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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 (2012): NOVEMBER 2012" : 8 Documents clear
KRIYA KERAMIK: WUJUD, POSISI, DAN PERANNYA DI MASA KINI Akbar Adhi Satrio
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (445.289 KB) | DOI: 10.24821/corak.v1i2.2322

Abstract

This article act as a response for what is kriya especially ceramic craft in nowadays context. Publicusually knows about ceramic is limited to traditional terracotta product that they usually found in acraftsmen 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 oreven a mass product only. There are many new small independent studio emerge as a new perceptionthat combine the potential of both industrial and traditional have. The role of educational institutionsare producing graduates working in the field of ceramic craft has established a new perception onhow it should craft in contemporary ceramics put his position in the midst of globalization. Ultimatelyconcluded that the ceramic craft began to position himself to a wider sphere, not only as a center forcraftsmen but also intangible and handicraft industries based independent studio-based designermaker. Keywords : kriya, ceramic, culture, identity
SUMBER SENI INDONESIA LAMA Akhmad Nizam
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1267.098 KB) | DOI: 10.24821/corak.v1i2.2317

Abstract

Modern Art of Indonesian is rich of mozaik. The result from combination of estheticekspression of traditional and non traditional. Some element can be arrange in modern art is theevolution from prehistoric art that buried from the prest. The relation from traditional art andmodern 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 asancient 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 Indonesianformany years. The traditional culture have much the glories of bronze age in southeast Asia. At thebegining a sign and symbol have been stated on a cave as art, a megalith statue, and any kind oftradition motive/theme for worship of anchestral spirits. Their cultural hesitge are delicate carvingsengraved on brame ritual tools, magic carvings on war shields and elaborate ceremonial symbol fromthe bronze artifact.Keyword : Last Art, Artifact.
GREBEG MAULUD DALAM REPRESENTASI BUSANA DAN MOTIF BATIK DI KERATON YOGYAKARTA Renta Vulkanita Hasan
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (647.843 KB) | DOI: 10.24821/corak.v1i2.2321

Abstract

Culture growing in Indonesia and overseas intrinsically dynamic. Nature of culture as a result ofhuman 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 theworld deal, behave, and interact with each other. In other words, they have their own color andpattern of the deal while making rules in social life. Yogyakarta in Java, which is known as one of thecultural centers of Java development, especially ritual Grebeg Maulud. Ritual Grebeg Maulud overtime reflecting the constantly changing movement of social change, culture, politics, economics andsociety in his day. Ritual is a means of connecting Grebeg Maulud transcendental between man andGod (Manunggaling Kawula-Gusti) and guidance from the teachings of the holy book (Islam). But thistime Grebeg Maulud also has another function, namely as a spectacle. This suggests a cultural shiftfrom the sacred to the profane. Batik as a dress code in the Carnival celebrations Grebeg Maulud isone reflection of the existence of culture in Yogyakarta Palace. The use of batik in a ritual processionGrebeg Maulud is a tradition that continues to this day. Batik palace is considered one of the symbolsof the existence of power relations by creating a specific motive for a particular class. Dynamism ofculture led to the use of batik is not only a marker of power relations, but also as an exciting treat forthe fashion show at the Carnival lasts Grebeg Maulud. Keyword: Grebeg, Maulud, representations, clothing, batik, palace, Yogyakarta
KRIYA TEKSTIL TIE-DYE (IKAT CELUP): SEBUAH MEDIA EKSPLORASI ESTETIS YANG POPULER Suryo Tri Widodo
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1182.694 KB) | DOI: 10.24821/corak.v1i2.2316

Abstract

Tie-dye becomes the one of the most popular craft textile, which is known almost all over theworld including in Indonesia. Making motif on to the fabric using tie-dye techniques is very easy to belearned, beside there are many kind of simple technics on it. These techniques are very unique andcould be developed and explored without limited. The unpredictable effects of motifs sometimes mayappear 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 andculture 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 tiedyeas an expression of fine art.Keywords: tie-dye, resist-dye, textile motif, craft textile, aesthetic exploration
PERTALIAN TRADISI KERIS TANGGUH NGÉNTHA-ÉNTA YOGYAKARTA: Titik Awal dan Kebangkitan Historis Supriaswoto Supriaswoto; Timbul Haryono
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (451.4 KB) | DOI: 10.24821/corak.v1i2.2320

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 TangguhNgentha-entha Kerris of Yagyakarta. Who masters that become the supportersand how TangguhNgentha-entha Kerris rise back and found their identifycan be listened to in the following text. Keyword : Kerris, Tangguh Ngentha-entha, empu, Entha Wayang.
PENGARUH KEBUDAYAAN ASING DALAM PEMBENTUKAN RAGAM HIAS PELAMINAN NAREH PARIAMAN Nofi Rahmanita
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (751.623 KB) | DOI: 10.24821/corak.v1i2.2319

Abstract

The Handicraft of embroidery “palaminan” in Nareh Pariaman is an old culture productwhich is used for social purposes. As the time goes, now, the “palaminan” is not only used by the kingor noblesse. Right now, it has been used in mostly wedding parties of Minangkabau tradition. It isused as the seat of the bride groom and bride who are called king and queen for a day. Regarding thistheme, when we see the several various of palaminan, it looks like been influenced by the Chinese andHindi/Gujarat Custom. Such as phoenix 9(bird) and lion decorated at the “palaminan”, or for theGujarat custom, there are embroidery with mirrors that decorate the palaminan. The mirrorembroidered 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 connectedto each other. They can not be separated in each use. The structures are decorated by the many kindsof Minangkabau decoration. Most of the decorating comes from application of the Minangkabau’sphilosophy known as “alam takambang Jadi Guru”. The philosophy has symbolic meaning thatcontains some lessons about managing humans life, especially for people of Nareh Pariaman. Keywords: beyond culture, motif, pelaminan
RAGAM HIAS BINATANG DALAM MEDALION Kirno Kirno
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (953.569 KB) | DOI: 10.24821/corak.v1i2.2323

Abstract

Indian - Indonesia culture acculturation played a riddle which still debated until today. Indian culturalinfluence was strong in Central Java and inversely proportional to the area of East Java. At thetemple, the visual form change was easily found where the form of towering slender turned into fatand wide. The concentric form change to chtonis system, human decorations that look realistic styleturned into puppets as one of the characteristics of prehistoric cultures. Decorative variety ofmedallions as one of ornament in Induk Panataran Temple are a visual text that attempts to conveya message. Animal species diversity engraved in Decorative variety of medallions became anevidence of the local genius skills in blending and gathering the Indian cultural influences for thefuture. Keyword : Ornament, Medallion, Panataran Temple, Local Genius
POTENSI SENI KRIYA ISTIMEWA DALAM PAMERAN “NEGARI NGAYOGYAKARTA HADININGRAT 2012” Edi Eskak
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (504.628 KB) | DOI: 10.24821/corak.v1i2.2318

Abstract

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemoratethe 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 exitfrom the corridors of copyrighted artistic distinctiveness. The works on display most of the particularcharacter, 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 andcreation.A wide assortment of works of art displayed expression of both the traditional, conventionaland 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 thisexhibition appear surprisingly with exceptional works that have creative potential prospective. Theseyoung artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I GustiNgurah Edi Basudewa. Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat

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