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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 2 No 2 (2019)" : 5 Documents clear
KAJIAN VISUAL KOSTUM DAN KOREOGRAFI TARIAN MOLAPI SARONDE KOTA GORONTALO Siska Udilawaty
ARTic Vol 2 No 2 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.4.2416.155-166

Abstract

This study aims to examine the Visual Molapi Saronde Dance Dress. The Saronde dance is a typical Gorontalo regional dance that has been inherited and patented as a non-fine heritage. Molapi dance saronde is a dance performed on the engagement night by the groom to see prospective wives. The results of this study are to explain the meaning of the molonde dance clothing starting from materials, clothing colors and motifs as well as the accompanying accessories and explain the meaning of the choreography of the Molapi saronde dance along with creative saronde dance. The approach used in this study is a qualitative descriptive approach. The technique of collecting data is done through observation, interviews, documentation studies and document studies. So, the conclusion of this study is that there is a meaning contained in the molapi saronde dance clothes, one of which is the meaning of headdress, namely Baya lo boute is a special headband for women's hair that gives a symbol, that women who wear it have been bound with a responsibility. As for Saronde dance, it is an innovation from Molapi Saronde dance, but the dance still has meaning or meaning that is maintained and cannot be changed. Although there was a slight change from movement, clothing, and musical accompaniment.
KAJIAN ORNAMEN MESJID HUNTO SULTAN AMAY GORONTALO Risti Puspita Sari Hunowu
ARTic Vol 2 No 2 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.4.2418.167-176

Abstract

This research is aimed at studying the Hunto Sultan Amay Mosque located in Gorontalo City. Hunto Sultan Amay Mosque is the oldest mosque in the city of Gorontalo The Hunto Sultan Amay Mosque was built as proof of Sultan Amay's love for a daughter and is a representation of Islam in Gorontalo. Researchers will investigate the visual form of the Hunto Sultan Amay Mosque which was originally like an ancient mosque in the archipelago. can be seen from the shape of the roof which initially used an overlapping roof and then converted into a dome as well as mosques in the world, we can be sure the Hunto Sultan Amay Mosque uses a dome roof after the arrival of Dutch Colonial. The researcher used a qualitative method by observing the existing form in detail from the building of the mosque with an aesthetic approach, reviewing objects and selecting the selected ornament giving a classification of the shapes, so that the section became a reference for the author as research material. Based on the analysis of this thesis, the form of the Hunto Sultan Amay mosque as well as the mosques located in the archipelago and the existence of ornaments in the Hunto Sultan Amay Mosque as a decorative structure support the grandeur of a mosque. On the other hand, Hunto Mosque ornaments reveal a teaching. The form of a teaching is manifested in the form of motives and does not depict living beings in a realist or naturalist manner. the decorative forms of the Hunto Sultan Sultan Mosque in general tend to lead to a form of flora, geometric ornaments, and ornament of calligraphy dominated by the distinctive colors of Islam, namely gold, white, red, yellow and green.
REPRESENTASI IDOLA FILM ANIMASI SHINGEKI NO KYOJIN PADA TOKOH LEVI DAN MIKASA Endah Riana Endarini
ARTic Vol 2 No 2 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.4.2448.177-192

Abstract

This study aims to identify the visual aspects and personality of Levi and Mikasa that make it an Idol. The method uses descriptive qualitative analysis, with an approach design to examine each visual aspect of the face, hair, and clothing. It also uses a psychological and cinematographic approach in examining Levi and Mikasa's personality which is displayed through scenes in the movie. The results of this study indicates that the idol figures in the Shingeki no Kyojin movie were chosen based on their personality rather than their visual appearance. The figure who is used as an idol is a character who has a calm, cool personality, can put aside the feelings but still has a sense of caring, not so much talk, strong and strength is recognized by many people, brave and skillful. Visually, idol figures are displayed through color themes that tend to be black, white and gray, as well as the shape of the eyes and lips that have the meaning of strength. Other aspects such as lighting, coloring, shooting size, angle of shooting, and additional lines have an effect on strengthening the personality of the characters displayed in the movie scene.
KAJIAN MONUMEN PATUNG PERJUANGAN NANI WARTABONE MELALUI VISUALISAI DAN LATAR BELAKANGNYA Muhammad Isla
ARTic Vol 2 No 2 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.4.2456.193-202

Abstract

This study aims to find out how to study the Nani Wartabone statue in terms of visuals, to provide knowledge to the people of Gorontalo the meaning of the Nani Wartabone statue and to describe the background study and visualization of the Tilongolo Nani Wartabone monument statue. This research was written using descriptive qualitative research methods, the authors observed in detail the background and visualization of the Tilongolo Nani Wartabone monument, the results of this study allow the writer to know the historical background of the Tilongolo Nani Wartabone monument statue and the writer can also know the visual meaning of the Tilongolo Monument statue Nani Wartabone. The research results obtained by the author are quite good because there are two sources who are quite helpful in the process of writing this research, the conclusion or the final result of this study is that the writer and the public can find out the background of the Nani Wartabone statue made to commemorate his services in fighting the invaders and the meaning of the visualization of the statue of the struggle of Nani Wartabone, namely: (1) The pointing hand has a meaning, namely his birthplace, Bube Village, Suwawa District, Bone Bolango Regency, Gorontalo Province; (2) Bayonet in the left pocket is made by Suwawa which has the mystical power to protect Nani Wartabone in certain situations; (3) The pistol in the right pocket is used as a helper for the main weapon in the left hand of Nani Wartabone; (4) The weapon in the left hand of Nani Wartabone is a long rifle (hunting rifle) that can be used on the battlefield; (5) The Safari uniform used by Nani Wartabone has patriotic meaning and strength; and (6) Base of 2 and the curve of base of 3 represents the number 23 celebrated as patriotic day by the people of Gorontalo.
KAJIAN BENTUK DAN MAKNA RUMAH ADAT GORONTALO Almer Hassan Ali
ARTic Vol 2 No 2 (2019)
Publisher : Universitas Komputer Indonesia

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.34010/artic.2019.4.2457.203-214

Abstract

This research generally aims to gain knowledge about the traditional values of the Bantayo Po 'Boide Traditional House by trying to express the cultural values of the people of Gorontalo Regency. Specifically: First describe the architectural components of the Bantayo Po' Boide Traditional House of Gorontalo Regency including the roof, parts of the body and the bottom of the building; and second Expressing the meaning of the symbols in the Bantayo Po 'Boide Traditional House of Gorontalo Regency. This research uses descriptive method by collecting various qualitative and quantitative data relating to the form and symbolic meaning of the Bantayo Po' Boide Traditional House of Gorontalo Regency, while the data collection uses the method of Observation, Documentation, Interview and Literature Study. The results of this study are: 1) Total of poles house supporting totaling 32 is known as the symbol of 32 directions of the compass. This means that the leaders must have attention to all aspects of people's lives without knowing favoritism; 2) Total of the front steps that amounted to 8 as a symbol of 8 small kingdoms that helped so that the kingdom of Limutu became large; 3) The main pillars, total 2, are embedded directly into the roof frame, as a symbol of the pledge of unity between the kingdoms of Hulonthalo and Limutu; 4) 6 pillars have 6 main characteristics of the Gorontalo people, namely: Tinepo (tolerance), Tombulao (respect), Tombulu (devotion to the government), Wu'udu (according to fairness), Adati (obedient to regulations), and Buto'o (obedient to judges decisions). In addition to the meaning of construction, the writer also found a variety of decorative meanings found in the Bantayo Po' Boide traditional house. 1) The front of the house there is a stylized ornament of lotus and breadfruit plants and grouse. Symbol of lotus ornament of leaders who love democratic life. The meaning of breadfruit plants as protectors, while the grouse described as Gorontalo people who are small but agile and smart. 2) Ornaments on the edge of the banyan and triangular tree ceiling. The meaning of the banyan tree is strength and unity, while the triangle is the 3 elements of life (God, King, People). 3) Ornaments in the ventilation of doors and windows are stylized in the form of spears and shields, which have the meaning of guardianship or vigilance. 4) The living room ceiling ornament is a combination of lotus flowers and chains. Where the lotus means the leader of the people while the chain means the kinship ties of the kingdoms of Hulonthalo and Limutu. 5) Ornaments on lyst plank are stylized from jasmine plants which have the meaning of glory and friendliness.

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