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INDONESIA
Corak : Jurnal Seni Kriya
Published by Institut Seni Indonesia Yogyakarta
ISSN : 23016027     EISSN : 26854708     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
CORAK adalah jurnal ilmiah yang diterbitkan oleh Jurusan Kriya, Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta dengan nomor p-ISSN: 2301-6027 dan nomor e-ISSN: 2685-4708. Jurnal ini berisikan tentang artikel hasil penelitan, gagasan konseptual (hasil pemikiran), penciptaan, resensi buku bidang seni kriya dan hasil pengabdian masyarakat dalam bidang kriya.
Arjuna Subject : -
Articles 8 Documents
 1 
Search results for , issue " Vol. 1, No. 2 Nopember 2012-April 2013" : 8 Documents clear
KRIYA TEKSTIL TIE-DYE (IKAT CELUP): SEBUAH MEDIA EKSPLORASI ESTETIS YANG POPULER Widodo, Suryo Tri
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

Tie-dye becomes the one of the most popular craft textile, which is known almost all over the world including in Indonesia. Making motif on to the fabric using tie-dye techniques is very easy to be learned, beside there are many kind of simple technics on it. These techniques are very unique and could be developed and explored without limited. The unpredictable effects of motifs sometimes may appear and can be resulted from tie-dye techniques. In this article we will study about tie-dye in many aspect i.e. term of tie-dye, tradition and culture background of tie-dye, mainly showing about tie-dye techniques, and a few tie-dye products. This paper expected give the wide describing and inspiring about tie-dye in craft textile works or tiedye as an expression of fine art.Keywords: tie-dye, resist-dye, textile motif, craft textile, aesthetic exploration
SUMBER SENI INDONESIA LAMA Nizam, Akhmad
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

Modern Art of Indonesian is rich of mozaik. The result from combination of esthetic ekspression of traditional and non traditional. Some element can be arrange in modern art is the evolution from prehistoric art that buried from the prest. The relation from traditional art and modern art become symbiosis. Exactly modern art has been appropriate with some genre in art, infact in comtamprorary art. There any attraction with Etnic art as reminder about the presistant as ancient tradition. In papper/article has been explorated about the ekspression of tradition art wich already givea beg influence, create, and also develop any responsibility about the evolution of art in Indonesianfor many years. The traditional culture have much the glories of bronze age in southeast Asia. At the begining a sign and symbol have been stated on a cave as art, a megalith statue, and any kind of tradition motive/theme for worship of anchestral spirits. Their cultural hesitge are delicate carvings engraved on brame ritual tools, magic carvings on war shields and elaborate ceremonial symbol fromthe bronze artifact.Keyword : Last Art, Artifact.
POTENSI SENI KRIYA ISTIMEWA DALAM PAMERAN “NEGARI NGAYOGYAKARTA HADININGRAT 2012” Eskak, Edi
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemorate the first century of Hamengku Buwono IX as well as 2,5 century of Ngayogyakarta Hadiningrat, featuring the character or the privilege of Yogyakarta through works of art by artists with no exit from the corridors of copyrighted artistic distinctiveness. The works on display most of the particular character, specific and have their own specialty. Privileges of Yogyakarta with its dynamic, multicultural, and tolerant of the works reflected on display in the various mediums of expression and creation. A wide assortment of works of art displayed expression of both the traditional, conventional and non conventional, such as: painting, graphics, sculpture, video, film, animation, installation, performance art, digital prints, puppets, mixed media and others. Not to mention that the exhibition has a variety of craft works of art, such as the art which haselements of craftmanship. The uncommon art that relies on creativity ideas and handskills in this exhibition appear surprisingly with exceptional works that have creative potential prospective. These young artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I Gusti Ngurah Edi Basudewa.Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat
PENGARUH KEBUDAYAAN ASING DALAM PEMBENTUKAN RAGAM HIAS PELAMINAN NAREH PARIAMAN Rahmanita, Nofi
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

The Handicraft of embroidery “palaminan” in Nareh Pariaman is an old culture product which is used for social purposes. As the time goes, now, the “palaminan” is not only used by the king or noblesse. Right now, it has been used in mostly wedding parties of Minangkabau tradition. It is used as the seat of the bride groom and bride who are called king and queen for a day. Regarding this theme, when we see the several various of palaminan, it looks like been influenced by the Chinese and Hindi/Gujarat Custom. Such as phoenix 9(bird) and lion decorated at the “palaminan”, or for the Gujarat custom, there are embroidery with mirrors that decorate the palaminan. The mirror embroidered for the people of Nareh Pariaman has the meaning “suluah bendang” in the village. The art of embroidery palaminan Nareh Pariaman has many structures which are connected to each other. They can not be separated in each use. The structures are decorated by the many kinds of Minangkabau decoration. Most of the decorating comes from application of the Minangkabau’sphilosophy known as “alam takambang Jadi Guru”. The philosophy has symbolic meaning that contains some lessons about managing humans life, especially for people of Nareh Pariaman.Keywords: beyond culture, motif, pelaminan
PERTALIAN TRADISI KERIS TANGGUH NGÉNTHA-ÉNTA YOGYAKARTA: Titik Awal dan Kebangkitan Historis Timbul Haryono, Supriaswoto dan
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

Kerris is stabbing weapon for the archipelago wich have a term of religious, values, magical, aesthetic, and mysterious, but also have a politic value, economy, sociology, and art that not timeless. It prove that kerris existence still exists and continuous to exists. The one that get tracked is Tangguh Ngentha-entha Kerris of Yagyakarta. Who masters that become the supportersand how Tangguh Ngentha-entha Kerris rise back and found their identifycan be listened to in the following text.Keyword : Kerris, Tangguh Ngentha-entha, empu, Entha Wayang.
GREBEG MAULUD DALAM REPRESENTASI BUSANA DAN MOTIF BATIK DI KERATON YOGYAKARTA Hasan, Renta Vulkanita
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Culture growing in Indonesia and overseas intrinsically dynamic. Nature of culture as a result of human creativity is always moving and displacement. When his journey to the vibrant place anyway, culture is likely to mix with the native culture which then grow and develop into a new culture. Culture is a strong factor that affects the mindset. Over time, society has a way of looking at the world deal, behave, and interact with each other. In other words, they have their own color and pattern of the deal while making rules in social life. Yogyakarta in Java, which is known as one of the cultural centers of Java development, especially ritual Grebeg Maulud. Ritual Grebeg Maulud over time reflecting the constantly changing movement of social change, culture, politics, economics and society in his day. Ritual is a means of connecting Grebeg Maulud transcendental between man and God (Manunggaling Kawula-Gusti) and guidance from the teachings of the holy book (Islam). But this time Grebeg Maulud also has another function, namely as a spectacle. This suggests a cultural shift from the sacred to the profane. Batik as a dress code in the Carnival celebrations Grebeg Maulud is one reflection of the existence of culture in Yogyakarta Palace. The use of batik in a ritual procession Grebeg Maulud is a tradition that continues to this day. Batik palace is considered one of the symbols of the existence of power relations by creating a specific motive for a particular class. Dynamism of culture led to the use of batik is not only a marker of power relations, but also as an exciting treat for the fashion show at the Carnival lasts Grebeg Maulud.Keyword: Grebeg, Maulud, representations, clothing, batik, palace, Yogyakarta
KRIYA KERAMIK: WUJUD, POSISI, DAN PERANNYA DI MASA KINI Satrio, Akbar Adhi
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

This article act as a response for what is kriya especially ceramic craft in nowadays context. Public usually knows about ceramic is limited to traditional terracotta product that they usually found in a craftsmen village or an industrial mass produce ceramic that they always use in their everyday life. Kriya (or craft in the western term) now has grew more not only limited in the scope of tradition or even a mass product only. There are many new small independent studio emerge as a new perception that combine the potential of both industrial and traditional have. The role of educational institutions are producing graduates working in the field of ceramic craft has established a new perception on how it should craft in contemporary ceramics put his position in the midst of globalization. Ultimately concluded that the ceramic craft began to position himself to a wider sphere, not only as a center for craftsmen but also intangible and handicraft industries based independent studio-based designermaker.Keywords : kriya, ceramic, culture, identity
RAGAM HIAS BINATANG DALAM MEDALION ., Kirno
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
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Abstract

Indian - Indonesia culture acculturation played a riddle which still debated until today. Indian cultural influence was strong in Central Java and inversely proportional to the area of East Java. At the temple, the visual form change was easily found where the form of towering slender turned into fat and wide. The concentric form change to chtonis system, human decorations that look realistic style turned into puppets as one of the characteristics of prehistoric cultures. Decorative variety of medallions as one of ornament in Induk Panataran Temple are a visual text that attempts to convey a message. Animal species diversity engraved in Decorative variety of medallions became an evidence of the local genius skills in blending and gathering the Indian cultural influences for the future.Keyword : Ornament, Medallion, Panataran Temple, Local Genius

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