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Contact Name
Nurhadi Siswanto
Contact Email
corak.jurnalsenikriya@gmail.com
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Journal Mail Official
corak.jurnalsenikriya@gmail.com
Editorial Address
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Location
Kab. bantul,
Daerah istimewa yogyakarta
INDONESIA
Corak : Jurnal Seni Kriya
ISSN : 23016027     EISSN : 26854708     DOI : -
Core Subject : Humanities, Art,
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
KARYA SENI: SELINTAS STUDI KASUS KEBAHASAAN TERHADAP PROSES KREATIF PEMBERIAN JUDUL Purwito Purwito
Corak : Jurnal Seni Kriya Vol 3, No 2 (2014): NOVEMBER 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (462.439 KB) | DOI: 10.24821/corak.v3i2.2348

Abstract

The title is a name of a work of art. In the creative process, the title can be giventhrough two strategies, namely before the artwork is created or after the work is completed.Categorically, the title can be classified into various. The classification can be made based onthe type or structure. Based on the type, classification can be divided into three categories,namely noun, verb, or adjective, while based on its structure can be divided into fourcategories, namely letter, word, phrase, and sentence.The approach applied in this analysis is linguistic approach, arguing that the subjecttitle of the artwork is definitely using the code system prevailing in the language. As the result,there are two categories, namely the title of the artwork that is monointerpretabel andmultiinterpretabel.Key words : Art work, title of art work, and linguistic study. Judul adalah sebuah nama karya seni. Dalam proses kreatif, judul dapat diberikanmelalui dua strategi, yaitu sebelum karya seni dibuat atau setelah karya selesai. Secarakategoris, judul dapat diklasifikasikan menjadi bermacam-macam. Klasifikasi itu dapat dibuatberdasarkan jenis atau strukturnya. Berdasarkan jenisnya, dapat dibedakan menjadi tigakategori, yaitu nomina, verba, atau ajektiva, sedangkan berdasarkan strukturnya dapatdibedakan menjadi empat kategori, yaitu huruf, kata, frasa, dan kalimat.Pendekatan yang diterapkan dalam analisis ini adalah menggunakan pendekatanlingusistik, dengan alasan bahwa perihal judul karya seni pasti menggunakan sistem kode yangberlaku dalam bahasa. Hasilnya terdapat dua golongan, yaitu judul karya seni yang bersifatmonointerpretabel dan multiinterpretabel.Kata kunci: karya seni, judul karya seni, dan studi kebahasaan.
KEBAYA DALAM ARENA KULTULRAL Inva Sariyati
Corak : Jurnal Seni Kriya Vol 2, No 2 (2013): NOVEMBER 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (595.05 KB) | DOI: 10.24821/corak.v2i2.2339

Abstract

Kebaya is partof Indonesian fashion undergone significant changes. Kebaya changenot only in shape, but also the changes experienced of kebaya also occur in terms of functionand value. Changes that happened can not be separated from the habitus of producers andconsumers and capitals which dominate in an field. With that in mind Bourdieu can be seenhow the kebaya in a society, placing it as art and how capital appreciation as wrestling in afield.Key word: kebaya, habitus, field, capital Kebaya adalah bagian fashion Indonesia yang mengalami perubahan yang signifikan.Kebaya berubah bukan hanya pada bentuknya saja, akan tetapi perubahan yang dialamikebaya juga terjadi dari segi fungsi dan nilainya. Perubahan yang dialaminya tidak dapatterlepas dari habitus produsen dan konsumennya dan modal-modal yang mendominasi dalamsebuah arena. Dengan pemikiran bourdieu dapat dilihat bagaimana kebaya dalam sebuahmasyarakat, menempatkannya sebagai barang seni dan bagaimana apresiasinya sebagai modalyang bergulat dalam sebuah arena.Kata kunci: kebaya, habitus, arena, modal
PENGARUH BUDAYA ASING TERHADAP PERKEMBANGAN BATIK PEKALONGAN Suyani Suyani
Corak : Jurnal Seni Kriya Vol 2, No 1 (2013): MEI 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (977.932 KB) | DOI: 10.24821/corak.v2i1.2330

Abstract

Batik is a craft that has high artistic value and has become part of Indonesian culturesince long. Pekalongan is a city located in the northern coast of the island of Java or in otherwords, a city located on the North Coast of Java. Pekalongan area has a sea port enliveningtrade traffic between islands in the archipelago. The existence of the port affects the socioeconomicand demographic developments. The attitude of openness that supported highcreativity can make batik Pekalongan withstand any difficult time, able to create newcreations. Based on this background to discuss the growth and development of Pekalonganbatik using the theory of acculturation or culture contect that a particular culture is confrontedwith the elements of a foreign culture in such a way that the elements of a foreign culture wasgradually accepted and processed into in their own culture without losing their own culturalidentity. In this case it is clear that batik is the art of Indonesian culture which is admired byforeign countries. In its development as a cultural work, valuable work can not be separatedfrom the influence of age and environment. Facts in the course of history prove that the twoelements have proven this effect and spur trigger that is consistent with the presence of batikculture affecting tone. Keywords: Pekalongan, Batik, culture, growth Batik adalah kerajinan yang memiliki nilai seni tinggi dan telah menjadi bagian budayaIndonesia sejak lama. Pekalongan merupakan salah satu kota yang terletak di pantai Utarapulau Jawa atau dengan kata lain kota yang berada di Pesisir Utara Jawa. Daerah Pekalonganmemiliki pelabuhan laut yang ikut meramaikan lalu lintas perdagangan antar pulau diNusantara. Adanya pelabuhan itu mempengaruhi perkembangan sosial ekonomi maupunkependudukan. Sikap keterbukaan yang didukung kreatifitas tinggi menjadikan pembatikPekalongan sanggup bertahan di masa sesulit apapun, sanggup menciptakan kreasi-kreasibaru. Berdasarkan latar belakang tersebut untuk membahas lebih dalam tumbuh danberkembangnya batik Pekalongan menggunakan teori akulturasi atau culture contect bahwasuatu kebudayaan tertentu yang dihadapkan dengan unsur-unsur dari suatu kebudayaan asingdengan sedemikian rupa, sehingga unsur-unsur kebudayaan asing itu lambat laun diterima dandiolah ke dalam kebudayaan sendiri tanpa menyebabkan hilangnya kepribadian budaya itusendiri. Dalam hal ini jelas batik merupakan karya seni budaya bangsa Indonesia yang dikagumi oleh mancanegara. Dalam perkembangannya sebagai suatu karya budaya, karya adiluhungyang tidak bisa terlepas dari pengaruh jaman dan lingkungan. Fakta dalam perjalan sejarahmembuktikan telah membuktikan bahwa kedua unsur pengaruh ini memicu dan memacukehadiran batik yang selaras dengan nada budaya yang mempengaruhinya. Kata Kunci : Pekalongan, Batik , budaya, perkembangan
MOTIF SAKURA WARNA ALAM PADA KAIN PANJANG Nuri Ningsih Hidayati
Corak : Jurnal Seni Kriya Vol 4, No 1 (2015): MEI 2015
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (803.542 KB) | DOI: 10.24821/corak.v4i1.2362

Abstract

In this world, many countries have a beautiful flower that became icons as well asDutch Tulip flowers but the author is more interested in Sakura flowers that are part of Japan.In addition to its beautiful Sakura has turned out to be an important symbol, which is oftenassociated denganperempuan, life, death, and also a symbol to express the bond betweenhuman beings, courage, sadness, and joy. No wonder if Sakura much admired for its beauty.Sakura has become a part that can not be separated in Japanese culture one of which can beseen when the cherry flowers bloom in spring. With an overview of all events of the floweringcherry created new innovations in work such as engineering, color, and a unique motif. Keywords : motif, sakura, natural color, long cloth  Di dunia ini banyak negara yang mempunyai bunga indah yang menjadi icon sepertihalnya Belanda dengan bunga Tulip akan tetapi penulis lebih tertarik pada bunga Sakura yangmerupakan bagian dari Jepang. Selain bentuknya yang indah ternyata Sakura mempunyai simbolpenting, yang kerap kali dikaitkan denganperempuan, kehidupan, kematian, serta jugamerupakan simbol untuk mengekspresikan ikatan antar manusia, keberanian, kesedihan, dankegembiraan. Tidak heran jika Sakura banyak dikagumi karena keindahannya. Sakura sudahmenjadi bagian yang tidak bisa dipisahkan dalam kebudayaan Jepang salah satunya bisa dilihatketika bunga Sakura mekar di musim semi. Dengan gambaran semua peristiwa mekarnya sakuratercipta inovasi baru dalam berkarya berupa teknik, warna, dan motif yang unik. Kata kunci: motif, sakura, warna alam, kain panjang
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
REKA CIPTA PERHIASAN TARI SRIMPI PAKU ALAM IV YOGYAKARTA Yulriawan Dafri
Corak : Jurnal Seni Kriya Vol 3, No 2 (2014): NOVEMBER 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1134.36 KB) | DOI: 10.24821/corak.v3i2.2353

Abstract

One of the valuable heritages preserved until today within Pakualaman is the art andculture. One of the various arts and cultural heritages is Srimpi dance. There are somefundamental things on why the research / creation of Srimpi dance becomes interesting to do,besides having the purpose to reveal the existence of Srimpi dance with all the accompanyingattributes, including various attributes of jewelry through the study of visual data of WedanaRenggan in the manuscript source of Langen Wibawa. The forms of jewelry that are used in theSrimpi dance during the Paku Alam IV is also expected to be clearly visualized, so thatultimately the existence of jewelry as a complementary attribute in the Srimpi danceperformances will enrich arts and culture in strengthening the national identity in the eyes ofthe international world.Through a review of this manuscript, ten sets of jewelry with deferent designs of Srimpidance especially during Paku Alam IV have been created. Thus, other forms of creative andinnovative jewelry designs and products based on the philosophy prevailing in the Pakualamanenvironment are created.At least there are two approaches used in this research / creation, namely theapproach to art history and aesthetics. In addition, semiotic analysis is also included.Exploration and experimental methods are used when making the design process. The analysiscarried out does not look at the process of cause and effect, but more emphasizes on how tovisually express the forms of jewelry that wants to be created. Therefore, this study uses amultidisciplinary approach. Keywords: Langen Wibawa, Wedana Renggan, Jewelry, Srimpi Dance, Paku Alam IV.  Salah satu warisan berharga yang terdapat di lingkungan Pakualaman dan masih terusdilestarikan sampai saat ini adalah seni dan budayanya. Dari berbagai peninggalan seni danbudaya tersebut, salah satunya adalah tari Srimpi. Ada beberapa hal yang mendasar kenapapenelitian/penciptaan tari Srimpi menarik untuk dilakukan, selain memiliki tujuan untukmengungkapkan keberadaan tari Srimpi dengan segala atribut yang menyertainya, termasukberbagai atribut perhiasan melalui kajian data visual Wedana Renggan dalam sumber naskahkuno Langen Wibawa. Diharapkan juga akan dapat divisualisasikan secara jelas bentukbentukperhiasan yang digunakan dalam tarian Srimpi pada masa Paku Alam IV, sehingga padaakhirnya keberadaan perhiasan sebagai atribut pelengkap dalam pertunjukan tari Srimpi iniakan memperkaya khasanah seni dan budaya dalam memperkuat jati diri bangsa dimatainternasional. Melalui kajian naskah kuno ini telah diciptakan 10 set perhiasan tari Srimpi dengandesain yang berbeda khususnya pada masa Paku Alam IV, dengan demikian terciptalah bentukbentukdesain dan penciptaan perhiasan yang kreatif dan inovatif berdasarkan filosofi dan‘pakem’ yang berlaku di lingkungan Pakualaman.Sedikitnya ada dua pendekatan yang digunakan dalam penelitian ini, yaknipendekatan sejarah seni dan estetika, selain itu disertakan pula analisis semiotika. Metodepenciptaan eksplorasi dan eksperimen digunakan ketika proses pembuatan desain dilakukan.Analisis yang dilakukan tidak melihat pada proses sebab akibat, tetapi lebih ditekankan padabagaimana mengungkapkan secara visual bentuk-bentuk perhiasan yang ingin diciptakan. Olehkarena itu penelitian ini menggunakan pendekatan multidisiplin. Kata Kunci: Langen Wibawa, Wedana Renggan, Perhiasan, Tari Srimpi, dan Paku Alam IV.
WAYANG KULIT MANUSIA ANTARA MITOS DAN KENYATAAN Otok Herum Marwoto
Corak : Jurnal Seni Kriya Vol 1, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (639.595 KB) | DOI: 10.24821/corak.v1i1.2311

Abstract

A religious traditional art in society is related to myth which can be categorized intofolktale. This tradition has been often become one in the Javanese mind and influential ingiving direction to their lives. Concerning with myth is inseparable from people’s believed. Thepeople believe which is appearing is usually established on the basis of a tale or story, which isdescendant from the local people and unwritten but believed by the society so that it becomestradition and culture encouragement. One of Indonesian ancestors’ heritages is leather puppetwhich can be enjoyed by us until now, although the form and the development conform to thedevelopment of the present modern world.Myth of the leather puppet in Javanese people themselves has been an icon, becausethe leather puppet it selves becomes myth which unified with tradition as well as Javanesepeople culture. So, other myth follows the leather puppet myth. One of the existing myths insociety are the myth’s appearances of human’s skin puppet, mainly a traditional art of leatherpuppet the material of which is believed to be created from human’s skin.Kedakan village located in the slope of Merbabu valley which is remote and far fromthe city. Because of its remote location, this place leave culture heritage of the preservedancestor’s tradition, such as human’s skin puppet. The appearing myth in the human skinpuppet is that of believed that the puppet is created from human’s skin, therefore, the puppetis considered holy and highly respected. The sacredness of the puppet appears, since manymisterious and illogical things happened related to the sacred puppet frequently. The mythwhich are still being preserved enables this leather puppet art in the remote village ever lastingand the existence is still being nurtured.Key words: Leather Puppet, Human Skin, and Myth
PERKEMBANGAN DESAIN BUSANA MUSLIM DALAM TINJAUAN SOSIOLOGIS Sri Ika Damayanti
Corak : Jurnal Seni Kriya Vol 3, No 1 (2014): MEI 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (749.659 KB) | DOI: 10.24821/corak.v3i1.2344

Abstract

Clothing is a textile craft product which contains various social meanings. The recentdevelopment of moslem clothing in Indonesia has changed significantly. The moslem clothingbasic procedure is adapted flexibly and smoothly in Indonesia by adjusting to the local culture.The such condition therefore creates a moslem clothing design which then becomes a popularculture. This article analyzes the development of moslem clothing desighn through socialapproac by Pierre Bourdieu to see the habitus and the agent. The result of the research showsthat the social enviroment habit has unconsciously influenced the trend of the moslemclothing wear and the role of public figure. From the result of the research, it can be concludedthat in Indonesia has been shaped a style and moslem design clothing which has a certainunieqeness including in how it flexibly blends with the custom wear each region.Key words: clothing, moslem, hijab, fashion, Bourdieu  Busana adalah produk kriya tekstil yang didalamnya mengandung beragam maknasosial. Perkembangan busana muslimah di Indonesia saat ini mengalami perubahan yangsangat signifikan. Kaidah berpakaian menurut Islam diadaptasi dengan luwes dan cair diIndonesia, disesuaikan dengan kultur setempat. Dari hal tersebut menghasilkan desain busanamuslim yang kemudian justru menjadi kebudayaan populer. Tulisan ini membahasperkembangan desain busana muslimah dengan pendekatan sosiologi dari Pierre Bourdieuuntuk melihat habitus dan agen pembawanya. Hasil penelitian ini menunjukan bahwakebiasaan yang ada lingkungan sosial secara tidak sadar telah mempengaruhi populernyapemakaian busana muslim dan peranan publik figur sebagai pedoman gaya terkini. Dari hasilpenelitian ini dapat disimpulkan bahwa di Indonesia terbentuk gaya dan desain busanamuslimah yang memiliki kekhasan tersendiri termasuk dapat berbaur dengan busana adatpada tiap daerah.Kata Kunci: Busana, muslim, hijab, fashion
KONTROVERSI DI DUNIA ORNAMEN SUATU TELAAH AWAM DAN INTELEKTUAL Ahmad Zaenuri
Corak : Jurnal Seni Kriya Vol 2, No 2 (2013): NOVEMBER 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (891.602 KB) | DOI: 10.24821/corak.v2i2.2335

Abstract

As the growing development of science, technology and art, as well as thesophistication of today's information technology. A person can easily see the world, anytime,anywhere. And each region is so diverse culturally revealing.Of the arts in the West and the East, the more things that are almost the same, or acharacteristic associated with arts identity that are in it, there is a difference but there are alsosimilarities. Although unrelated human though, this can happen, even though such an event isoften called the cultural parallelism, this is real and never a problem.Keywords: Controversy, World, Ornament Seiring tumbuh berkembangnya ilmu pengetahuan, teknologi dan seni, sertacanggihnya teknologi informasi saat ini. Seseorang dapat dengan mudah melihat sisi dunia,kapan pun, di mana pun. Dan masing-masing daerah menampakkan budayanya yangbegitu beragam.Tentang kesenian yang ada di Barat dan Timur, semakin banyak hal-hal yanghampir sama, terkait dengan ciri khas atau identitas seni-seni yang berada di dalamnya,ada perbedaan tetapi juga ada kesamaan. Walaupun manusianya tidak berhubungansekalipun, hal ini dapat terjadi, meskipun peristiwa semacam ini sering disebut denganparalelisme kebudayaan, ini nyata dan tidak pernah dipermasalahkan. Kata Kunci: Kontroversi, Dunia, Ornamen
STRATEGI PENGEMBANGAN DESAIN KRIYA (RAGAM HIAS) DALAM PERSPEKTIF POTENSI LOKALITAS Eko Haryanto
Corak : Jurnal Seni Kriya Vol 2, No 1 (2013): MEI 2013
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (663.467 KB) | DOI: 10.24821/corak.v2i1.2326

Abstract

This research is to obtain a description of the locality paradigm, strategies and thefactors that influence the development of decorative potential in perspective locality made byartisans craft to face the globalization. Expected outcomes produces a theoretical foundationfor reading a variety of economic opportunities craft and model form of product design,especially in the decorative craft yet still economically behavior characterized by locality. Thisbecomes relevant because the decorative craft art is as a carrier in addition to the values of lifeas well as national identity in order to resist globalization.The research approach is qualitative descriptive explanatory once. The design usedwas a multi intrinsic case . Subjects were centers of craft in Jepara carving, batik in Pekalongan,and brass at the Heilbron Pati. The technique consists of data collection interview, observation,and documentation. The data analysis was guided by theoretical propositions and developing adescription. In particular, the analysis uses a combination of domain analysis and analyticalexplanations are framed with data reduction procedures, data analysis and conclusion.Based on the results of the study concluded craft artisans to design paradigmlocality in the very nature of globalization is flexible or dynamic. Model development strategydecorative is done intrinsically and extrinsically, imitate the decorative ngetrend, and createdecorative based research. Factors influencing craftsmen design development strategies areinternal and external factors. It is suggested that craftsmen need to continuously create thedevelopment of unigue decoration from the immediate environment of inspiration andartisans, designers, academics, policy actors  Peneilitian ini untuk memperoleh penjelasan mengenai paradigma lokalitas, strategidan faktor-faktor yang berpengaruh dalam pengembangan ragam hias dalam perspektifpotensi lokalitas yang dilakukan oleh pengrajin kriya dalam menghadapi globalisasi. Luaranyang diharapkan adalah dihasilkan sebuah landasan teoritik untuk membaca berbagai peluangekonomis kriya sekaligus model desain bentuk produk khususnya ragam hias pada kriya yangtetap laku secara ekonomis namun bercirikan lokalitas. Hal ini menjadi relevan karena ragamhias pada seni kriya di samping sebagai pembawa nilai-nilai kehidupan sekaligus sebagaiidentitas kebangsaan dalam rangka menahan globalisasi. Pendekatan penelitian adalah kualitatif deskriptif sekaligus eksplanatoris. Desain yangdigunakan adalah multi kasus intrinsik. Subjek penelitian adalah sentra kriya ukir di Jepara,batik di Pekalongan, dan kuningan di Juwana Pati. Teknik pengumpulan data terdiriwawancara, observasi, dan dokumentasi. Teknik analisa data masih berpedoman proposisiteoritik dan pengembangan deskripsi. Secara khusus analisisnya menggunakan kombinasianalisis domain dan analisis eksplanasi yang dikerangkai dengan prosedur reduksi data, analisadata dan penarikan kesimpulan.Berdasarkan hasil penelitian disimpulkan paradigma pengrajin kriya terhadap desainlokalitas dalam globalisasi adalah sangat bersifat fleksible atau dinamis. Model strategipengembangan ragam hias dilakukan secara intrinsik dan ekstrinsik, meniru ragam hias yanglagi ngetrend, dan menciptakan ragam hias berdasarkan riset. Faktor-faktor yangmempengaruhi pengrajin strategi pengembangan desain adalah faktor internal dan eksternal.Saran yang dapat dikemukakan pengrajin perlu menciptakan ragam hias yang unigue denganterus mengembangkan dari inspirasi yang lingkungan terdekat dan perajin, desainer,akademisi, pelaku kebijakan sebaiknya berkoordinasi dalam pengembangan ragam lokalitasyang mampu menembus globalisasi.  Kata Kunci: Strategi, Batik, Ukir, Kuningan, dan Ragam Hias

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