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Ranang Agung Sugihartono
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INDONESIA
ARTISTIC : International Journal of Creation and Innovation
Published by Institut Seni Indonesia Surakarta
ISSN : 27219445     EISSN : 27219321     DOI : https://doi.org/10.33153/artistic
Core Subject : Education, Art,
Arts Languange, Linguistic, Communication & Media
The publishing of "ARTISTIC: International Journal of Creation and Innovation" specializes within the focus and scope including: 1. Creative and conceptual thinking related to the practice of art works and creative problems (Artistic Creation Thought). 2. The results of artistic research in the fields of : a. Batik b. Keris c. Crafts d. Karawitan e. Pedalangan (Puppetry) f. Dance g. Music h. Theater i. Painting j. Sculpture k. Graphics l. Interior Design m. Stage Design n. Visual Communication Design o. Product Design p. Television q. Film r. Photography s. Animation t. Games u. Visual Effects, and v. other arts. 3. New insights about the practice of art, resulting from the creative process. 4. New knowledge generated from the practice of art and artwork produced. 5. Values and meanings of novelty produced in the creation of art works, or studies of innovation in art.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 6 Documents
 1 
Search results for , issue "Vol. 6 No. 1 (2025)" : 6 Documents clear
THE DESIGN OF THE RAHWANA CHARACTER AS AN ADAPTATION OF THE RAMAYANA RELIEFS ON THE PRAMBANAN TEMPLE INTO ANIMATION alfan, alfan setyawan; Nisa, Nisa Fijriani
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6392

Abstract

The Ramayana reliefs on the walls of the Shiva and Brahma temples within the Prambanan temple complex serve as a visual narrative that depicts Rama's journey to rescue Dewi Sinta from Rahwana. The visual appearance of the relief represents an acculturation of Indian and Javanese cultures. The narrative imparts lessons on the concept of morality through the portrayal of people representing both good and evil. This article intends to conceptualize the character of Rahwana from the perspective of the Ramayana reliefs as an animated character design. This design employs the Visual Language (Bahasa Rupa) and Adaptation (Alihwahana) approaches through data collecting, translation, and work compilation phases. This design's outcome is the Rahwana design, featuring body decoration, color, and the configuration of the Dasamuka and a T-Pose. This character design offers the possibility for further development to meet the requirements of animated film production with Indonesian characteristics
THE DESIGN OF THE RAHWANA CHARACTER AS AN ADAPTATION OF THE RAMAYANA RELIEFS ON THE PRAMBANAN TEMPLE INTO ANIMATION alfan, alfan setyawan; Nisa, Nisa Fijriani
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6392

Abstract

The Ramayana reliefs on the walls of the Shiva and Brahma temples within the Prambanan temple complex serve as a visual narrative that depicts Rama's journey to rescue Dewi Sinta from Rahwana. The visual appearance of the relief represents an acculturation of Indian and Javanese cultures. The narrative imparts lessons on the concept of morality through the portrayal of people representing both good and evil. This article intends to conceptualize the character of Rahwana from the perspective of the Ramayana reliefs as an animated character design. This design employs the Visual Language (Bahasa Rupa) and Adaptation (Alihwahana) approaches through data collecting, translation, and work compilation phases. This design's outcome is the Rahwana design, featuring body decoration, color, and the configuration of the Dasamuka and a T-Pose. This character design offers the possibility for further development to meet the requirements of animated film production with Indonesian characteristics
MARKURIUS UWING’S CREATIVITY IN THE WE’ JONGGAN DANCE Puspita, Kristina Mela Sarita Dea; Wibowo, Anggono Kusumo
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6408

Abstract

The We' Jonggan dance creation by Markurius Uwing at Sanggar Borneo Tarigas has expressive and aesthetic complexity. The We' Jonggan dance is a social event for the Dayak tribe to express joy and establish harmony in living their daily lives. This study aims to describe the source of inspiration, form and function of the We' Jonggan dance performance. This study uses a qualitative descriptive research method. Data were collected through interviews and observations, as well as interpretive data analysis. The We' Jonggan dance creation with its complexity and existence is able to create opportunities for collaborative or colossal work with interdisciplinary knowledge. The artistic creative process in the creation of the We' Jonggan dance is carried out based on the aesthetic experience of its creator. This aesthetic experience can be transformed into a dance form with movement techniques and dance essence that are full of meaning. The results of this study are expected to be able to create development, variation or creation based on dance works of Indonesia.
GESTALT SIMPLIFICATION: BIBLE STORY ANIMATION 'THE PRODIGAL SON' Darmawan, Andreas James; Arimbawa, I Made Gede; Muka, I Ketut; Suardina, I Nyoman
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.6434

Abstract

Bible story animation 'The Prodigal Son' only presents the storyline without touching the theological meaning. Church youth experience boredom in understanding parable story of 'Prodigal Son'. The problem urgency is the lack of teaching media that convey repentance, forgiveness, and gratitude meaning in an interesting and contextual way. This study used descriptive qualitative method through literature, discussions, and FGD. The creation process involved application of Edgar Rubin's visual simplification theory and Max Wertheimer's, Wolfgang Köhler, Kurt Koffka Gestalt theory; combined with philosophy, hermeneutics, semiotics; to create new interesting and meaningful animation. The animation successfully visualizes the theological essence of repentance, forgiveness, and gratitude through simplified forms and meaningful gestalt compositions, offering a fresh visual narrative that resonates and supports deeper spiritual reflection for adolescent.
BEDHAYA KINJENG WESI DANCE CREATION IN THE PERSPECTIVE OF HYBRIDITY AND AUTHENTICITY Witjaksono, Bambang
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.7092

Abstract

Bedhaya Kinjeng Wesi dance was created as a reference in the process of making the Bedhaya Kinjeng Wesi sculpture, which is installed in the boarding lounge of Yogyakarta International Airport. Kinjeng Wesi is a Javanese term meaning airplane. This study aims to find out the extent of hybridity and authenticity of Bedhaya Kinjeng Wesi dance. The method used is descriptive qualitative analytical by describing the work of art on the aspects of hybridity and authenticity. The elements of hybridity and authenticity in Bedhaya Kinjeng Wesi dance proved to be a mimicry that displays ambivalence because on the one hand it wants to build a common identity with elements of locality, but on the other hand it tries to maintain its differences.
METHOD OF BATIK PAINTING CREATION Hamzah; Rian, Rica; Yandri, Yandri
ARTISTIC : International Journal of Creation and Innovation Vol. 6 No. 1 (2025)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v6i1.7143

Abstract

The research aims to explore how batik painting works and how to apply the method in batik painting. This research uses an artistic research type, with stages, namely exploration, design, and visualization. Batik painting works are almost the same as painted batik, but there are fundamental differences between the two, even though they both use batik materials: painted batik works emphasize canting in the process, while batik painting predominantly uses brushes, and only canting is used for use. Two works were presented: The first is entitled “Menua Asa 1”, measuring 170 x 130 cm, which uses batik painting techniques. The second work, entitled “Menua Asa 2”, measuring 170 x 130 cm, also uses batik painting techniques

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