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INDONESIA
Jurnal Senirupa Warna (JSRW)
Published by Institut Kesenian Jakarta
ISSN : 23551682     EISSN : 26857618     DOI : https://doi.org/10.36806
Core Subject : Humanities, Education, Art,
Arts Humanities Education
JSRW supports the vision and mission of FSR-IKJ to publish works of a scientific nature within FSR-IKJ and beyond. Works published must discuss discourses of arts (either fine or applied) in the fields related to visual aspects, such as fine arts, design, craft, visual narratives, and forms of art that utilize the new media.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 166 Documents
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Representasi, Narasi Visual, dan Komodifikasi Tokoh Wayang Gatotkaca-Anoman dalam Mobile Legends dan Honor of Kings Pulangasih, Sang Pandu Nayenggita
Jurnal SeniRupa Warna Vol. 14 No. 2 (2026): Representasi Dunia Wayang dalam Seni Rupa Kini
Publisher : Faculty of Arts and Design, Jakarta Institute of the Arts

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/jsrw.v14i2.789

Abstract

This article discusses the transformation of the wayang figures Gatotkaca and Anoman in the games Mobile Legends and Honor of Kings. The revised article emphasizes that the presence of wayang in digital games should not only be understood as cultural preservation, but also as a practice of representation and cultural commodification within the digital game industry. This study applies a descriptive-analytical qualitative approach through visual and narrative analysis of character design, visual attributes, hero narrative, skill mechanics, and voice over attached to Gatotkaca and the Anoman skin. The theoretical framework combines Stuart Hall's theory of representation, the concept of cultural commodification, and studies of visual narrative and character design. The findings show that Gatotkaca is represented as a relatively complete main character because his name, role, attributes, and narrative directly refer to Indonesian wayang tradition. In contrast, Anoman in Honor of Kings appears as a skin of Wukong, making local cultural identity function more as a flexible and interchangeable visual layer. These findings reveal a negotiation between cultural preservation, game aesthetics, and digital market logic. Therefore, digital games may become a new space for introducing wayang to younger audiences, while also potentially simplifying its philosophical meanings into visual elements and consumable products.
Rekontekstualisasi Kosmologi Pawukon Bali melalui Artikulasi Wayang dalam Estetika Card Game Fantasi Yusa, I Made Marthana; Arthayoga, Ketut Karunia; Yasa, Ngakan Putu Darma
Jurnal SeniRupa Warna Vol. 14 No. 2 (2026): Representasi Dunia Wayang dalam Seni Rupa Kini
Publisher : Faculty of Arts and Design, Jakarta Institute of the Arts

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/jsrw.v14i2.790

Abstract

Faced with a booming digital gaming industry and waning youth interest in traditional values, this study recontextualizes the Balinese Pawukon cosmology through a Wayang-themed fantasy card game design. It aims to articulate the intangible cultural heritage of the Wuku calendar into a popular media format using a design thinking approach. Methods include cosmological and visual attribute analysis of the Pawukon system, the four stages of design thinking (empathize, define, prototype, test), character semiotics analysis, and case studies informing a “Cool Wayang” aesthetic. Mixed-methods testing (n=30 Generation Z playtesters) showed high satisfaction: the majority of respondents strongly agreed that the illustrations were visually appealing. Observations noted players using traditional terminology (e.g., deity names like Yamadipati) during gameplay, demonstrating that the gamification strategy effectively lowered cognitive barriers to complex material. Media experts judged the design successful in combining global appeal with national cultural pride. Conclusion: This approach effectively revitalizes the intangible heritage of the Balinese Pawukon (Wuku calendar) cosmology in a dynamic, relevant way. Key pillars of success include Hall’s theoretical framework, hybrid visual innovation, and educational gamification.
Analisis Persebaran Artefak Visual Wayang Beber Klasik di Jawa: Interpretasi dan Kontekstualisasinya Terhadap Kronik Sejarah Jawa Era Mataram Islam Bagus Permadi, Topan
Jurnal SeniRupa Warna Vol. 14 No. 2 (2026): Representasi Dunia Wayang dalam Seni Rupa Kini
Publisher : Faculty of Arts and Design, Jakarta Institute of the Arts

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/jsrw.v14i2.791

Abstract

This article analyzes the results of mapping the distribution of classical wayang beber artifacts on the island of Java using a historical study approach. The analysis then proceeds with an effort at interpretation and an in-depth study of the knowledge contained both within and outside the artifacts based on data sources. The wayang beber artifacts analyzed consist of 6 sets of wayang beber artifacts in Pacitan, 8 sets of wayang beber artifacts in Wonosari, and 6 sets of wayang beber artifacts at the Netherlands Museum of Ethnology. By applying a descriptive qualitative research method elaborated through a historical study approach, this article summarizes the finding that the distribution of wayang beber artifacts in Java is part of the geopolitical conditions of the Islamic Mataram Kingdom. Furthermore, this article presents findings that the creation of classical wayang beber visual artifacts distributed across Java exhibits parallels or connections with contemporary events, consistent with analyses of the candrasekala calendar and radiocarbon dating results. The results of this study explain that the classical wayang beber artifacts that still exist today are part of the cultural history of Islamic Mataram in Java, and serve as works of art that implicitly encapsulate political events, history, and the legitimacy of a king all packaged within the romantic narrative of the Panji story cycle and visualized as scenes in wayang beber paintings.
Reintroduksi Filosofi Wayang melalui Seni Rupa Kontemporer Oktoviandy, Rizky
Jurnal SeniRupa Warna Vol. 14 No. 2 (2026): Representasi Dunia Wayang dalam Seni Rupa Kini
Publisher : Faculty of Arts and Design, Jakarta Institute of the Arts

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/jsrw.v14i2.792

Abstract

This paper discusses the discourse on the reintroduction of the philosophical values of wayang through contemporary Indonesian visual art. Wayang is understood not merely as a form of entertainment, but as a symbolic system that embodies moral guidance through semiotic and psychoanalytic approaches. Every element of wayang, including its characters, the gunungan, and the structure of the performance itself, represents moral values, social principles, and psychological reflections of human life. However, with the progression of modern times, the relevance of wayang has gradually declined, particularly among younger generations, who tend to understand it superficially without exploring its deeper philosophical meanings. Within the practice of modern visual art, several artists, such as Otto Djaya, T. Sutanto, and Nyoman Gunarsa, have creatively integrated wayang elements through contextual and symbolic visual approaches. Nevertheless, within the realm of contemporary visual art, wayang is often reduced to a decorative element without substantial conceptual exploration. This study identifies a major challenge in the limited literacy of artists, curators, and galleries regarding the essential values of wayang, which consequently weakens the philosophical representation embedded in artistic works. Therefore, greater collaboration among various actors within the visual arts ecosystem, accompanied by more comprehensive conceptual approaches, is necessary to position wayang as a primary source of inspiration rather than merely a visual ornament. In this regard, contemporary visual art has the potential to serve as a strategic medium for bridging tradition and modernity while reintroducing wayang to a broader audience, particularly younger generations.
Metamorfosis Bayang: Revitalisasi Semesta Wayang dalam Praktik Seni Rupa Kontemporer dan Transmedia Indonesia Wiratno, Tri Aru
Jurnal SeniRupa Warna Vol. 14 No. 2 (2026): Representasi Dunia Wayang dalam Seni Rupa Kini
Publisher : Faculty of Arts and Design, Jakarta Institute of the Arts

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/jsrw.v14i2.795

Abstract

This article explores the representation of the wayang universe within Indonesia's contemporary visual culture landscape through a critical revitalization approach. Wayang is no longer viewed as a static artifact of tradition, but rather as a dynamic sign system that continuously mutates in contemporary fine arts and transmedia narratives. Utilizing a descriptive qualitative method along with an in-depth literature study, this research reveals that current revitalization practices occur through visual deconstruction and massive digital technology adaptation.The findings indicate that the wayang universe serves as an elastic bridge for national identity, capable of adapting to new media—such as kinetic installations, films, and digital platforms—without losing its philosophical essence. The novelty of this study lies in identifying the concept of "Techno-Tradition," wherein the esoteric values of wayang are encrypted into modern algorithms. This phenomenon reinforces wayang’s position in global fine arts discourse, not merely as a heritage of the past, but as a form of local modernity that is responsive to global issues such as power politics, ecological crises, and identity disruption in the cyber era. The study concludes that the sustainability of wayang relies on a revitalization methodology that balances traditional aesthetic standards (pakem) with the flexibility of new media, positioning it as a competitive cultural capital in the international creative market.
Dekonstruksi Semiotika Wayang Semar: Implementasi Pola Geo-Construction dalam Busana Avant Garde Yuniarti, Novi; Fadlia, Adlien
Jurnal SeniRupa Warna Vol. 14 No. 2 (2026): Representasi Dunia Wayang dalam Seni Rupa Kini
Publisher : Faculty of Arts and Design, Jakarta Institute of the Arts

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.36806/jsrw.v14i2.796

Abstract

This research explores the transformation of the philosophical meaning of the Semar puppet character into an Avant-Garde fashion strategy through a qualitative approach method referring to library research by collecting data from books, journals and documentation related to the Semar puppet and applying the J.I.W.A.A. artistic creation method. (Exploration, Intuition, Form, Authentic, Adiluhung The main problem of the research focuses on the challenge of integrating the Javanese cosmological concept of the relationship between the Microcosm (Jagad Alit) and the Macrocosm (Jagad Ageng) into experimental fashion aesthetics. Wayang Semar is interpreted as a hybrid figure, namely a down-to-earth god or the personification of the union of heaven and earth. The technical challenge lies in the deconstruction of Semar's round and organic physical characteristics into an asymmetrical Avant-Garde fashion visual, and not without conventionally reducing its philosophical essence. This research method uses a semiotic approach and Geo-construction pattern development techniques. The Exploration stage is carried out through visual observation of Semar's signs, followed by the Intuition phase in the form of contemplation of the spiritual value of protection that triggers the imagination of geometric forms. In the Form stage, the Geo-construction structure transforms the organic body into a magnificent local three-dimensional volume precision pattern. The final stage, Adiluhung, represents the achievement of experimental aesthetics that contain the noble values ​​of tradition. The results of the study show that architecture is able to represent the depth of Semar's philosophical narrative into the silhouette of fashion Contemporary. This synergy between wayang tradition and modern techniques demonstrates that deconstructing cultural symbols can be a creative strategy for fostering discourse on sustainable fashion art, which has been marginalized by local identities in a global context.

Page 17 of 17 | Total Record : 166

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