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V-art: Journal of Fine Art
Published by Institut Seni Indonesia Padang Panjang
ISSN : -     EISSN : 28092589     DOI : 10.26887
Core Subject : Humanities, Education, Art, Social,
Arts Humanities Education Social Sciences Other
V-art: Journal of Fine Art is an academic journal published by the Department of Fine Art, Faculty of Visual Art and Design, Institut Seni Indonesia Padang Panjang twice a year. This journal publishes original articles with a focus on the results of studies in the field of fine art since November 2021. V-art: Journal of Fine Art focuses on articles resulting from research and creation (applied research) in the field of fine art. Its scope includes, among others: History of fine art; Methodology of fine art; Discourse on fine art; Sociology of fine art; Management of fine art; Fine art criticism; Anthropology of fine art; Psychology of fine art; Fine art education in schools.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 4 Documents
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Search results for , issue "Vol 5, No 1 (2025): DECEMBER 2025" : 4 Documents clear
Visualisation Of The Tabut Bengkulu Building As A Reflection Of Social And Cultural Identity Sari, Dea Anita
V-art: Journal of Fine Art Vol 5, No 1 (2025): DECEMBER 2025
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i1.6132

Abstract

Artworks in a ritual context, such as the Tabut structure in Bengkulu, are an important medium for representing and maintaining the continuity of collective identity. This paper examines the visualisation of the Tabut as a sociological text to understand the reflection of social reality and the process of cultural identity negotiation among communities that inherit traditions. The study was conducted qualitatively using Arnold Hauser's Sociology of Art and Pierre Bourdieu's Theory of the Field of Cultural Production, supported by visual, historical, and textual analysis. The findings show that the Tabut's visual representation serves two main functions. From Hauser's social perspective, the towering structure and its diverse ornamentation, combining calligraphy, local motifs, and non-Malay elements, reflect the solidarity, acculturation, and plural identity of the Bengkulu community. The transformation of the Tabut from a sacred ritual into a public cultural festival also reflects socio-economic dynamics oriented towards tourism. From Bourdieu's cultural perspective, the visualisation of the Tabut serves as symbolic capital for the Tabut Family Harmony (KKT) in the arena of cultural power. The KKT utilises the iconography of the Tabut to negotiate the legitimacy of the Shia minority identity by reframing the ritual as a universal Islamic heritage, while maintaining spiritual authority through the distinction between the Sacred Tabut and the Development Tabut. Overall, this study concludes that the visualisation of the Tabut structure is the KKT's primary strategy for preserving tradition, adapting to social change, and gaining recognition in Bengkulu's heterogeneous society.
Cat Figures Using Assemblage Techniques as an Idea for Creating Two-Dimensional Artworks Syahfitri, Ayu Widari; Priyatno, Agus; Azis, Adek Cerah Kurnia
V-art: Journal of Fine Art Vol 5, No 1 (2025): DECEMBER 2025
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i1.5065

Abstract

The process of creating this artwork is closely connected to the artist’s personal experiences. An emotional attachment to cats serves as a significant source of inspiration in the creative process. The primary aim of this study is to describe the creative process involved in visualizing cat figures as an artistic idea through two-dimensional artworks employing an assemblage approach. This creation process adopts Alma M. Hawkins’ method as a reference for the stages of producing collage-based works, consisting of exploration, experimentation, and realization. The exploration stage involves direct data collection through observation and literature review. The subsequent stage, experimentation, includes developing drawing patterns and beginning to experiment with the assemblage forms and techniques employed. The final stage, realization, encompasses executing the work according to the established design until the finishing process is completed. The distinctive characteristics of cats inspire collage artworks that utilize assemblage techniques, mixed media, and materials such as clay, tissue paper, and magazine cuttings. These artworks depict the daily behaviors of cats on 50 × 60 cm canvases. The final output consists of three pieces that portray various behaviors, myths, and beliefs associated with cat figures, which can be interpreted in relation to human life.
“Tekad” in Digital Art Creation Practice: Conceptual and Visual Exploration Using Procreate Software Setiawan, Indra; Magfhirah, Permata Murni Bintang
V-art: Journal of Fine Art Vol 5, No 1 (2025): DECEMBER 2025
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i1.6210

Abstract

The creation of digital visual art in the contemporary era has evolved in tandem with technological advancements and creative software, enabling artists to explore ideas in more flexible and expressive ways. This article examines the practice of creating digital visual artworks themed “Tekad”, representing the values of determination, perseverance, and human resilience in confronting life’s challenges. The concept of tekad is interpreted through a personal and reflective perspective and subsequently translated into visual form through an exploratory approach to visual elements and design principles. This study employs a practice-based research method, positioning the artistic creation process as the primary source of knowledge. The stages of creation include conceptual formulation, visual reference exploration, digital sketch development, visualization processes, and final artwork completion using the Procreate application. Procreate is selected for its ability to simulate manual artistic techniques while offering digital flexibility in managing color, line, and texture. The results demonstrate that the concept of tekad can be powerfully articulated through visual symbolism, expressive line gestures, and color contrasts that reflect emotional tension and inner strength. The resulting artworks function not only as aesthetic representations but also as reflective media expressing inner experiences and humanistic values. This study is expected to contribute to the discourse on digital visual art creation, particularly in the utilization of Procreate as a medium for conceptual and artistic expression.
Character Education Representation Through Visual Arts At The Tampomas Festival Banjarnegara Pramisti, Gladis Oky
V-art: Journal of Fine Art Vol 5, No 1 (2025): DECEMBER 2025
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i1.6133

Abstract

Globalization and cultural modernization have weakened the internalization of local character values, particularly among younger generations. This condition highlights the need for contextual and participatory character education rooted in community traditions. The Tampomas Festival in Banjarnegara exemplifies a cultural event in which visual arts serve as a sociological medium, from a symbolic interactionist perspective, for representing character education values and promoting social cohesion through community social practices. These are manifested in stage decorations, costumes, procession attributes, and traditional artworks rich in symbolic meaning. This study examines the role of the visual arts in the Tampomas Festival as a sociological tool for representing values of character education. This research employs a descriptive qualitative approach. Data were collected through field observations during festival preparation and implementation, interviews with local artists, organizers, community leaders, and youth, and visual documentation, including photographs and festival archives. Data analysis involved data reduction, thematic categorization, and interpretive analysis grounded in the sociology of art and symbolic interactionism. The findings reveal that visual art elements at the Tampomas Festival function not only as aesthetic expressions but also as symbolic communication that conveys values such as cooperation, responsibility, religiosity, discipline, and appreciation of local culture. Colors, forms, and traditional motifs are collectively interpreted and contribute to shaping social meaning and cultural identity in Banjarnegara. The study concludes that visual arts within the Tampomas Festival serve as an effective medium for culture-based character education in a non-formal context while strengthening social cohesion through community participation and intergenerational collaboration.

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