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Suryo Tri Widodo
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Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta Jl. Parangtritis Km. 6,5 Sewon, Bantul, D. I. Yogyakarta, 55188, Indonesia
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INDONESIA
Ars: Jurnal Seni Rupa dan Desain
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18297412     EISSN : 25807374     DOI : https://doi.org/10.24821/ars.v27i3
Core Subject : Humanities, Art,
Arts Humanities
Ars: Jurnal Seni Rupa dan Desain merupakan jurnal ilmiah berkala yang diterbitkan oleh Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta. Jurnal ini bertujuan memublikasikan karya ilmiah berupa hasil penelitian, penciptaan, pengkajian, serta studi pustaka di bidang seni rupa, kriya, dan desain. Ars: Jurnal Seni Rupa dan Desain terbit tiga kali dalam setahun, yaitu pada periode Januari–April, Mei–Agustus, dan September–Desember. Sejak volume 21 tahun 2018, Ars telah terakreditasi Sinta 4, dan seluruh artikel yang diterbitkan telah dilengkapi dengan DOI (digital object identifier).
Arjuna Subject : -
Articles 249 Documents
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P0S7-KALIGRAFI: TEROBOSAN SENI KALIGRAFI (ARAB) DI TENGAII PERKEMBANGAN SENI KONTEMPORER DI INDONESIA Vfikke Susanto
Ars: Jurnal Seni Rupa dan Desain No. 7/Januari - April 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i2.265

Abstract

Postmodernism has indeed provided a priceless contribution in how the world o f Arabic calligraphy isenjoyed. This article is attempting to re-examine calligraphy by observing the various styles in Indonesia.By doing this. Arabic calligraphy itt Indonesia which was considered a dying art can hopefully be rebuilt.An important concluding note is the reawakening o f the attitude to discover local ability, including how todevelop a stance towards the internationalisation o f art.Keywords: locality, post-calligraphy, postmodernism
PENGARUH GLOBALISASI PADA RUANG SEBUAH KASUS DARI MASA LALU Mrs. Suastiwi
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 10: Januari-April 2009
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i10.114

Abstract

Globalization is a certainty that changes the world. In Indonesia, the process of globalization was initiated at the early stage of the Christian Calendar that was marked by the incoming of Indian, Chinese, Islamic, and Western culture successively. This article will discuss a case of globalization on space of Rumah Gedhong in Kampung Kauman Yogyakarta. It aimed at seeking the relationship between culture and the space of human activity and investigating how the space changes according to the transformation on the lifestyle and the values or in a bigger scale, the culture of the people.Keywords: globalization, culture, activity, space
Memahami Peluang-peluang Quantum dalam Seni M. Dwi Marianto
Ars: Jurnal Seni Rupa dan Desain No.1 TH.1 April 2004
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.231

Abstract

Tulisan ini merupakan tindak lanjut pelengkap dari tulisan penulis “Kajian QuantumUntuk Bidang Seni Rupa” yang dimuat di jurnal Ekspresi yang diterbitkan oleh LembagaPenelitian ISI Yogyakarta. Dalam tulisan sebelumnya penulis masih sebatas menawarkansuatu kajian yang didasarkan pada cara pandang atas realitas yang diadopsi dari temuantemuaneksperimental fisika quantum. Untuk melengkapi tulisan itu penulis menghadirkansatu cara pendekataa yang lebih praktikal dan opcrasional untuk memahami dan merefleksiseni. Pertama kali akan penulis kemukakan terlebih dahulu paradigma Fisika Klasik yangtelah berabad-abad pemikiran dan cara pandang masyarakat modern, lalu akan disusul dengancara pandang quantum yang mematahkan determinisme Fisika Klasik. Lalu akan penulispaparkan beberapa poin prinsipal dari Fisika Quantum yang penulis pandang layakdicermati. Poin-poin prinsipal ini kemudian akan dijelaskan dengan ilustrasi-ilustrasi yangdipetik dari kehidupan seni yangnyata. Dengan pemahaman quantum kita akan lebih mampusecara imajiner membayangkan potensi-potensi virtual seni atau peluang-peluang dalam karyaseni apapun, untuk selanjutnya dikaji, dan dipilih mana yang yang paling masuk akal danrealistik, bila ingin diaktualkan, baik secara lisan, tertulis, maupun grafis.
CAHAYA SEBAGAI BENTUK SENI Dendi Suwandi
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.254

Abstract

Light is always present around us and lightens every aspect o f our life. Nevertheless, we sometimesJorgct that light is a very unique material it can be seen but not touched. Moreover, it can, actually be used asan expressive media in creating artwork. Natural as well as artificial light such as from electricity, has beenexploited by light-artists to create their arhvorks over long periods o f time and with low intensity.Producing light art through the vision o f the colour o f light, the variation o f shadow, the lightreflection, the construction o f lamp-light, kinetic light and hologram as what some light-artists have done issupposed to inspire other artists in creating and developing tiezv light art.Light art does not mean forming certain shapes, or applying certain techniques which require hightechnology but, instead, applies simple techniques. It depends on our capability in treating and processingthe material as the expressive media. Yet, it cannot be denied that light art relates to an understanding aboutscience, art and technology which unites with thought and the process o f creation.Keywords: light, the colour o f light, shadow, reflection, light art
KEHADIRAN PELUKIS SALIM DALAM SEJARAH SENI LUKIS MODERN INDONESIA M Agus Burhan
Ars: Jurnal Seni Rupa dan Desain No. 9/ September - Desember 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (7545.06 KB) | DOI: 10.24821/ars.v3i9.1

Abstract

Investigating the socio-cultural background, specifically the contradiction among the ideological influences in Indonesia in the late 1950s, cannot be done without discussing Salim. This painter promoted the aesthetic paradigm of ‘universalism’ that emphasized on the freedom of personal expression. Many facts show that Salim was a painter with a firm personality. He built an intensive social relation with Indonesian national movement figures. His paintings contributed significantly to the development of the art of painting in Indonesia. However, he was stick to his decision to stay in Europe. His major rationale was that Europe was his only chance to develop both as human being and a professional painter. In Europe, he intuitively expressed Indonesian values through visual idioms. Europe acknowledged him as a painter with Eastern spirit, whereas in Indonesia he was considered too western. As the matter of fact, he was a universalist. In the bargaining of the aesthetic paradigm the history of modern visual art in Indonesia, Salim existence has been an inspiration and psychological support for painters who fight for universal humanism in his works. His presence was a true manifestation of the national identity issue in art. It was a reflection of political live tradition that is always a color in the journey of Indonesia modern art and culture.   Keywords: modern paintings, nationalism, universalism, identity  
Grid Sebagai Penerapan Prinsip Kesinambungan Dalam Teori Gestalt Petrus Gogor Bangsa
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 14: September-Desember 2011
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i14.142

Abstract

In layout on the design has its elements, ie: text, visual and invisible. As an invisible element, the grid have a role as carriers of regularity. Grid has a function and characters such as line as in design element. Although not visible, but humans are naturally going to consider it as an element that exists, as the application of the principle of continuity in Gestalt psychology.Keywords: layout elements, grids, Gestalt psychology
Seni Patung Berbasis Teknologi Biner 01 Lutse Lambert Daniel Morin
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 12: Januari-April 2011
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (594.986 KB) | DOI: 10.24821/ars.v1i12.2814

Abstract

Sculpture is three-dimensional works created as a way to communicate the artist to the recipient. In general, the sculpture has the look of a close spatial relationship with the planning and preparation form. By some artists of this digital technology is processed and used as a means of creative media. Planning can form through the process without the process technology or technology-based aritmatic row that work based programming language. Blend series aritmatic 0 1 in binary processing will change analog data into an array of data will produce the color through the liquid crystal display (LCD) or cathode ray tube (CRT). Analog data in the form sculpture sketch plan will be changed into electronic visual data displayed through the LCD or CRT screen.
Komunikasi Antar Budaya Motif Batik Cina Agung Wicaksono
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 13: Mei-Agustus 2011
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i13.130

Abstract

Cross-cultural Communication in Batik Cina Motif.  Batik Cina is a motif that is created by the Chinese people or their descents living at the northern coastal area of Java. This motif plays a quite important role in batik development in Java. It contains cross-cultural communication patterns that are beneficial to reduce social tension. A dialogue by means of the exchange of cultural icons brings about a new style of batik motif called batik Cina. The motif is a combination of the China, Java, and Europe motif elements. It is a case of a mutual strengthening.Keywords: communication cross cultural, Batik Cina Motif
PENERAPAN PRINSIP-PRINSIP AKSESIBILITAS PADA SETTING RUANG BAGI PENYANDANG CACAT TUBUH M. Sholahuddin S. Snv M.T.
Ars: Jurnal Seni Rupa dan Desain No. 4 / Januari - April 2007
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i4.245

Abstract

According to the WHO, the number o f physically-challenged ( - difable) people in Indonesia is 7% -20% o f the toted population and only a small proportion o f them possess adequate education and decentemployment. This condition is caused by the lack o f accessible facilities in public spaces (settingroom/interior design). In this condition, they require an institution or community which cares andencourages them to generate a positive attitude.Key Words: Setting Room/Interior Design, Accessibility, Difable.
DINAMIKA PERKEMBANGAN SEMI PATUNG (TIGA DIMENSIONAL) DI BALI I Wayan Seriyoga Parta
Ars: Jurnal Seni Rupa dan Desain No. 8/ Mei - Agustus 2008
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.270

Abstract

Sculpture in Pali was a part o f the departed spirit worship transformation practiced from thepre- history time until the coming o f the Hinduism & Buddhism and Chinese culture. At its early stage,sculpture was the materialization o f Gods in the Hindu belief placed in Pur a (house o f worship in Hindureligion) It became the fetus o f the Pali traditional sculpture that held its own fashions and rules. The nextphase ziyis the emergence o f the autodidact artists who mastered these fashions and rules. In their careercourses, they developed a new form o f sculpture that disobeyed them: This new form then appreciatedas a novel creativity which by many art observers defined as 'modern' sculpture. It ivas an assimilationo f the local values and the Western influence carried by Western artists and cultural observers to Bali.Even though it was stagnant once, Bali sculpture moved forward along tlte time dynamics. The youngartists coming from the academic world pioneered further development which led this art branch to thecontemporary art progression. The statues created were experimental, not only seen from the media andmaterial, but also from the ideas and thoughts underlying them which were represented in installation andmultimedia arts. That is why Pali sculpture has been developing dynamically up to now.Keyzvords: sculpture, Hindu, traditional, religious, modern, contemporary, and experimental

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