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INDONESIA
SURYA SENI
Published by Institut Seni Indonesia Yogyakarta
ISSN : -     EISSN : -     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
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Articles 32 Documents
 1   2   3   4 
VISUALISASI MITOS DEWI SRI DALAM SENI LUKIS Gigih Wiyono
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.89

Abstract

The Myth of Devi Sri in Painting. Most Javanese, Balinese, Kalimantanese and people in other areas believe that Dewi Sri is the goddess of rice and fertility. Earth is the place where Dewi Sri’s soul lives and resides. No other goddess the farmers adore and love like Dewi Sri who is also Nyi Pohaci asthe farmers’ mother. Soil is often disturbed by the power that will facilitate her existence. In Java, the violence against the earth is told in Dewi Sri fairy tale. In many mythologies woman is described as the fertility symbol. Dewi Sri’s death is like Jesus’ death, her death enlivens. Dewi Sri’s death gives the farmers life-energy. Coconut tree emerges from her head, rice plant grows from her navel, sugar palm tree grows from her vagina and papaya tree grows from her breast. Mango tree grows from her hands and edible tuber and cassava grow from her feet.Visualization of Dewi Sri Myth in the art of painting is a concept of representing the myth of Dewi Sri . Based on the creative idea and perspective, the writer tries to treat, to transform the figure of Dewi Sri Myth in the current context. In this concept, Dewi Sri is represented through the painting using impasto,underpainting and rendering techniques. Here Dewi Sri is presented symbolically so that the visualization emerging can remain to be perceived as work representing its age.Visualization of Dewi Sri’s symbols is the manifestation of the author in two-dimensional work through canvas, wood, and oil paint media with pallet knife and brushes, and other mixed media material to give new motif and colour in the art world, particularly in the creation of painting.Keywords: Dewi Sri and myth
TAMANSARI MONGSO RENDHENG KARYA HENDRO MARTONO DAN BAGHAWAN CIPTONING KAJIAN KONSEP KOREOGRAFI LINGKUNGAN Lilin Candrawati Sukmaningsih
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.90

Abstract

The research is aimed to determine, examine, and analyze an  Architectural Choreography of Hendro Martono and Baghawan Ciptoning’s Tamansari Mongso Rendheng (TMR) presented on 1 and 2 March 2003 in Tamansari Keraton Yogyakarta. Conceptual Study on Choreography of TMR is a qualitative research conducted on November – June 2006. Data collecting techniques employed in the research were interview,  observation, documentary study, and literaturestudy. Interview was conducted by directly asking questions to choreographers, artists, educational workers watching TMR, and the society around Tamansari.Observation was conducted by directly observing the TMR. Documentary study was regularly conducted through video record of TMR. Literature Study was conducted by reading documents relating TMR and literature on choreography. Results of the research show that: First, TMR choreography is an  architectural choreography resulted by movement and sound exploration in a room of old building offering new discourse in efforts to fi ll and to bring to life ancient architecture through cultural behavior. Choreographic concept of TMR was conducted by observing Tamansari and its environment through  choreography not only as entertainment, but also choreography as  multifunction not only a dance performance but also a learning model for history, architecture, tourism, culture, sociology, and modern transformation. Second, the creation process of TMR included: experiencing, comprehending, imagining,  implementing, and giving forms.  TMR is divided into eight presentations of each repertoire as follow: 1) Gapura Panggung: photographs exhibition, 2) Gedong Sekawan: keroncong music, Glass Srimpi, Flamenco, Waltz, fl ash of past period,  Dagelan Parikeno, 3) Umbul Binangun: Srimpen Lelumban, 4) Pasarean Ledhoksari:the servant’s (abdi) activities in well, Kamasutra, and Ngadi Sarira, 5) Gapura Agung: Isen-isene Jagad, 6) Kampung Taman: real life of the society, 7) Sumur Gumuling: Donga Joged, and 8) Urung-urung: self-contemplation of the onlookers after enjoying TMR.Keywords: Choreography, Architectural, Tamansari Environment, and Mangsa Rendheng
EMPAT LAFADZ DZIKIR DAN MASJID SEBAGAI IDE PENCIPTAAN KALIGRAFI DALAM SENI KRIYA KULIT Mr. Rubingun
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.91

Abstract

Four Lafads Inspiring Features to Create Calligraphy in LeatherCraft. Dzikir is believed to be a medium of calling and remembering Allah by articulating particular words or sentences as they were taught by Rasulullah. Dzikir is not only an effective means to bring about feelings of peacefulness and tranquillity, but also an inspiring source to create leather craft product. The underlying aspect of dzikir messages refl ected in the works of art is the spiritualpower of  dzikir itself. It is expected that the messages may remind people to be always aware that they will always encounter some problems in life. The calligraphy presented as a work of art in the current project was  created through a sequence of methods consisting of the exploration stage, design process, (alternative designs and selected one), and the production stage. The messages of dzikir were represented in the form of calligraphy with some modifi cation in Arabic which was subsequently applied in the form of a mosque. The calligraphy of dzikir and the mosque were created as a two-dimensional work of arts using teak wood, chrome and brass. It refl ects the greatness of Allah and the warmness of Baitullah. Through this creation, dzikir and mosque are manifested as a work of arts which is intended both to stir up the feeling of love to God and to maintain the harmonious relationship with human beings and other creatures in the world.Keywords : dzikir, mosque, and calligraphy
KOMPOSISI MUSIK BATU NISAN KARYA F.X. SUTOPO Ditinjau Dari Aspek Rasa, Referensi, Dan Bentuk Musik Mr. Suprijadi
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.93

Abstract

Batu Nisan Music Composition by FX Sutopo: Studied Based on the Aspect of the Mood, the Reference, and the Music Form. Batu Nisan is a complete masterpiece music composition composed by FX Sutopo in the form of orchestra and choir. It was composed in the unity of music form (Duchkomponirent).The process composistion went on for a year from 1962 to 1963 in Yogyakarta.The composition describes about  gravestone without identityfounded oudtside of resting place, and it was believed that the man burried under the gravestone was one of Indonesia independence heroes.The composition is worthy because of its creation concepts and historical background. To understand needs the Batu Nisan composition comprehensively, it needs to be studied by using qualitative method with the arstistic approach, and based on the three aspects of the Mood. the Reference, and the Music Form.Keywords: Batu Nisan, the Mood, the Reference, and the Music form.
ERIODISASI SENI UKIR KARYA I MADE SUTHEDJA I Wayan Sudana
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.94

Abstract

Period of I Made Suthedja’s Craft Art. Suthedja’s style changes can be categorized into three main parts, which are: the fi rst period (1960–1970), his  styles were mainly togog-shaped three-dimensional fi gures made of ebben wood.The second period (1971-1989), at this time the moment his style changed into two-dimensional classical-modern reliefs made of teak or sometimes  exhibited in frames. The third period (1990–2004) his works are two-dimensional freereliefs using second-hand wood and are exhibited without any frames.   Suthedja’s style changes is infl uenced by several factors. These factors are crisis and material condition, his formal and non-formal education, fi ne arts growth modern Bali, his person experience, cultural social environment, and motivation or personal ambitions, Keywords : changes, art works, and Artisan.
GROMPOL DAN SIDO ASIH SENSASI IMPIAN PERADUAN Ms. Widarwati
SURYA SENI Vol 4, No 2: September 2008
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v4i2.95

Abstract

Grompol and Sido Asih Royal Bed Sensation. Batik is an art-work comes from native Indonesia culture that has high value. There are many philosophy values inside it, according to each motif ornaments and elements. The decreasingnumber of batik users has became a concern for the writer, so that an idea emerges from it to use batik as a source of inspiration in an art-work making.Sido Asih and Grompol are kinds of batik’s motif from a lot of motifs that have specifi c philosophical meaning. “Grompol” means to gather around with “Sido Asih” means to be loved or love and affection have been combined nicely as the elements for royal bed in a bridal room which are implemented on somematerials such as: bed sheet, primisima (shantung) dacron and siphon cloth, beside the other elements like wooden carving and cendani bamboo that also have royal their own meanings. It was expected that the philosophy inside this artworkbecome the refl ection of the bridal couple’s life in the future in wading across their life.From many processes that have been done, then it was produced an art work that has its own uniqueness, that is the combination between the modern and glamorous elements represented by tassels and curtains with traditional, superiorand supreme values on batik cloth. The basic of creation of this art-work uses textile craftsmanship, especially batik and quilting techniquesKeywords: batik, grompol, sido asih, and royal bed
DUR ARI KAPIJI (HARI TERPILIH YANG PENUH KEMURKAAN) Edi Suisno
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.98

Abstract

Dur Ari Kapiji (The Elected Angrily Day. Play of “Dur Ari Kapiji”(DAK) forms a play that has as a starting point of an investigation history of Jayakatwang’s rebellion which is related with a confl ict of “Monsserat”  created by Emanuel Robles. This investigation compares heroism between  Jayakatwang’sand Simon Bolivar’s. Eventually, both of the characters inspire the play of DAK apparently with theme and confl ict which are the same more or less but with new invention characters.In addition to be inspirited that matters, the play of DAK is also formed in tragedy. The tragedy forms a play about human sufferings in order to realize their desires or to face their reality fate. While the play of DAK is a tragedy which experiences the top of esthetic achievement in the past, but the tragedy inthe play of DAK is also appeared in critical spirit to face nowadays problems.Afterwards the play of DAK will be formed into a realism staging through representation approach. The realization of the elected representation approach is guided by confl ict combination from ‘authentic’ DAK manuscript which is the source of directing creativity. Besides that, addition and modifi cation of themanuscript occur as an effort in ‘sharpening’ the play dynamics. Hence, the forms in ‘radically’ adapting and processing of the manuscript are not become a part of modifi cation concept at all. The approach or representation form occurs through represents a visual form as the ‘selected’ realism which is guided by outwardly of ‘impression’ and not only displace the reality on the stage.Keywords: Jayakatwang, Monsserat, and Representation
GITA ARDAYA Agoeng Prasetyo
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.97

Abstract

A creation of art is infl uenced by the artist life experiences. The more experience he has the more skillful he is. A composer is also infl uenced by his/her background and the way he or she interprets phenomena around him/her. The idea can be form his or her imaginative experience, observation, exploration ofsocial life, religious matter, culture, tradition and nature. The composition of Gita Ardaya  is a music composition containing basic values based on sense of honesty to life that brings them to prosperity.This composition consists of fiveparts namely: (1) Byar, means morning; (2) Pamitan,meansask for leaving, farewell; (3) Taberi, means diligent or work hard; (4)Titiyoni,means midnight; (5) Loka, means the universe. The process of making this music involves a lot of instruments both westernand eastern musical instruments. The composition does not state a tone or note, and the core sound of the music is arranged and creates new image.Keywords: meaning, expression, honesty, and sounds.
KETELANJANGAN DALAM SENI LUKIS INDONESIA: PERSPEKTIF KRITIK SENI RUPA I Wayan ‘Kun’ Adnyana
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.99

Abstract

Nudity in the Indonesia Painting: Perspective of  Art Critics. Nude painting (art) is not something new in Indonesia. Many archaeological remains show how nudity, from its most sacred to its mundane forms, has existed in many cultures of this Nusantara archipelago.Although not all of the painters’ (artist’s) current creativity is infl uenced by the custom of this ancient mystic culture, it can be said, however, that the creative heritage of these people of Nusantara who expressed nudity as a language of symbolicand religion languages: lingam-yoni for example, has had an infl uence on these artists especially on the Balinese painters (artists).The creative principle, which obviously of a bigger infl uence has been the tradition of nude painting as part of the teaching process of academic arts, which initially intended to strengthen the skill in anatomic rendition but later developed into a subject of visual art that challenge the artists’ independent creativity. Indeed, several Indonesian artists explore nudity very intensely as their language of expression. And several visual phenomena inherent in their works become widely recognized as artistic and conceptual achievements and receive awards from the global art community. It’s true that works with nudity as their subjects do not receive immediate acceptance from the publik. Some actually  experience confl ict and even rejection; conflict which arises from the lack of agreement over the standard valuethat an art work has to be read solely from an artistic parameter.Reading the existing confl ict on the one hand, and refl ecting upon the enormous appreciation on the other, especially the recognition of concepts behind those works with subject of nudity, makes the research on Nudity in the Indonesian Paintings evermore urgent. Keywords: Indonesian Nude Painting and Eroticism
BATIK “DJAWA HOKOKAI” SEBUAH FENOMENA TENTANG BATIK DI MASA PENDUDUKAN JEPANG DI PEKALONGAN Muh. Arif Jati Purnomo
SURYA SENI Vol 5, No 1: Februari 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/pasca.v5i1.100

Abstract

Batik ”Djawa Hokokai”: a Study of Batik During The Japanese Occupation in Pekalongan. Pekalongan as one of the coastal regions in Java has a strong historical root in batik paintings. The motives of the Pekalongan batik have many diferrent characteristics which differs from other batik regions that is strecthed across the northern coast of, such as Cirebon, Indramayu, Garut, and Lasem. One example of the Pekalongan Batik is the ”Djawa Hokokai” Batik, wich appeared and was developed during the Japanese occupation in 19421945.The objectives of this study are, fi rst, to identify the factors which caused the emergence of the ”Djawa Hokokai” Batik, with the socio-cultural contexs which supported the development of such batik in Pekalongan. Second, to  recognized the reasons of the selection of color this was considered unsuitable for the vaguesituations and conditions at that time. Third, to acknowledge that the Japanese cultures, the coastal batik painting styles, and the royal batik painting styles have infl uenced the motives and decorations which are used  in the making of ”DjawaHokokai”  Batik. The main course of study used in third reasearch was the social studies which appeared in the emergence of the ”Djawa Hokokai” Batik, and using the multidisciplinary approach.The emergence and the development of the ”Djawa Hokokai” Batik were supported by some factors. i.e the socio-cultural institutions, the  supporting societies, the batik painters, the business owners, and the brokers. In its development, the existence of the ”Djawa Hokokai” Batik is not only used as acloth for  covering the lower parts of the body (tapih) but also as an  atribute for certain habitus.The phenomenon which appeared in the ”Djawa Hokokai” Batik was basically some kinds of propagandas made  by the Japanese colonial  government to gain supports from people of Pekalongan. The term ”Djawa Hokokai” was probably one of Japanese government strategic propaganda to socialize one oftheir organizations, the ”Djawa Hokokai”.Keywords: batik Pekalongan, Djawa Hokokai, and propaganda

Page 3 of 4 | Total Record : 32

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