Garuda - Garba Rujukan Digital

Article Per Year (5 Year)

All

Corak : Jurnal Seni Kriya

corak
Website

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 269 Documents

4 5 6 7 8

DIALEKTIKA COSPLAY, ESTETIKA, DAN KEBUDAYAAN DI INDONESIA Deni Setiawan
Corak : Jurnal Seni Kriya Vol 2, No 1 (2013): MEI 2013
Publisher : Institut Seni Indonesia Yogyakarta

Culture and the type of clothing cosplay, sustainably develop in some parts of theworld, such as in the United States, Japan, Australia, Paris, London, Italy, and not least inIndonesia. As well as the animation concept inherent in Japanese culture, cosplay clothingbervisual be, of course, has its advantages and disadvantages, as well as shifting ideas whendiadobsi by a particular country. It is inevitable, characteristics and character animation as areference cosplay clothing manufacture, changing its form, concept, and material when appliedin Indonesia. Cosplay Indonesia, for example, how this all adopt dialihmaterialkan business, aswell as experienced changes in search of ideas to show all the elements of Indonesia 's. Makingthe next cosplay outfit based on stories, fairy tales, novels, legends, and comics in Indonesia.This arrangement is not without reason and without creativity, but more depth can bediscussed as a form of acculturation between the ideas of Japanese and Indonesian culture,which is packed into a cosplay outfit. On the other arts areas, the concept of cosplay is oftenshown as a costume show. For example, in the theater, revue, or a play-play in an event thatfeatured performances on the stage space . The concept of clothing with a special place andtime, is a simple concept of cosplay. Visualize concepts ideas or writings on clothing image andmakeup, which is transformed into three- dimensional shapes. Cosplay should be viewed as adiscourse of culture and art, by adopting textual ideas, concepts imagination image, into formssuch a unique and beautiful. Key words : cosplay, cosplayer, aesthetic principles, various forms, and ideology. Budaya dan jenis pakaian cosplay, secara berkesinambungan berkembang di beberapabelahan dunia, seperti di Amerika Serikat, Jepang, Australia, Paris, London, Italia, dan tidakterkecuali di Indonesia. Seperti halnya dalam konsep animasi yang melekat pada budayaJepang, bervisual menjadi pakaian cosplay, tentunya memiliki kelebihan dan kekurangan, sertamengalami pergeseran ide-ide manakala diadobsi oleh negara tertentu. Tidak dapat dipungkiri,ciri khas dan karakter animasi sebagai rujukan pembuatan pakaian cosplay, mengalami perubahan bentuk, konsep, dan material ketika diaplikasikan di Indonesia. Cosplay Indonesiamisalnya, bagaimana usaha adobsi ini dialihmaterialkan, serta mengalami perubahanperubahandalam pencarian ide-ide dengan menampilkan unsur-unsur ke-Indonesia-an.Pembuatan pakaian cosplay pada selanjutnya berdasarkan pada cerita, dongeng, novel,legenda, dan komik-komik di Indonesia. Penggubahan ini bukan tanpa alasan dan tanpakreativitas, tetapi lebih mendalam dapat dibahas sebagai bentuk akulturasi antara ide-idekebudayaan Jepang dan Indonesia, yang dikemas menjadi pakaian cosplay. Pada wilayahkesenian lain, konsep cosplay juga sering ditampilkan sebagai sebuah kostum pertunjukan.Misalnya pada pertunjukan teater, pertunjukan tari-tarian, atau sebuah lakon-lakon yangditampilkan dalam sebuah acara pertunjukan diatas ruang pentas. Konsep pakaian dengantempat dan waktu khusus, adalah konsep sederhana dari cosplay. Konsep-konsep yangmemvisualkan ide-ide gambar ataupun tulisan tentang pakaian dan tata rias, yangditransformasikan menjadi bentuk tiga dimensi. Cosplay seharusnya dipandang sebagaiwacana kebudayaan dan kesenian, dengan mengadobsi ide-ide tekstual, konsep imajinasigambar, menjadi bentuk-bentuk rupa yang unik dan indah. Kata-kata kunci: cosplay, cosplayer, prinsip estetika, ragam bentuk, dan ideologi.

KONSEP TRIBUANA/TRILOKA PADA ORNAMEN RELIEF KALPATARU DI KOMPLEKS CANDI PRAMBANAN SEBAGAI IDE PENCIPTAAN KARYA KRIYA SENI Tri Wulandari
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

Tribuana or Triloka concept isa balance concept between the three worlds, whichrecognized as Sakala (upper world), Sakala Niskala (middle world), and Niskala (bottom world)or usually called as Bhur Loka, Bhuvah Loka and Svah Loka. Tribuana or Triloka concept thatcan be found on the relief ornament of Kalpataru, has an aesthetic and symbolic value whichbecome an interesting study as a creating idea in this final task. The process of creating thisartwork has started with collecting data through the literature study, followed by directobservation at Prambanan Temple. The approach methods which are used in this study arecalled as symbolic and aesthetic approach. The next process has continued by making thedesign as the reference of the creation process which supported by skill techniques,equipments, materials, and other supporting facilities. This artwork finally performed as anexpression batik in two dimensions form by using batik lorodan technique process. Thiscreation of artwork in this final task has become such a media to implement the life symbols inthe upper world, middle world and bottom world. All symbols that are used in here wereexpected to represent each of these worlds. Keywords : Triloka or Tribuana concept, relief ornament of Kalpataru, the craft artwork. Konsep Tribuana atau Triloka adalah konsep keseimbngan diantara tiga dunia, yangbernama Sakala (dunia atas), Sakala Niskala (dunia tengah), dan Niskala (dunia bawah) ataubiasanya dipanggil sebagai Bhur Loka, Bhuvah Loka dan Svah Loka. Konsep Tribuana atauTriloka bias ditemukan pada ornamen relief Kalpataru, memiliki nilai estetis dan simbolis yangmenjadi pembelajaran menarik sebagai ide pembuatan pada tugas. Proses pembuatan karyaseni ini dimulai mengumpulkan data melalui pembelajaran literatur, diikuti oleh pengawasanlangsung di candi Prambanan. Metode pendekatan yang digunakan di pembelajaran inibernama pendektan simbolis dan estetis. Proses selanjutnya dilanjutkan dengan membuatdesain sebagai referensi proses pembuatan yang didukung oleh kemmpuan teknik, peralatan,material, dan fasilitas pendukung lainnya. Karya ini akhirnya dilakukan sebagai sepertipengekspresian batik di dua dimensi dengan menggunakan proses teknik lorodan.pembuatankarya tugas akhir ini menjadi sebuah media untuk implementasi symbol hidup di dunia atas,dunia tengah dan dunia bawah. Semua symbol yang digunakan disini diharapkan mewakilidunia-dunia ini. Kata kunci: konsep Triloka atau Tribuana, ornamen relief Kalpataru, pembuatan karya seni.

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

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

IMPRESIF BATU ALAM (Sebuah Kajian Kerajinan Batu Alam di Desa Ngeposari Kecamatan Semanu Kabupaten Gunungkidul Yogyakarta) Dwi Agus Susila
Corak : Jurnal Seni Kriya Vol 3, No 2 (2014): NOVEMBER 2014
Publisher : Institut Seni Indonesia Yogyakarta

Impressive is the can deliver or leave a deep impression. However, the processof making the work remains on track to exploit the advantages of natural human thought thatcould be the effect on the senses. In this study raised the utilization of white stones that arefound in the mountainous area of Gunung. The resulting work is complete on the interior andexterior space in the form of floor tiles, wall tiles, reliefs, various masks, candle holder,decorative table, various forms of trim and flower vaseNatural stone contained in Ngeposari, Gunungkidul can we encountered along the hillsthat line the long and wide. In the area there are rocks that can be weighed and the communitynamed palimanan stone white, yellow palimanan stone, stone palimanan doreng, sandstoneregular Jogja, Yogya super sandstone, sandstone Jogja doreng, stone temples and stone graygreen bark. The rock types by Educate Kardiyono processed and formed into products ofeconomic value so as to raise the welfare of the surrounding community. Keywords: Impressive, natural stone Impresif dapat memberikan atau meninggalkan kesan yang mendalam. Namundemikian proses pembuatan karya tetap pada jalur memanfaatkan kelebihan alam pikirmanusia yang bisa berupa efek pada panca inderanya. Pada kajian ini mengangkatpemanfaatan batu putih yang banyak ditemukan di pegunungan daerah Gunungkidul. Karyayang dihasilkan merupakan kelengkapan pada ruang interior dan eksterior yang berupa tegellantai, tegel dinding, relief, aneka topeng, tempat lilin, meja hias, berbagai bentuk lis dan vasbunga.Batu alam yang terdapat di Ngeposari, Kabupaten Gunungkidul bisa kita temuidisepanjang bukit yang berderet panjang dan luas. Pada daerah tersebut terdapat batu-batuanyang bisa ditambang dan oleh masyarakat diberi nama batu palimanan putih, batu palimanankuning, batu palimanan doreng, batu paras jogja biasa, batu paras jogja super, batu paras jogja doreng, batu candi abu-abu dan batu ijo pule. Jenis batu tersebut oleh Didik Kardiyonodiolah dan dibentuk menjadi produk yang bernilai ekonomi sehingga mampu mengangkatkesejahteraan masyarakat disekitarnya.Kata Kunci: Impresif, Batu Alam.

H E R M E N E U T I K A Sebuah Teori Lama Mengenai Interpretasi Teks yang Tampak Baru Purwito Purwito
Corak : Jurnal Seni Kriya Vol 1, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

Hermeneutics as an object of study is a means of understanding the ”actual” as old ashuman beings age on this earth. Hermeneutics is very important in the process of humaninteraction, so the study was conducted to study the hermeneutics in his position as a scienceof interpretation that can be studied in ontological, epistemological, and axiological. As ascience, hermeneutics emerged as a dominant movement in European Protestant theologywhich states that hermeneutics is a focal point of the current theological issues.Associated with his position as a science, the study was conducted to determinehermeneutics in the concept of etymology and terminology, knowing on historically with thefigures who pioneered the science of it, his position as a theory of interpretationmultidisciplinary, as well as the position and function as a historiographical approach throughphilological approach.Keywords: hermeneutics, the theory of interpretation, and text.

TRANSFORMASI BENTUK NAGA PADA RANCAKAN GAMELAN COKEKAN PAMOR Sigit Pamungkas
Corak : Jurnal Seni Kriya Vol 3, No 1 (2014): MEI 2014
Publisher : Institut Seni Indonesia Yogyakarta

Dragon is a mythological animal that most of the Java community trust as guardians ofthe earth and the universe. As a mythical animal that developed in the community, the dragonhas always been a source of inspiration in the creation of various works of art that hasdeveloped since centuries. The depiction of the dragon often appears on the temples,decorative ornaments, home furnishings, to the rancakan gamelan. Many depictions ofdragons are frequently encountered inspired to develop further into the creation of gamelancokekan pamor. Gamelan cokekan is an offshoot of the gamelan ageng. Gamelan cokekan hasfive ricikan ie gender, slenthem, gender penerus,gambang and kendhang. The creation of thisgamelan will be done with a variety of experimentation, among others, make wilahan withpamor materials. Pamor materials are materials used in the manufacture of a dagger or tosanaji. The next experiment is making rancakan the overall use of metallic materials.Keywords: dragon, gamelan cokekan, pamor Naga merupakan hewan mitologis yang sebagian besar masyarakat Jawa mempercayai sebagaipenjaga bumi dan alam semesta. Sebagai hewan mitos yang berkembang di masyarakat, nagaselalu menjadi sumber inspiratif dalam berbagai penciptaan karya seni yang sudahberkembang sejak berabad-abad lamanya. Penggambaran naga sering muncul pada candicandi,ornamen ragam hias, perabot rumah tangga, hingga pada rancakan gamelan. Banyaknyapenggambaran naga yang sering kita jumpai menginspirasi untuk mengembangkan lebih lanjutke dalam penciptaan gamelan cokekan pamor. Gamelan cokekan merupakan sempalan darigamelan ageng. Gamelan cokekan tersebut memiliki lima ricikan yaitu gender, slenthem,gender penerus, gambang, dan kendhang. Adapun penciptaan gamelan ini akan dilakukandengan berbagai eksperimentasi, antara lain yaitu membuat wilahan dengan bahan pamor.Bahan pamor merupakan bahan yang digunakan dalam pembuatan keris atau tosan aji.Eksperimen berikutnya yaitu pembuatan rancakan yang menggunakan keseluruhan bahan darilogam.Kata kunci: naga, gamelan cokekan, pamor

TENUN LURIK DALAM KEHIDUPAN MASYARAKAT JAWA Isbandono Hariyanto
Corak : Jurnal Seni Kriya Vol 2, No 2 (2013): NOVEMBER 2013
Publisher : Institut Seni Indonesia Yogyakarta

Weaving itself is generally defined as the process of making cloth by crossing threadsvertically (lungsi) and horizontal (weft) using a loom.There are dynamics in the presence of striated in the Java community weaving bothfrom the technical aspects, form and function. The development of striated weaving in Java asa result of culture can not be separated from the various factors that accompany it. It is seenfrom the aspect woven fabric striated function in Javanese society today has been a shift from,it can be seen from the dynamics that occur in the presence of the Java community weavingstriated striated fabric that is both profane and can also be magical. Tenun sendiri secara umum diartikan sebagai proses pembuatan kain denganmenyilangkan benang secara vertikal (lungsi) serta horizontal (pakan) dengan menggunakanalat tenun.Ada dinamika yang terjadi pada keberadaan tenun lurik dalam masyarakat Jawa baikitu dari aspek teknis, bentuk maupun fungsinya. Perkembangan tenun lurik di Jawa sebagaisebuah hasil budaya tidak lepas dari berbagai faktor yang menyertainya. Hal tersebut terlihatdari aspek fungsi kain tenun lurik dalam kehidupan masyarakat Jawa saat ini telah terjadipergeseran dari, hal ini terlihat dari dinamika yang terjadi pada keberadaan tenun lurik dalammasyarakat Jawa kain lurik yang bersifat profan dan dapat pula bersifat magis.

MOTIF BATIK KERATON YOGYAKARTA SEBAGAI SUMBER INOVASI PERHIASAN KOTAGEDE Pandansari Kusumo
Corak : Jurnal Seni Kriya Vol 2, No 1 (2013): MEI 2013
Publisher : Institut Seni Indonesia Yogyakarta

The research aim is to create an innovative, creative and unique jewelry based on batikpattern of Kraton of Yogyakarta. The output in the first year are documentation of geometric,non geometric pattern and innovative jewelry design as the results of batik pattern of Kraton ofYogyakarta and silver jewelry using Kotagede’s own technique.Method used on this research namely library method, observation, interview andanalysis of qualitative data which represented descriptively as well as experimentation usingsome sketches. We also apply some possibility using alternative material such as semi preciousstone, shell and pearl. Moreover the benefit expected from this research is to endorse thecreative industry in Indonesia, especially to foster the jewelry production at Kotagede as thesilver center, that no longer active due to some barriers, such as unattractive design.Some sketches as the result of experimentation and chosen design will be produced inthe second year. Keywords: pattern, batik, Yogyakarta, jewelry, Kotagede

REKAYASA ALAT MESIN CASTING UNTUK PERAJIN PEWTER Suminto Suminto
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

The total production of tin from PT. Timah in 2014 by 32.319 ton. At this time, most oftin mines production still exported in form of bullion, the rest in form chemical tin and solder.To provide added value then it can be made into products, one of them is the craft of pewter.Pewter is a white colored metal alloy like britanium metal or commonly called pewter with thelargest metal content is combined with small part of antimony or copper or both.Technology that used in the craft of pewter still using a simple casting technology i.e.using a casting tecnique by gravity. So the production capacity is still low. These researches areengineering and exploiting the casting machine to increase production capacity. The resultobtained are castingmachine with specifications dimension 50 cm x 50 cm x 50 cm, electricmotor DC 24 volt, power 250 watt, maximum rounds 360 rpm, disc diameter 29 cm,production capacity 810 product/day. Keywords: tin, casting machine, pewter craft, production capacity Total produksi timah dari PT. Timah pada tahun 2014 sebesar 32.319 ton. Pada saat ini,sebagian besar hasil tambang timah masih di ekspor dalam bentuk batangan selebihnya dalambentuk chemical tin dan solder. Untuk memberikan nilai tambah maka dapat dibuat produk,salah satunya adalah kerajinan pewter. Pewter adalah logam paduan berwarna putih sepertilogam brittania atau biasa disebut pewter dengan kandungan logam terbesar adalah timahyang dipadu dengan sebagian kecil antimon atau tembaga atau keduanya.Teknologi yang digunakan pada kerajinan pewter pada umumnya masih menggunakanteknologi casting yang sederhana yaitu menggunakan teknik casting secara gravitasi. Sehinggakapasitas produksinya masih rendah. Penelitian ini adalah merekayasa dan memanfaatkanmesin casting untuk meningkatkan kapasitas produksi. Hasil yang didapatkan adalah mesincasting dengan spesifikasi dimensi 50 cm x 50 cm x 50 cm, motor listrik DC 24 volt, daya 250watt, putaran maksimal 360 rpm, diameter cakram 29 cm, kapasitas produksi 810 produk/hari. Kata kunci : timah, mesin casting, kerajinan pewter, kapasitas produksi

RAGAM HIAS BINATANG DALAM MEDALION Kirno Kirno
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

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

Page 6 of 27 | Total Record : 269

4 5 6 7 8

Filter by Year

2012 2025

Filter By Issues

All Issue Vol 14, No 1 (2025): Corak : Jurnal Seni Kriya Vol 13, No 2 (2024): November 2024 Vol 13, No 1 (2024): Mei 2024 Vol 12, No 2 (2023): Corak : Jurnal Seni Kriya Vol 12, No 1 (2023): Corak : Jurnal Seni Kriya Vol 11, No 2 (2022): NOVEMBER 2022 Vol 11, No 1 (2022): MAY 2022 Vol 10, No 2 (2021): NOVEMBER 2021 Vol 10, No 1 (2021): MEI 2021 Vol 9, No 2 (2020): NOVEMBER 2020 Vol 9, No 1 (2020): MEI 2020 Vol 8, No 2 (2019): NOVEMBER 2019 Vol 8, No 2 (2019): NOVEMBER 2019 Vol 8, No 1 (2019): MEI 2019 Vol 8, No 1 (2019): MEI 2019 Vol 7, No 2 (2018): NOVEMBER 2018 Vol 7, No 1 (2018): MEI 2018 Vol 6, No 2 (2017): NOVEMBER 2017 Vol 6, No 1 (2017): MEI 2017 Vol 5, No 2 (2016): NOVEMBER 2016 Vol 5, No 1 (2016): MEI 2016 Vol 4, No 2 (2015): NOVEMBER 2015 Vol 4, No 1 (2015): MEI 2015 Vol 3, No 2 (2014): NOVEMBER 2014 Vol 3, No 1 (2014): MEI 2014 Vol 2, No 2 (2013): NOVEMBER 2013 Vol 2, No 1 (2013): MEI 2013 Vol. 1, No. 2 Nopember 2012-April 2013 Vol 1, No 2 (2012): NOVEMBER 2012 Vol 1, No 1 (2012): MEI 2012 Volume 1, No.1, Mei 2012 More Issue

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name
Nurhadi Siswanto

Contact Email
corak.jurnalsenikriya@gmail.com

Phone
-

Journal Mail Official
corak.jurnalsenikriya@gmail.com

Editorial Address
-

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Home Page

OAI Link

Editorial Team

Contact

Reviewer

Google Scholar

Contact Name Nurhadi Siswanto

Contact Email corak.jurnalsenikriya@gmail.com

Phone -

Journal Mail Official corak.jurnalsenikriya@gmail.com

Editorial Address -

Location Kab. bantul, Daerah istimewa yogyakarta INDONESIA

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Abstract

Contact Name
Nurhadi Siswanto

Contact Email
corak.jurnalsenikriya@gmail.com

Phone
-

Journal Mail Official
corak.jurnalsenikriya@gmail.com

Editorial Address
-

Location
Kab. bantul,

Daerah istimewa yogyakarta

INDONESIA