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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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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 6 Documents
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Search results for , issue "Vol 1, No 13: Mei-Agustus 2011" : 6 Documents clear
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
Proses Kreatif Penciptaan bawor Budi Hartono
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.v1i13.131

Abstract

Bawor Character Creation Process. The classical shadow play with leather puppets that has been acknowledged as a cultural heritage coming from Indonesia is potential to compete in global level. Bawor, one of the punakawan characters in Banyumasan leather puppet show, has a similar physical appearance with Semar who adopted him as a son. Bawor’s character is considered to be identical with the character of Banyumas people, for example they are believed to be honest. The works of art that have been inspired by Bawor show some form transformations. The form is changed to get funny impression. However, there are still certain messages to be delivered by means of those funny forms. Although there are many possible interpretation, but visually those figures still can be identified as the fat Bawor. So far, craft is regarded as identical with ornament. These Bawors that were depicted without ornamentwere an adjustment to the visual art development nowadays.Keywords: Bawor, craft, ornament
Keris Kamardikan Surakarta Febrian Wisnu Adi
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.v1i13.134

Abstract

The aim of this research is to be searched about aesthetic and historical background that includes the shape, meaning, and function as well as the factors that underlie keris kamardikan in Surakarta. The analysis of the keris kamardikan Surakarta is not a simple matter.  The question such as: what keris kamardikan is; why it had been created; when it start created; whose the man behind of created; where place that keris kamardikan has been exsist; and how about the histocal about it. Change of palace culture maybe happen to the progresive culture with any perception. It can be indicated like social criticism movement in postmodern age, such as: happening art, environmental art, etc. While the factors underlie the similarities and differences are the internal and external factors. The Internal factors are the rules and policy stated by the actor in this regions. The external factor is the factor happens because the society social condition that is more developed as well as the policy of the government of Republic of Indonesia in the tourism sector. The method used in the research is qualitative research with multidicipline approach focusing on the study of art. Aesthetic approach is used for relating the style of art.  This approach is used with other approaches and use the relevant teories such as: history, communication, anthropology, archeology, and sociology. This research has conelude that movemen of keris kamardikan Surakarta is in the structure or style. Historical background of movement started on 1970 in case of many keris artist in Surakarta created it with many purposed, basicly keris Kamardikan Surakarta have two poin of movement, there are an aesthetic and historical.Keyword: keris, kamardikan, Surakarta, aesthetic, and history.
Apa Kabarmu Kartun Karikatur Indonesia? Agni Saraswati
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.v1i13.132

Abstract

Caricature is a kind of picture or a mockery cartoon which containing message or insinuation formed by deformation process to the original figure. Good caricature contained satire, distortion and ethics with usage of word or even without word at all. In real life, caricature become one of media alternative of protesting and criticize situation.Keywords: caricature, mockery cartoon, insinuation, satire
Hindia Belanda dalam Fotografi Prayanto Widyo Harsanto
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.v1i13.129

Abstract

Netherlands East Indies in Photography. The Dutch colonization in Indonesia caused two different cultures- the Western culture (Europe-Dutch) and the Eastern culture (Indonesia) - to meet. Each was supported by distinct ethnic with dissimilar social structure as well. This situation resulted in the fact that the Dutch culture enriched the Eastern cultures, Javanese culture for instance. The Dutch culture influenced broader field and various culture elements. The Indies style was developed to cope with the historical, political, social, economical, art and cultural condition. The Indies style can be sensed in many forms of documentation, photography to mention one. Meanwhile, the need of visual information to be used in knowledge development and the tracing of human civilization became crucial. Basically, photography concerns with how this recording technology encourages the effort to study the need. This study aimed at proofing that photography in Netherlands East Indies was not merely a recording aid,but also an agent of modernization and of life style changes. It also illustrated how the Eastern image was projected by the Western (Orientalism)Keywords: photography, Indies culture, Orientalism
Parodi Dalam Karya Deni Junaedi Albertus Charles Andre Tanama
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.v1i13.133

Abstract

Parody in Junaedi’s Works of Art. Deni Junaedi is an artist who consistently creates parodical paintings. This paper is written from the idea that it is the postmodernism culture which has brought the contemporary art up into view. It is also in the postmodernism culture where parodical art, including parodical paintings exists as a part of contemporary richness. Junaedi’s passion to produce parodical paintings is interesting to be analyzed through these questions: Why is he attracted to create such works of art?; What message does he want to deliver to his audiences?; How his paintings should be seen from the contemporary art point of view?Keywords:  parodical paintings, postmodernism,contemporary art

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