entitled "Study of Form, Function and Meaning of Decorations in Rumah Bolon Simalungun “Traditional House” based on the culture society". In general this research is aimed to know the values of traditional buildings by using conceptions and cultural values of Simalungun specifically. Such as, to reveal the meaning inside of "Rumah Bolon Simalungun", describe everysingle part of the house. Including of, roof, wall, floor, and identify decorative pattern on the building. This research uses qualitative descriptive technique. Data was collected by documentation, observation, and interviews. Data analysis was conducted on the types of the building in terms from the principle of form, fuction, and meaning of ornamentation on the building Rumah Bolon Simalungun in Pematang Purba. This study was conducted to explore the traditional culture for Simalungun contained in traditional buildings that have been forgotten. Not all of the parts of traditional houses which can be understood as a description of the customary meaning of behavioral traits Simalungun society. In this building preservation efforts have repercussions far backwards that will come, that is for everyone, whether Simalungun people, the older generation or the younger generation as a successor or the heir of their culture that will understand and know well about the result of their native culture.
MAKNA SIMBOLIK DAN WUJUD ESTETIK NAGA DALAM KEBUDAYAAN JAWA Ceptian Suryana
ARTic Vol 1 No 2 (2018)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2018.2.2526.83-91

Abstract

This study examines the symbolic meaning and the aesthetic form of the dragon contained in the visual form of the stretch of the Dwi Naga Rasa Tunggal and Dwi Naga Rasa Wani. The method used in this research is descriptive qualitative. The symbolic meaning is examined through the basic patterns of Javanese society that influence Javanese society in constructing artifacts. After that, the aesthetic form is analyzed through indicators of color, shape, size and proportion. Based on the analysis, the shapes of the dragons on the three parts have the same meaning to each other, namely the representation of the Javanese way of thinking, as a 'rice field' society. From the basic pattern seen in the ornamental ornament as well as the shape and position of the dragon on the ladder, the Javanese community's relationship with his Lord can be found, in the form of hopes for fertility in agriculture, safety, and blessing in life. When viewed from its overall shape, the shape of the dragon in these three parts also has similarities in the shape of the headdress, head shape and body shape.

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