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INDONESIA
ARS: Jurnal Seni Rupa Dan Desain
Published by Institut Seni Indonesia Yogyakarta
ISSN : 18297412     EISSN : 25807374     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
ARS merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni rupa dan desain. Jurnal ini terbit 3 kali setahun dengan 6 artikel setiap edisi yang jatuh pada bulan Januari - April, Mei - Agustus, September - Desember.
Arjuna Subject : -
Articles 245 Documents
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TINJAUAN PERKEMBANGAN, KONDISI SOSIAL DAN KREATIVITAS PERAJIN KERAMIK DI KIARA CONDON G BANDUNG Ayoeningsih Dyah W.
Ars: Jurnal Seni Rupa dan Desain No. 7/Januari - April 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i2.266

Abstract

The centre o f the traditional ceramics!pottery industry established in Java spread out across only a fewareas, including Kasongan (Yogyakarta). Plered (West Java), and Kiara Condong (Bandung, West Java).The ceramics/pottery produced by craftsmen o f Kiara Condong possesses unique characteristics; i.e. whiteclay material, low temperature o f burning, and a shiny glazed texture because o f load meni being one o f theingredients.Viewed from the aspects o f shape and pattern o f the ornament, the craftsmen o f Kiara Condong oftenadopt the m otif and ancient decorative style from the Vereenigde Oost-Indische Compagnie (VOC) era and/or o f the Chinese dynasties. The ornamental nature o f the products is not their only distinctive characteristicbut also the unique identity o f ceramics/pottery o f Kiara Condong. The inclination o f the choice o f style andmotif can be considered one o f the efforts in protecting them from the flood o f imported ceramics/pottery.However, some people consider that what they have done is merely copy old creations and that creativityis not required. This phenomenon is worth observing, considering the many factors which became causeo f the problem; such as environmental condition, labour, as well as the high level o f competition betweenfactories (owners).Keyzvords: ceramics/pottery, Kiara Condong, factor, social condition
PERAN SENI KRIYA DI ERA PERDAGANGAN GLOBAL Timbul Raharjo
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 10: Januari-April 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i10.115

Abstract

In contrast to the kriyawan that able to develop aspects of research and development, innovation capability is actually a manifestation of the economics of proximity, but the producers are faced with the internal weakness of the pattern of financing and Research & Development activities and vulnerabilities to access sources of information. As a result, the role kriyawan become very important in order to encourage innovation capabilities. Proximity craftsmen with external forces such as consumers, distributors, suppliers, and competitors are considered important as a source of useful knowledge in the development of innovation capabilities for the kriyawan. Given the almost certainly composed of international trade in the export trade activities set forth many products related to art craft products. The nature of the mass and economies become one of skill in the art strength exploring the times. Indonesia has a good chance giving the art to craft to surface with high strength locality. Because of the economic nature of art is playing activity continues to craft art craft though. For that work patterns between pekriya and craftsmen sought in the form of mutual cooperation. A kriyawan work to gave birth to a product work can communicate inner experiences were also able to inspire a work product that penetrated into the sphere of mass products as art handicraft items. Of course collaboration among related subjects and aspects of the Art business cannot require each other synergistically. Selfishness in the rights and obligations differentiate cannot be synergized carefully. A product that created by kriyawan expected not to stand alone but can be used by craftsmen in a way giving royalties.Keywords: Art craft, globalization
Komunikasi Visual yang"Cerdik” M. Umar Hadi
Ars: Jurnal Seni Rupa dan Desain No.1 TH.1 April 2004
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.232

Abstract

Bahasa Visual dalam Komunikasi di Sekitar KitaBahasa visual merupakan alat komunikasi yang memanfaatkan unsur-unsurrupa seperti bentuk, warna, komposisi, sebagai bahasa atau lambang untukmenyampaikan informasi. Ia dapat berwujud gambar, relief, patung, sebagairepresentasi kejadian, imajinasi maupun pikiran pengirimnya. Bentuk komunikasiseperti ini telah dikenal manusia sejak dahulu bahkan jauh sebelum ditemukan sistimalfabet oleh bangsa Phunesia. Gambar pahatan di dinding gua di Lascaux Perancis,Hieroglyph di Mesir, cetakan tanah liat di Cina memperlihatkan hal itu.1Kini lebih 2000 tahun kemudian komunikasi yang menggunakan lambanglambangvisual seperti itu telah berkembang pesat dan menjadi konsumsi masyarakatluas melalui berbagai jenis media. Surat kabar, Majalah, Tclcvisi, Video Game, Internet,hingga proyeksi OHP> LCD di ruang kuliah dan seminar menyajikan informasi dengancara visual untuk berbagai tujuan.Disadari atau tidak masyarakat kita saat ini berada pada suatu keadaan yangpenuli dengan berbagai bentuk komunikasi visual. Iklan barangkali objek yang palingmudah ditunjuk sebagai contoh nyata bentuk komunikasi visual yang ada dimasyarakat. Sebagai alat untuk menyampaikan pesan, iklan memang tidak pernahberhenti dalam upaya mencari jalan bagaimana menarik perhatian masyarakatkhususnya khalayak sasaran dalam usaha menawarkan produk maupun jasa. Kemajuanteknologi komunikasi telah menghadirkan sejumlah fasilitas dan berbagaikemungkinan baru yang mampu mempertinggi kualitas visual iklan sehingga dariwaktu ke waktu terjadi peningkatan daya tarik penampilannya.
REVITALISASI SENI KRIYA INDONESIA Sumartono ABSTRACT Mr. Sumartono
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.255

Abstract

"Craft" has a long history in Indonesia. The arrival o f religions (Hindu, Buddhism, and Islam) anddifferent groups (Chinese and westerners) to Indonesia influenced not only to the pattern but also lo theprocess o f creation o f this artwork. These influences provide a neio spirit/life to the Indonesian "craft".Hozoever, Indonesian artists still maintain the " traditional" forms and patterns. They only lake someaspects o f these other cultures and combine them with local culture. Because o f artists'creativity, Indonesian"craft" is able to exist fo r a longer time. Moreover, in order to maintain its existence, the Indonesian "craft~artists are expected to takepart in the discourse o f visual art in IndonesiaKeywords: craft (high art), revitalisation, theory o f change
SENI GRAFIS YOGYAKARTA DALAM WACANA SENI KONTEMPORER Wiwik Sri Wulandari
Ars: Jurnal Seni Rupa dan Desain No. 9/ September - Desember 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i9.104

Abstract

Visual art in Indonesia is not stagnant at all. It is because art always respond to the complex world development from time to time. Graphical Art in Yogyakarta has been developing as well. It always contributes to the visual art promotion of Indonesia. This article will focus on exploring the movement of Graphical Art in Yogyakarta in the frame of Indonesia contemporary art discourse. The Graphical Art in Yogyakarta has been metamorphosing both in visual and conceptual aspects in line with the latest development of the contemporary art.Keywords: graphical art, contemporary art, alternative discourse
Bercermin - Inspirasi dari Subroto Sm : Kompetensi Dosen Seni Rupa Amir Hamzah
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 14: September-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i14.139

Abstract

Artistic biggest contribution in filling independence is upholding of art education which finally can round into the higher education fine arts. As high institute of education, Institut Seni Indonesia Yogyakarta which its age have stepped on 27 year, by increasing old age expected by earn really have mirror to more to developing of himself, upgrading and its role. Will be more be good if started with how this institution can esteem the himself. Can leave from problems of celebration of duty post of a lecture, momen esteem the part of himself, for avand garda of art education which have spilled sweat and its science. Now, with the time and situation that of is dissimilar Mister Subroto finally also propose its friends enter a period of pension. Become important to place the himself in an condition which finally one would consider or pay attention to it to be rewarded. Mister Subroto have the meaning is necessary for his colleague in ISI Yogyakarta, what will be at its place institute serve them. Mister Broto also deputize the other pensioner, what of course later have the history of about public road live as the officer and go together the its place institute work.Keywords: mirror, conpetence, appreciation,celebration, pension.
Batik di Era Teknologi Digital Djandjang Purwo Sedjati
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 12: Januari-April 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i12.2816

Abstract

Batik in the Era of Digital Technology. The processof Batik making (handmade batik and printed batik)operates certain techniques and equipments that arecertainly influenced by the technology development. Theeffects do not only touch the production process but alsothe distribution process. Digital technology is also appliedin this field that in one way or another promotes thebatik art. Digital technology is already used in creatingbatik design. It results in various type of design, forexample the fractal batik that makes over the geometricalforms. Digital technology applied in designing batikcauses a more effective and efficient making process.This technology completes the manual process that is stillemployed until today.
Proses Kreatif Penciptaan bawor Budi Hartono
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 13: Mei-Agustus 2011
Publisher : 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
PROSES KREATIF DENGAN PENCITRAAN ESTETIKA DALAM ETIKA Remy Sylado
Ars: Jurnal Seni Rupa dan Desain No. 4 / Januari - April 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i4.246

Abstract

Seorang pelakon, seorang penyair, dan seorang pelukis, bersama-sama keluar darihalaman TIM, berjalan kaki lewat Kalipasir ke Kernolong, hendak ke Senen.Di depan sebuah rumah di kawasan padat Kalipasir, seorang buyung ketagihan narkoba,duduk dengan wajah kuyu, tiada berpengharapan, kayaknya sebentar lagi modar.Maka berkatalah sang penyair kepada sang pelakon dan sang pelukis, "Kasihan sekalibuyung itu. Hari-harinya gelap seperti jelaga. Tapi, terus terang, tiba-tiba aku mendapat ilhamdari realitas ini. Aku akan menulis sebuah puisi yang niscaya mampu mengejawantahkankesuramannya. Aku kira tidak ada kekuatan dari peradaban manusia yang lebih ampuh daripadakata, bahasa, piranti budaya yang sanggup mewakili pikiran yang dikcindung otak dan perasaanyang dikandung hati. Adalah kata yang dapat membual benci dan perang, serta kata pula vangdapat membuat cinta dan damai. Puisi yang bersandar pada kata, sebab puisi percaya pada nilaitembus ruangnya kata. Bagaimana pendapat kalian?"Sang pelakon menjawab.Yang menjawab sang pelukis. "Baik ."Karena sang pelakon diam, sang penyair pun bertanya kepadanya, "Bagaimana pikirandan perasaannmu melihat buyung itu? Apakah kamu tidak terharu dan iba melihat nasibnya?"Jawab sang pelakon, 'T id ak . Aku pun pernah menjadi seperti itu. Dan, orang-orang yangmenyaksikan aku, semua memberi aplaus, tepuk tangan apresiasi, memuji aktingku. Ketika akumelakukan aktingku itu, aku memerintah ilham, memanfaatkan alat-alat tuhuhku, roh dan jiwa,untuk membuat diriku benar benar meyakinkan seperti itu. Sebelum sanggup melakukan itu,terlebih dulu aku melakukan observasi kejiwaan dalam tiga cara, yaitu introspeksi: mengamatiproses penghayatan atas kejadian yang sudah berlangsung di dalam diri; ekstrospeksi:mengamati proses penghayatan atas kejadian yang sudah berlangsung di luar diri; retrospeksi:mengamati sambil menghayati proses kejiwaan yang sedang berlangsung di dalam diri. Hasilobservasi ini aku simpan di dalam suatu wadah dalam tubuh-roh-jiwa yang aku sebut ’modusk reatif sebagai sukucadang ilham. Begitu aku membutuhkannya, aku panggil untuk membajudiriku, mencipta aktingku. Ini yang aku maksudkan tentang kemampuanku memerintah ilhamBukan menunggu ilham."
HAK CIPTA DALAM DESAIN KOMUNIKASI VISUAL Novi Mayasari
Ars: Jurnal Seni Rupa dan Desain No. 8/ Mei - Agustus 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.271

Abstract

Copy Right is one o f the Intellectual Properti/ Right instruments to protect the creations resultedfrom the field o f knowledge, art mid literary. A> a brunch o f art, Visual Communication Design is alsosheltered by the Copy Right. The protection covers the right to announce the zoork (il ntay be the right topublish or to perform the works) and the right to copy the works. The right to announce cat: be in the formo f airing, performing, exhibiting, selling, etc. The right to copy include* the copying by photocopier andscanner machine.Copy Right guarantees a visual communication designer's economic and moral rights. Theeconomic right is the economic advantage the creator gels from his creation such as the selling and theroyalty results> whereas the moral right is the right to protect the creators' good name.Keywords: copy right, law protection, Intellectual Rights

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