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Sanggitarupa
Published by Institut Seni Indonesia Surakarta
ISSN : 28088301     EISSN : 29876877     DOI : -
Core Subject : Art,
Arts
Sanggitarupa is an Fine arts journals covering art in interior design, visual communication design, photography, film and television, sculpture, printmaking, painting supported by the concept of creation, which are innovative and scientific works that are always oriented towards quality improvement Sanggitarupa is published twice a year, in July and December. Admitted and published articles can be freely accessed on this website.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 96 Documents
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Representation of Saibatin Nampan Fabric as a Form of Woven Artisanal Preservation in Lampung Anjar Nur Cholifah; Susi Susyanti
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The Nampan fabric is a traditional cultural artifact produced through weaving techniques by the Saibatin Tribe along the coast of Lampung. This fabric features various sizes, colors, and square-shaped patterns. However, information regarding Nampan fabric remains limited, and previous studies have not comprehensively mapped the empirical data gaps regarding its visual taxonomy. This study aims to visualize data on the shapes, patterns, and sizes of Nampan fabric, record the frequency of each motif's appearance, and analyze its functionality. A total of 83 Nampan fabrics were documented and classified based on their specific characteristics. As a long-term preservation effort, this research includes converting images from physical/raster format to vector format to generate precise digital asset standardization. This study employs a qualitative method with data visualization analysis techniques, utilizing source and method triangulation through field observations, interviews with cultural curators (pamong budaya), and museum catalog studies. The results indicate a contrast dominance of general patterns with 42 findings, followed by 24 ship patterns, 14 fauna patterns, and only 3 flora patterns. The dominance of general patterns represents the high utility of this fabric for dynamic daily functional needs. The average dimensions of Nampan fabric are 59.48 cm in length and 56.42 cm in width, which are practically designed as food covers or table mats. Through a collaborative digitalization approach, it is hoped that Nampan fabric can maintain its value as a significant cultural heritage in Indonesia and gain international recognition.
A Multimodal Analysis of the Construction of Material and Spatial Meaning in the Interior of Saminah Sihyadi Mosque Primastiti Wening Mumpuni; Diana Safinda Asran; Anisah Rahmawati; Asaya Zila Putri Tori
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Mosques are not merely places of worship; they also serve as complex cultural texts where spatial design and material elements express layered social and symbolic meanings. This study investigates how the interior of Masjid Saminah Sihyadi, an urban mosque in Surakarta, Indonesia, constructs meaning through its material configuration, spatial zoning, and symbolic elements. Using a Multimodal Discourse Analysis (MDA) approach, the research focuses on materials such as rattan and open-cell metal ceilings, pivoted krepyak windows, and copper calligraphy panels. Data were collected through visual documentation, on-site observation, and informal interviews with mosque users. The findings reveal a nuanced narrative embedded in material choices: rattan signifies warmth and intimacy, typically associated with female prayer zones, while exposed metal reinforces spatial dominance and masculine order. The pivot windows mediate openness and social fluidity, and the copper calligraphy marks spiritual authority and sacred presence. These material-spatial arrangements actively participate in shaping religious experience, gendered spatial perception, and socio-cultural narratives. This research contributes to a deeper understanding of interior architecture in religious spaces, highlighting how design operates as an agent of cultural meaning-making.
Damar Kurung Melintas Waktu: Preserving Local Culture in the Age of Digital Society Ika Anggun Camelia; Djuli Djatiprambudi; Martadi; Fera Ratyaningrum
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

Cultural conservation is an essential component in efforts to preserve cultural values because it is closely related to strengthening, preserving the environment, and sustainable learning and education. This research aims to identify a form of conservation as well as a supporting factor for the success of local cultural conservation in the digital society era. The research method used is descriptive qualitative through a case study  of the “Damar Kurung Melintas Waktu" Exhibition in Gresik, East Java. The findings indicate forms of cultural conservation that have been carried out by the Gresik Community, including the digitization of Damar Kurung, diversification of forms, and the development of Damar Kurung as a source of inspiration. “Damar Kurung Melintas Waktu" Exhibition  was attended by 22 artists and there were 7 activities consisting of 4 discussion forums and 3 workshops. The factors that affect cultural conservation include the role of the environment and community, government support, cultural digitalization, innovation and creative adaptation, education based on local wisdom, and the role of social media in promoting local culture. The digital society can embrace local culture as long as it is preserved in ways that are relevant to contemporary social practices.
Representation of Muara Takus Temple in the Stage Design of the 31st Srivijaya Festival 2023 Didiek Prasetya; Mukhsin Patriansah; Husni Mubarat; Iqbal Maulana Yazid; M. Ridwan
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The 31st Srivijaya Festival 2023 was a cultural arts event that highlighted historical values and regional cultural identity. The festival involved participants from 17 regencies and municipalities across South Sumatra. One of the key elements in the event was the stage design, which adapted the visual form of Muaro Takus Temple. The selection of Muaro Takus Temple was based on its historical significance related to the glory of the Srivijaya Kingdom and its distinctive architectural features, particularly its stupa form and red-brick construction. This study aims to examine and analyze the process of cultural transformation and representation from the temple’s architectural form into the stage design. The research employed a descriptive qualitative method with an interpretative approach. Data were collected through observation, interviews, and documentation as primary sources, while literature studies from internet sources, social media, scientific articles, and relevant books served as secondary data. The validity of the data was established through data triangulation, which included documentation of the architectural form of Muaro Takus Temple, verification of relevant literature, and interpretative analysis using Stuart Hall's representation theory. The data were analyzed through data reduction, data presentation, and conclusion drawing. The findings reveal that the representation of Muaro Takus Temple was manifested through the application of visual elements, including form, line, color, texture, and space, which were derived from the temple’s architectural characteristics such as its tiered structure, red-brick material, and stupa shape. These elements were transformed into the main stage property, functioning not only as a performance backdrop but also as a symbol of the grandeur of Srivijaya as a maritime kingdom and a center for the dissemination of Buddhism in the Indonesian archipelago. Therefore, the stage design of the 31st Srivijaya Festival 2023 serves as a visual, aesthetic, and communicative representation of the cultural and historical values embodied in Muaro Takus Temple
Production Efficiency of 2D Pixel Art Through 3D Model Transformation Using Node-Based Compositing Najwa Nur Azizah Sanusi; Samuel Gandang Gunanto; Mohammad Arifian Rohman
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

The game development industry demands high efficiency in visual asset production without compromising aesthetics. While 2D pixel art maintains consistent market appeal, its conventional manual frame-by-frame method is structurally limited in terms of consistency and scalability. This research designs and validates a deterministic hybrid pipeline for 3D-to-2D pixel art character asset production using Blender's Compositing Node, employing a Research and Development (R&D) approach combined with experimental methods. The pipeline integrates Rasterization Algorithms, Grid Snapping, and Downsampling Theory, with production time, visual quality, and reusability were evaluated objectively using screen-recording analysis. Three key findings were obtained. First, the pixel conversion formula Value = Render Resolution ÷ Target Resolution was mathematically validated across five resolution scenarios, yielding perfect matrix partitions without pixel residue; in the critical case (1080 px → 64 px), spatial deviation was only 0.74%, well below the industry tolerance threshold of 5–10%. Second, the pipeline achieved a Break-Even Point (BEP) at n ≈ 0.97, indicating that the reusable component investment (3.21 hours) was recovered before the first character was completed, with efficiency gains growing from 1.66% (1 asset) to 49.73% (10 assets). Third, the identified visual deviation of 1–2 pixels (1.56%–3.13%) falls below the Just Noticeable Difference (JND) threshold of 5–10%, confirming that pixel art aesthetics including outline sharpness, inter-frame proportional consistency, and silhouette readability remain fully intact. These results demonstrate that the proposed pipeline offers a reproducible, scalable, and AI-independent solution for mass production of pixel art character assets.
Setting as a Marker of Space Time: Historical Mise en Scene in Hamka & Siti Raham Vol. 2 Attabik Ahmad; Sri Wastiwi Setiawati
Sanggitarupa Vol. 6 No. 1 (2026): Sanggitarupa
Publisher : Institut Seni Indonesia Surakarta

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Abstract

This article examines the role of year-transition settings as spatial and temporal markers in Hamka & Siti Raham Vol. 2. The study is prompted by the tendency of historical biopic scholarship to treat setting primarily as a supporting visual background, despite its significant contribution to create historical authenticity and narrative meaning. This study employed a qualitative approach by means of textual-contextual analysis to mise-en-scène elements, including architecture, set decoration, props, materials, color, lighting, and spatial organization. The data consist of scenes representing the historical periods of 1947, 1959, 1964, 1966, 1970, 1972, and 1975. The findings revealed that setting operates through three interrelated dimensions: locative, temporal, and symbolic functions. Its locative function was manifested through distinctive spatial environments that represent different stages of Hamka’s life, ranging from refugee shelters and family residences to detention cells, public religious platforms, mourning spaces, hospital rooms, and the Indonesian Ulema Council (MUI) National Congress Hall. The temporal function was constructed through period-specific visual elements, such as kerosene lamps, Jengki-style furniture, classic microphones, glass intravenous bottles, and state symbols. Meanwhile, the symbolic function emerged through the capacity of settings to reflect shifts in Hamka’s social position and life trajectory, from hardship and stability to imprisonment, recovery, reconciliation, loss, and eventual institutional recognition. The study also identified several instances of anachronism in textiles, materials, furniture, and typography. Nevertheless, these inconsistencies did not substantially diminish the setting ’s ability to construct a coherent spatial-temporal framework within the narrative. This article contributes to Indonesian biopic film studies by positioning setting as a primary analytical device for understanding the construction of temporality, spatiality, and historical reconstruction in cinematic representation.

Page 10 of 10 | Total Record : 96

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