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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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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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Modernisasi dan Transformasi Seni Lukis Bali pada karya I Gusti Nyoman Lempad I Wayan Seriyoga Parta
Ars: Jurnal Seni Rupa dan Desain Vol 3, No 11: September-Desember 2010
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i11.123

Abstract

Pita Maha was founded by Cokorda Gede Raka Sukawati, with Walter Spies and Bonnet Rodelf  in. Pita Maha as an organization that embodies activity Balinese painters and sculptors at that time, 1937th contribute to the marketing of  art works. Through this Pitamaha values-aesthetic identity Balinese art and artists built awareness (constructed), then be the names then began confirmed its position as an individual artist.  So the position of  an artist for most of  Balinese painters at that time was in a state of  given situation, rather than grow out of  their consciousness as an individual artist (modern). Although the development is slowly starting to appear professional awareness of  the individual artists but again, awareness is not as modern individual artist. I Gusti Nyoman Lempad is one of the most important generation of  artists Pita Maha, displaying his works of  art aesthetic transpormasi postHindu Balinese to fine art (painting) modern Balinese.Keywords: Pita Maha, aesthetic, transformation, indivial artist, visual art (Bali)
Cahaya Bagi Kreasi Estetik SP. Gustami
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.v1i1.236

Abstract

Cahaya sebagai suatu gejala harus sudah disadari, sejak orang mengenal siang danmalam. Pada siang hari suhu udara menjadi hangat atau panas akibat terkena pancaransinar matahari. Oleh sebab itu, wajar jika cahaya diasosiasikan dengan panas; panasdiasosiasikan dengan iklim, yakni bagian siklus realitas alam yang ditimbulkan oleheksistensi matahari. Cahaya tidak hanya sebagai kekuatan (energi) yang memberikan dayahidup segala makhluk di dunia, tetapi disadari bahwa tanpa cahaya segala sesuatu tidakmungkin terlihat atau digumuli adan dikembangkan bagi kepentingan hidup.Pada dasarnya sumber cahaya dapat dipilahkan menjadi dua macam, yaitu sumbercahaya alami dan buatan. Sumber cahaya alami antara lain, berasal dari matahari dan kilat(lightningj dengan segala implikasinya; sedangkan sumber cahaya buatan antara lain,berasal dari api dan listrik. Efek yang ditimbulkan oleh kedua sumber cahaya itu telahmempengaruhi kesadaran manusia, sehingga setelah mengalami sentuhan estetik umbulfenomena tertentu yang terkesan dramatik, mitis, dan religius, atau sama sekali bersifatprofan. Hal itu bergayut dengan eksistensi manusia yang memiliki kesadaran rasional danirasional sekaligus. Sejalan dengan itu, pengenalan dan pemahaman manusia mengenaicahaya juga terbagi menjadi dua alur pikir yang berbeda, termasuk di dalamnyaperanannya di bidang penciptaan karya seni. Kehadiran cahaya dalam seni juga memilikidua kecenderungan terpisah, yaitu munculnya sifat sacral (dramatik, mitis, dan religius)dan profan. Bukti untuk itu dapat diperhatikan melalui uraian berikut.
AHMAD SADALI Al Quran dalam Pribadi Seniman Islami Amir Hamzah
Ars: Jurnal Seni Rupa dan Desain No. 6/September - Desember 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.v1i1.261

Abstract

Islam in society nowadays has evolved over a very long lime, especially as the span of time betweenthe messenger, the Prophet Muhammad, becomes more distant. This religion which reaches the disciples'heart faces many, various considerations. One o f these considerations which is mostly accepted by thesociety is secularity towards the religion. Religion is considered to be the other side o f a person's life, whichis not supposed to be involved in societal matters. Hoioever, at the same time, a phenomenon of "back tosyariah (Islamic law)" becomes apparent in Moslem society. A proportion o f Islamic disciples rediscover aconnection and realise its jwtential in ruling human life. I he Koran becomes a solution in confronting thislife.It affects not only common people's thoughts but also artists in creating artworks. Vie late AhmadSadali was a Moslem artist who realized this potential in his life. He tried to identify himself as "idilalbab", a human being exemplified by his Cod, as written in the Holy Book in which he believed. This factor,eventually, differentiates his personality as well as the artworks he produced from his fellow artists andtheir oion works.Keywords: Ahmad Sadali, Islamic identity, The Koran, verse
KONSUMSI DAN PRAKTIK MODERNITAS DALAM IKLAN ENAMEL ZAMAN KOLONIAL DI HINDIA Karina Rima Melati
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 | DOI: 10.24821/ars.v3i9.109

Abstract

indonesia in netherlands colonization era experienced a western modern industrialization which was signified by liberal economic system application. This economic system led to the production of new regulation and mass communication media, including commercial advertisements. Advertisements which were actually persuasive messages of the offered product and service conveyed to the target audiences played a role in constructing a dynamic consumption culture and supporting the existing modern industries. One type of it was the enamel advertisement. It was made of a 2-3 millimeterthick iron plaque with an eye- catching visualization so that it attracted a lot of attention from the people.This kind of advertisement became a crucial part to translate the consumers’ taste which was built in the consumptive culture dynamics. Its verbal and visual signs revealed the employed social- economic system of the target audiences.            Keywords: artefact of modern industry
JOGJA KOTA MURAL Bambang Witjaksono M.Sn.
Ars: Jurnal Seni Rupa dan Desain No. 3 November 2006
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.225

Abstract

Outline o f this research is to know the relation between art and power, m this case mural as anartwork and Yogyakarta municipality as the power holder. The power holder has the task to create a policyconcerning public space, including art in public space, and the function o f mural as one o f the specificcharacters o f Yogyakarta city.Besides it is also to know the program o f Yogyakarta municipality in managing its area, especiallythat which concerns art in public space, its relation with the aspects o f tourism, education and community'sinvolvement in designing the management o f public space in Yogyakarta city.Key ivords: Mural, Yogyakarta, Public space
STREET ART: SISI LAIN DARI FENOMENA MURAL JOGJA SEBUAH PERTARUNGAN IDENTITAS DAN KEPENTINGAN Mr. Warsono
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.v2i5.250

Abstract

Murals, as one o f the public art genres, has experienced rapid development in Jogjakarta, especiallysince the emergence o f Kclompok Ajwtik Komik as one o f its pioneers. Nevertheless, there are other factorsinfluencing the development o f murals, including socioculture, politics and economics, as well as globaldevelopment: lifestyle and the globalisation o f culture. The project o f Apotik Komik (Mural Kota, 2002)marked the beginning o f murals. As a result, murals spread sporadically throughout Jogja and even reachedremote corners o f the city. A new moniker is even attached to jogja as the City o f Murals.'The term "mural" (especially amongst the people o f Jogja) becomes a common word used to addressevery drawing and painting on most ivalls across the city. While, in fact, some works on walls in Jogjaoriginate from different genres. Several works are inclined towards the artistic style and possess roots whichare different front existing murals; some choose gruff ti and street art such as stencil, sticker, characters, etc.Differing from former mural artist communities, in the beginning o f2003 these groups began lo show theiractivities in Jogja s public spaces, and, o f course, they have different characteristics from existing murals.Keywords: street art, graffiti, public space
Jalan Garis Subroto SM Suwarno Wisetrotomo
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.v1i14.135

Abstract

Ini sekadar catatan pendek yang bermula dari pengamatan terhadap karya-karya Subroto Sm., berikut percakapan yang menyertainya. Subroto, seorang pelukis dan dosen di Fakultas Seni Rupa, almamater yang memiliki andil besar ‘membentuk’ eksistensinya, adalah sosok yang khas; baik penampilannya, cara berpikirnya, sikapnya, dan jalan keseniannya.
Peran dan dampak Teknologi digiTal pada Disain InterioR FSR ISI Yogyakarta Martino Dwi Nugroho
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 (756.872 KB) | DOI: 10.24821/ars.v1i12.2812

Abstract

The Role and Impact of Technology on the Interior Design Study Program of ISI Yogyakarta. Digital technology grows rapidly and covers all fields in life. The design education conducted by the Visual Art Faculty of ISI Yogyakarta manages to cope with the technology development. This progress does not only set changes in technical aspects such as equipment and material, but also includes a wider range of issues correlated with the designing concept, the users’ responses and the designers’ attitude in the process of creating their works of art. The development of interior design in Indonesia can be tracked from four periods of development: the colonization era, the guided democracy era, the new order era, and the 21st century design era. The Interior Design Study Program, as other study programs existing in the Faculty of Visual Art of ISI Yogyakarta is branded for excellent manual skills. The application of digital technology in its teaching-learning process should ponder many aspects: hardware, software, maintenance, and human capital. Thoughtful researches are required to be able to follow the world development and show the uniqueness of this art education institution
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 | DOI: 10.24821/ars.v1i12.126

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.Keywords: Sculpture, Technology, Binary 0 1
TINJAUAN FENOMENOLOGIS SENI RUPA MODERN INDONESIA Drs. Pracoyo, M. Hum.
Ars: Jurnal Seni Rupa dan Desain No. 2 - Februari 2005
Publisher : Fakultas Seni Rupa dan Desain, Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i2.241

Abstract

dengan bidang seni lukis semata, mesiu makna sesungguhnya tidak demikian, melainkanberlaku pula bagi jenis karya seni rupa lainnya seperti seni patung, seni grafis, seni kriya(meliputi seni kriya logam, ukir kayu, keramik, bauk), dan sebagainya. Akan tetapi ridakdipungkiri bahwa ditinjau dari aspek sejarah peranan seni lukis sangat menonjol sehubungandengan proses pembentukan dan kemunculan seni rupa modem Indonesia berupa timbulnyasikap baru yang mendasari penciptaan karya-karya seni rupa dan hal itu membedakannyadengan hal-hal yang mendasari penciptaan karya-karya seni rupa pada masa sebelumnya (senirupatradisional).Seni rupa modem Indonesia merupakan bahagan baru dari perkembangan seni rupsIndonesia masa sebelumnya, sejak masa pra-sejarah berlanjut ke masa proto-sejarah, masaklasik-kecandian 'Hindu dan Budha), masa masuknya pengaruh agama Islam, masa masuknyapengaruh budaya Barat bersamaan dengan terjadinya jaman penjajahan oleh bangsa-bangsaBarat, masa kemerdekaan hingga sekarang.Keberadaan seni rupa modern Indonesia yang dirintis oleh Raden Saleh SyarirBustaman (1814-1880) dan sempat terputus kuranglebih 50 tahun, tampil kembali dan mulaiberkembang sejak 1925 hingga kini, sehingga eksistensinya dapat dikatakan masih sangatmuda bila dibandingkan dengan keberadaan seni rupatradisional Indonesia.

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