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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 116 Documents
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THE RECONSTRUCTION OF “JEPIN TALI” SINTANG DANCE Sari, Anggi Wulan; Widyastituningrum, Sri Rochana
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4421

Abstract

Jepin Tali dance is one of the traditional Malay dances from Sintang Regency, West Kalimantan Province. This Jepin Tali dance was very popular then, especially among the Malay tribe community, because the community participated in dancing or bejepen at every performance. This is a group dance performed by both male and female dancers. However, this dance has been hibernating. Accordingly, this research aims to reconstruct the Jepin Tali dance so it can be revived in the community. This study is a practice-led research. Data were collected through interviews, observation, and literature study. Burra Charter's theory was used in the dance reconstruction. The results of this study indicate that the reconstruction increased the range of motion from 3 to 16 varieties, musical instruments, make-up and clothing, and floor patterns. The dance structure was developed into three parts: the beginning, the core, and the closing, by using the property of eight ropes braided in red, green, blue, and yellow colors and accompanied by music featuring Siti Zubaidah's poetry.
CREATIVE PROCESS OF HALANG DANCE Yulianti, Ninik Putri; Soemaryatmi, Soemaryatmi
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4431

Abstract

Halang dance is a choreographic work that departs from a folk tale, namely the love story of Raden Inu Kertapati with Galuh Candra Kirana who faces many obstacles. The formulation of the research problem, namely: How is the creative process of creating Halang dance? This study uses a practice-based research methodology. The creative process in creating this dance uses the 3R theory. The result shows that the artistic process gives freedom of interpretation and creativity to anyone to realize ideas in the form of works. Halang dance is a work of art that is done through a creative process by going through the steps of Re-Visiting, Re-Questioning, and Re-Interpreting. Then through the steps of the creation process, namely exploration, improvisation, composition, evaluation, rehearsal, and performing. Halang dance is performed by four scenes as a literal dramatic choreography. The elements in Halang dance are able to convey the atmosphere and message to the audience that in truth life will never be separated from all problems and love will continue to grow and develop in souls who have sincerity.
DESIGNING PARTY DRESS WITH WIJAYAKUSUMA BATIK MOTIF Nafisah, Siti; Marwati, Sri
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4453

Abstract

Wijayakusuma flower is a unique and rare flower that only blooms once at night and after that it will wither and not bloom again. This uniqueness is an attraction to make it an inspiration for batik art work. The formulation of the studdy in this creation is how to visualize the Wijayakusuma flower in the form of a batik motif and implement it into party dresses. This artistic research uses three stages, namely exploration, design and visualization. The results of this study are the creation of the Wijayakusuma batik motif, the application of the Wijayakusuma floral batik motif to the party dresses, and the realization of the Wijayakusuma batik patterned party dress. The works of this party dress are entitled Selene, Amaris, Luna, and Neoma.
THE CREATION OF RADEN ADJENG KARTINI’S PUTUT DHAPUR KERIS Saputri, Puput; Yuwono, Basuki Teguh
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 1 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i1.4454

Abstract

Raden Adjeng Kartini, an Indonesian national hero from Jepara, Raden Adjeng Kartini, is an interesting inspiration for keris art. This creation seeks to realize the keris putut’s work with Raden Adjeng Kartini's dhapur as a form of respect and to imitate her character. The putut keris is made using a forging (tempa) technique and the primary ingredients of iron, nickel, and steel. The method of creation used is exploration, design, and embodiment. Meanwhile, the conceptual basis consists of greget, guwaya, and wangun. This creation results in three keris: the Putut Dhapur Emansipasi Raden Adjeng Kartini Keris, the Putut Dhapur Madhurya Raden Adjeng Kartini Keris, and the Putut Dhapur Anggit Raden Adjeng Kartini Keris. Each keris has a meaning related to Raden Adjeng Kartini’s character.
KOI FISH AS AN INSPIRATION FOR WALL DECORATION ARTWORK Nawala Sari, Rengga Kusuma; Wuryani, Sri; Anggiyumna R., Kosalalita
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 2 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i2.4494

Abstract

Koi fish breeding in Blitar City produces Koi with superior quality. Koi fish are also used as the mascot of this city. Koi fish from Blitar are widely marketed both nationally and internationally. This is inextricably linked to the shape and color attractiveness of koi fish. Accordingly, koi fish are an interesting source of inspiration for wall art creation. The creation of this ornamental artwork used an aesthetic approach. The three steps of the creative process were exploration, design, and embodiment. Tapestry and knitting techniques were used in the embodiment technique.  This process produced three decorative artworks: (1) “Koi Fish Harmony”, which depicts a harmonious life; (2) “Meek Soft”, illustrates gentleness; and (3) “The King of Freshwater Fish”, which portrays charming luxury.
THE VISUAL CREATION OF PETRUK CHARACTER USING CASTING TECHNIQUE AS WINDOW DECORATION ELEMENTS Al Hafidl, Arif Luqman; Supriyanto, Ari
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 2 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i2.4496

Abstract

Petruk is one of the punakawan figures in the puppet show who always entertains the audience. Despite his cute appearance, Petruk's figure has exemplary values and admirable values. In addition, Petruk also has a unique body shape, making it fascinating to use him as an inspiration for the creation of metal cast artwork for window decoration. This decorative artwork was made in 4 (four) steps: exploration, experimentation, incubation, and visualization. Five titles were given to the production of this decorative window artwork: "Petruk Ngilo," "Petruk Duding," "Berharap dan Berserah Diri," "Pemomong," and "Petruk Kanthong Bolong." Each of these window decorations represents a symbolic value for our existence as social beings and God's creatures.
JAVANESE FARMERS’ PRANATA MANGSA CONCEPT AS THE IDEAS OF WAYANG BEBER CREATION Wibisono, Faris; Yuwono, Basuki Teguh
ARTISTIC : International Journal of Creation and Innovation Vol. 4 No. 1 (2023)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v4i1.4499

Abstract

Javanese farmers practice the pranatamangsaas their agricultural way. This conception has guided the Javanese agricultural approach in treating nature for generations from their ancestors to the present day. This teaching also inspires the creation of wayangbeberwith the sunggingtechnique. The creation process consists of three phases, namely (1) exploration, (2) design, and (3) realization. The resulting work is divided into 24 pejagongsand six scrolls of wayangbeber, with each pejagongcontaining a continuous narrative. The applied sunggingancolors represent the changing seasons, while the gununganof kala at the beginning and conclusion of each pejagong represents the change in time and setting. The descriptions are separated into various categories, including the farming community, village officials, religious leaders, and intermediaries.
THE TRANSFORMATION OF MAJAPAHIT TEMPLE ORNAMENTS INTO BATIK MOTIFS Andhisti, Ken
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 2 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i2.4524

Abstract

Batik ERNA Mojokerto is a hand-written Mojokerto-style batik renowned for incorporating a Majapahit theme into its batik production. Some of the names of the batik motifs, such as the Surya Majapahit, Alas Majapahit, and Bunga Cinta Majapahit, have Majapahit nuances. The uniqueness of Batik Erna motivates this study to formulate the following research problem: how to transform the shape of the Majapahit heritage ornaments into Batik ERNA motifs? The purpose of this descriptive qualitative study is to investigate ERNA Batik motifs. Observation and interviews were utilized for data collecting, whereas data was examined using domain, taxonomy, and component analysis. The results of this study show that Batik ERNA transforms the ornaments of Majapahit heritage, such as the shape of the temple, flora and fauna ornaments on the relief walls, and the Majapahit royal signs into its batik motifs. The ornaments and the temple shapes have inspired the creation of batik motifs. The transformation results can be seen in the batik motifs of Ukel Cambah, Surya Majapahit, Rawan Inggek, and Kembang Suruh.
THE CREATION OF “REPURPOSING” CERAMIC USING ROOF TILES WASTE Marwanto, Aries Budi; Wahyudi, Johan Ies; Prasetyo, Raden Ersnathan Budi
ARTISTIC : International Journal of Creation and Innovation Vol. 3 No. 2 (2022)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v3i2.4528

Abstract

There was a lot of used roof tile discovered throughout the village. However, the community did not turn it into usable items. The roof tile waste motivated us  to turn it into artwork. This artistic research focused on the production of repurposing ceramic pieces utilizing roof tile waste materials. This creative study made use of the experimentation, reflection, and formation phases of Dharsono's artistic creation approach. This artistic creation process resulted in a jug of art entitled "Wanawarih." This artwork is full of symbolic expression values about the trilogy of vitality, namely forest preservation, water function maintenance, and earth manifestation
THE AESTHETIC OF PITA MAHA PAINTING: SOURCES OF CREATION IN CONTEMPORARY ART Krisna Prabu, A.A. Gede Bayu Paramarta
ARTISTIC : International Journal of Creation and Innovation Vol. 5 No. 2 (2024)
Publisher : ISI Press Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/artistic.v5i2.4678

Abstract

The creator, born in Padangtegal, Ubud, has appreciated Pita Maha artwork. Pita Maha painting is a genre that emerged in 1936, characterized by the fusion of classical Balinese and Western painting styles. The creator believes that the aesthetics of Pita Maha painting can serve as a foundation for artistic creation. This study employs a qualitative methodology, utilizing data collection techniques such as observation, documentation, interviews, and supplemented with library resources. The gathered data undergoes two phases: analysis to identify the concept, followed by the creation phase. The outcome of the study is a painting titled "Wayang Wong". This contemporary artwork is created employing the techniques and aesthetics of Pita Maha painting, allowing it to resonate within the context of modern life.

Page 9 of 12 | Total Record : 116

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