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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 67 Documents
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Character Education Representation Through Visual Arts At The Tampomas Festival Banjarnegara Gladis Oky Pramisti
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.
Sulapa Eppa Local Wisdom in Modern Social Dynamics: A Habitus Perspective of Pierre Bourdieu Andi Kahlil Gibran
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.v5i1.6134

Abstract

Sulapa Eppa is a philosophical foundation of the Bugis people that embodies the values of macca (wisdom and intelligence), malempu (honesty), warani (courage), and getteng (steadfastness) as guiding principles for social and cultural life. The processes of modernization and globalization have created new social arenas that influence how these values are interpreted and reproduced within contemporary society. This study aims to analyze the transformation of Sulapa Eppa in modern social dynamics through Pierre Bourdieu’s theory of habitus and to identify the roles of cultural, social, economic, and symbolic capital in sustaining Bugis cultural identity. The research employed a qualitative approach, using a library-based method to examine primary and secondary sources related to Bugis culture and Pierre Bourdieu’s theory of practice. Data were analyzed using interpretative content analysis by examining the relationships among habitus, field, capital, and social practice. The findings reveal that Sulapa Eppa functions as a collective habitus that shapes the worldview and social actions of the Bugis people. Modernization has not eliminated these values; instead, it has encouraged processes of reinterpretation and negotiation across different spheres of life, including education, economic activities, and digital culture. The continuity of Sulapa Eppa is supported by cultural, social, economic, and symbolic capital, which enable the sustained reproduction of Bugis collective identity. This study demonstrates that local wisdom is not static but adaptive and continuously transformed without losing its symbolic legitimacy amid contemporary social changes.
River Pollution in Batang Tembesi as an Idea for Representational Printmaking Creation Lia Handayani; Hamzah Hamzah; Ahmad Solihin
V-art: Journal of Fine Art Vol 5, No 2 (2026): June 2026
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i2.30842

Abstract

The pollution of the Batang Tembesi River in Sarolangun Regency, Jambi Province, has become a significant environmental issue affecting both ecosystem quality and the livelihoods of local communities. Illegal gold mining activities, industrial waste from palm oil production, and domestic garbage have substantially altered the river’s water quality, which was once an essential source of life for the surrounding population. This phenomenon served as the primary inspiration for a representational printmaking work that visualizes the environmental condition of the Batang Tembesi River and fosters ecological awareness within the community. The artwork employs a representational approach, juxtaposing the beauty of the natural landscape with the irony of environmental degradation. The creative process follows Gustami’s three-stage method of exploration, design, and realization. The exploration stage involved field observations, interviews, and literature studies; the design stage consisted of developing alternative sketches; while the realization stage utilized the stencil technique with acrylic paint on canvas. The resulting artwork, titled Kilau di Atas Keruh (Shimmer Above the Murky Waters), measures 110 × 140 cm and depicts a panorama of the Beatrix Bridge and the Batang Tembesi River at sunset. The contrast between the landscape's visual beauty and the river's murky color symbolizes the ongoing ecological crisis. This work is expected to function as a medium for reflection, social criticism, and environmental education regarding the importance of preserving rivers as vital sources of community life
Aesthetic Analysis of the Public Service Announcement Poster “The Indonesian People Are Not Ashtrays” Balqis Syafida Arrahmi; M. Rizqi Lullah; M. Ghathfan Marchsky; Larasati Rizkianingrum; Siti Naila Chairunnisa
V-art: Journal of Fine Art Vol 5, No 2 (2026): June 2026
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i2.30826

Abstract

Public service announcement posters, which address public health issues related to cigarette smoke exposure, are examples of visual communication media with strong visual characteristics that serve to raise social awareness and critical thinking in audiences, in addition to conveying information. The purpose of this study is to analyze the application of visual aesthetics and interpret the symbolic meanings and emotional experiences constructed through the poster's visual and verbal elements. This study uses a qualitative descriptive and interpretative approach, grounded in Jakob Sumardjo's aesthetic theory, which considers visual works as symbolic representations of human social and cultural experiences. To analyze the data, visual elements such as composition, color, typography, visual images, and verbal text were studied. The results show that the "Indonesian People Are Not Ashtrays" poster not only conveys a persuasive health message but also provides an aesthetic experience through confrontational visual symbols. This poster instills empathy, a sense of threat, and critical awareness in the audience. According to this study, public service announcements can be considered visual cultural artifacts containing aesthetic values, ethics, and social meaning. By applying an aesthetic approach based on human experience, this study expands the research topic of visual communication design.
The Utilization of Burlap as a Creative Economy-Based Craft Art Learning Medium in Secondary Education: A Conceptual Study Martaleny Kurnia Zazilah Putri; Fuji Astuti; Ardipal Ardipal; Heldi Heldi
V-art: Journal of Fine Art Vol 5, No 2 (2026): June 2026
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i2.6255

Abstract

The use of local materials in art education has primarily been discussed in relation to creativity enhancement, yet limited scholarship systematically integrates such materials within a creative economy framework, particularly in secondary-level craft education. Existing studies tend to treat creativity as an isolated pedagogical outcome, overlooking its socio-economic and contextual dimensions. Addressing this gap, this study aims to develop a conceptual framework for goni (jute fabric) as a learning medium in craft education, grounded in creative economy principles at the secondary education level. This research employs a qualitative descriptive design, grounded in an integrative literature review of creativity theory, constructivist learning perspectives, and creative economy discourse. The analysis demonstrates that the material properties of goni—its texture, flexibility, accessibility, and economic value—enable the alignment of creative production with contextual economic literacy. This study contributes conceptually by articulating a pedagogical framework that links the utilization of local materials, the development of creativity, and awareness of the creative economy within craft learning. The formulation extends theoretical discussions on material-based art education and offers a structured basis for integrating creative economy orientation into secondary craft pedagogy.
The Evolution of the Coloring System in the Ornamental Carvings of Istano Basa Pagaruyung shintia shintia; Mutia Budhi Utami; Armen Nazaruddin; Yunis Muler
V-art: Journal of Fine Art Vol 5, No 2 (2026): June 2026
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i2.5558

Abstract

The carvings of Istano Basa Pagaruyung are an important part of Minangkabau cultural heritage, embodying philosophical values and cultural identity. Traditionally, their coloring system relied on natural pigments obtained from the surrounding environment. However, these materials have gradually been replaced by synthetic dyes. This study aims to examine the transformation of the coloring system in Istano Basa Pagaruyung carvings, identify the factors driving this change, and analyze its implications for the preservation of Minangkabau cultural values. A qualitative descriptive approach was employed, with data collected through observation, interviews, documentation, and literature review. The findings indicate that the shift from natural to synthetic dyes has been influenced by the limited availability of natural materials, easier access to synthetic alternatives, greater efficiency, and the practical needs of building maintenance. Despite changes in the coloring materials, the traditional color scheme and its symbolic meanings have been preserved. This demonstrates that the transformation represents an adaptive response to contemporary conditions without compromising the cultural values embodied in the carvings. The findings reflect the Minangkabau philosophy “Bolehlah beranjak duduk, tetapi tikarnya itu juga,” which emphasizes that adaptation may occur while fundamental cultural values remain intact. This study contributes to the preservation of traditional carving art as a significant component of Minangkabau cultural heritage.
Tabuik Pariaman: A Formal Analysis Ara Salsabila Putri; Elvis Elvis; Jufrinaldi Jufrinaldi
V-art: Journal of Fine Art Vol 5, No 2 (2026): June 2026
Publisher : Institut Seni Indonesia Padang Panjang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.26887/vartjofa.v5i2.5560

Abstract

This study aims to examine the form and physical structure of Tabuik Pariaman, a cultural heritage of the Minangkabau community in West Sumatra, Indonesia. Employing a descriptive qualitative approach, data were collected through field observations, semi-structured interviews, and a comprehensive literature review. Data analysis followed the interactive model proposed by Miles, Huberman, and Saldaña, while the investigation of form adopted Feldman’s formal analysis approach to identify the visual elements and compositional principles that underlie Tabuik's structure. The symbolic meanings embedded within each component were interpreted through Geertz’s perspective of symbolic anthropology. The findings reveal that Tabuik comprises several principal elements: Burak, Bungo Salapan, Gomaik, Biliak-Biliak, Jantuang-Jantuang, Pasu-Pasu, Tonggak Atam, and Tonggak Miriang. These components integrate geometric and organic forms to produce a harmonious, balanced, and monumental visual composition. Beyond their constructive functions, each element embodies symbolic meanings associated with spirituality, leadership, fertility, the unity of customary law and religion, and the community’s collective memory of the Karbala tragedy. The study confirms that Tabuik should be understood not merely as a visual cultural artifact but also as a medium through which the people of Pariaman express their cultural identity by integrating historical, aesthetic, and symbolic values. Therefore, its preservation and systematic documentation remain essential to Indonesia’s cultural heritage.

Page 7 of 7 | Total Record : 67

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