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Journal of Visual Art and Design
Published by Institut Teknologi Bandung
ISSN : 23375795     EISSN : 23385480     DOI : https://doi.org/10.5614/jvad
Core Subject : Humanities, Art,
Arts Humanities
Journal of Visual Art and Design focuses on theoretical and empirical research articles in the Visual Art and Design disciplines in the region of Asia and Pacific. The scope includes the following subject areas: Design and Art History, Visual Culture, Art and Design Methodology, Art and Design Discourse, Design and Culture, Art and Design Sociology, Design and Art Management, Art Criticism, Anthropology of Art and Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architectural Design, Film, Multimedia, Design Policy, Psychology of Art and Design as well as Art and Design Education. Journal of Visual Art and Design welcomes original research, Art and Design work, and critical discourse on traditional and contemporary issues in the field of Art and Design. Researchers, Artists, and Designers are welcomed to contribute in the form of conceptual or theoretical approaches, designer/artists writings, case studies or critical essays in the fields of Art and Design.
Arjuna Subject : Seni dan Humaniora - Seni Visual dan Seni Pertunjukan
Articles 263 Documents
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Pergeseran Gaya Estetis Mebel di Keraton Ngayogyakarta Hadiningrat Indah Septi; Agus Sachari
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.7

Abstract

The Kraton Ngayogyakarta Hadiningrat has been the center for the development of ideas, traditions, and cultural artifacts, giving it a unique status among Indonesia diverse cultures. Understanding the richness of Yogya's inherited artifacts, this research tried to investigate the existing styles of furniture in the Keraton Ngayogyakarta Hadiningrat during 1755 to 1988. The span period was chosen because during that time the Keraton endured several cultural transformations, from the period where Hindu-Buddha was very much influential to the era of colonialism. Sources for this research were gained through direct observation, interview and documentation, amplifying descriptive qualitative method using historical approach for analysis. The study indicates that there exist visual data, left by Sri Sultan Hamengku Buwono VIth to IXth, in form of symbolic mean that could be seen on the furniture (ornaments) in the Keraton Ngayogyakarta Hadiningrat. It shows that the most frequent used ornaments are geometric shape, flora-fauna, and imaginary creatures. The ornaments are usually placed at the top, center and lower parts of the furniture. Aside to fulfill aesthetical decoration, those ornaments, which also have symbolic mean, are used as a medium to express the social norms of the Kraton Ngayogyakarta Hadiningrat.
Kajian Estetika dan Unsur Pendukungnya pada Keraton Surakarta Imam Santosa
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.8

Abstract

In Javanese culture, the Keraton of Surakarta Hadiningrat (Surakarta Hadiningrat Palace) is classified as one of the highly valued Javanese historical objects. It is due to the fact that the history of the Palace's construction has a close connection with the history of the previous Javanese kingdoms, especially those belong to the Mataram Rajakula (dynasty) which was established in the year 1508 of Javanese calendar (Saka) or 1582 AD. The word "keraton" originates from the word 'ke-ratu-an, a manifestation of highly valued  creation or 'Pamesu Budi' (in Javanese language) of a king, his men of letters, and his artists, the creation that caters the Javanese life values and norms. From its meaning, the design of the Surakarta palace"“in Javanese language--characterizes the following: nyipati wewangun toto lahir, sinartan dhamang dumateng pagedhong pikajeng, manunggaling kang agal lan alus, whose translation says that the merger between physical and metaphysical thing, between logic and non-logic, between the soft and hard, and between wadaq and thought.
Artifak Purba Pasemah: Analisis Ungkap Rupa Patung Megalitik di Pasemah Erwan Suryanegara; Nuning Damayanti; Wiyoso Yudoseputro
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.9

Abstract

Prehistoric relics, especially those of megalithic traditions, were found many in the plateau of Pasemah. From several types of megalithic artefacts, megalithic idols are the one that excessively found in Pasemah. Unfortunately, scientific information about these ancient artefacts in Pasemah is still scarcely to be found, especially in the form of visual data and reports. Based upon this notion, this research conducted a study to investigate, document and describes the existence, depiction, the object, expression style, symbol, and attribute of the megalithic idols of Pasemah; using the approach of ungkap rupa. The study discovers that the proponent society of megalithic culture in Pasemah had used and applied bronze. They had good ability in chiseling idols from big stones of andesit, formed it in sharp corners and created accurate forms. The depicted idols show that its form has a dynamic pictorial postures and shapes, although some are also made in the style of realistic expression. The idols are formed in a leaning forwards posture, its head or face tilted upward, and its feet usually visualized in the bended forms, depicting austronesoid man and animals complete with its attribute and symbols. Further, the study indicates that these megalithic idols were representations of symbolic-mystical beliefs of a Pasemah's society which were based on cosmology of the past. Accordingly, these idols were inseparable parts of Pasemah's ancestor veneration rituals. The distinctiveness of these idols is found in their dynamics"”both in pictorial and realistic depiction"” that seem to be the masterpiece of megalithic idols of Pasemah at that time. The idols visualize the complete body part of austronesoid man and/or animals (head, body, foot/feet, and hand), which indicates that the megalithic idols of Pasemah represents a mystical culture of a society that whorshiped the spirit of their ancestors, live as an agrarist society of farmer (peladang) system, and encourages the patriotic characteristic of man.
Desain Mebel Denmark dalam Konteks Perkembangan Desain Kontemporer Skandinavia Jamaludin Jamaludin; Imam Buchori; Imam Santosa
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.1

Abstract

Denmark's strategic geographical position between Continental Europe and Scandinavian region makes them play a role as a bridge between both regions, including in the development of modern design. The development of Scandinavian furniture design influenced by proto-modern design movement in Europe such as Art and Craft Movement, De Stijl, Vienna School, Deutsche Werkbund, and also Bauhaus. The outer influences were accepted with critical understanding and blended with local character to produce a new design form known as Modern Scandinavia. Historically, the education of modern furniture design in Denmark and other Scandinavian countries pioneered by Kaare Klint (1888-1954) in the Royal Danish Academy of Fine Art, School of Architecture in Copenhagen. It was for the very first time, Klint arranged a systematic and comprehensive study about function, structure and furniture dimension based on British classics chair design. He also studied measurement of furniture based on the necessity of objects, which later known as Ergonomic. Klint's approach resulted in a functional aspect that lead to organic abstraction form by using natural wood as opposed to Bauhaus form concept that tended to use geometric abstraction form by using chrome-plated metal. Having described its historical roots, the study analyzed the characteristic of Denmark furniture design development that referring to (a) the values of craftsmanship, which is applied into modern design and manufacture process; (b) the commitment to natural material, which is used in furniture design, and (c) social idealism that applied in the society. Danish furniture designers' approach into modern design starts by reductionism that simplifies classical forms into basic-structural forms, and apply organic abstraction as opposed to Bauhaus's geometric abstractions.
Unsur Tasawuf dalam Perupaan Wayang Kulit Purwa Cirebon dan Surakarta Moh. Isa Pramana; Yustiono Yustiono; Wisoyo Yudoseputro
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.2

Abstract

Wayang Kulit Purwa"”based on Indian epics and original Javanese myths"”is considered as the media link between the Hindi-Buddhism era (Kabudan) and the Islamic era (Kewalen) of the Indonesian traditional arts. It is assumed that wayang kulit holds a relationship role to these two eras. The effort to understand this relationship can only be explained through Sufism that was practiced by the Nine Apostles of Java (Wali Sanga) who has contributed a great deal to the Wayang Kulit Purwa adaptations. It is obvious that there are Sufistic meanings in the visualizations of the figure in Wayang Kulit Purwa as shown by differences of dimensions and intensities in its manifestations, even with the same local area (gagrak). Differences are range from visual details among different figure appearances of the similar character, called wanda, to the different figure appearances of different characters. This is particularly more obvious in the differences between the gagrak of Cirebon and Surakarta. This study focuses on the analysis of various characters figures such Bima, Mintaraga, Semar, Cakil, Rahwana, Duryudhana and Dursasana from both gagraks of wayang kulit. The Cirebon gagrak shows a Sufistic understanding which looks to the medium not in a serious matter, being more straight forward, more egalitarian and more focused. On the other hand, Surakarta gagrak shows a Javanese Sufistic understanding that put the importance of visualizing elegance and grace-ness in manners and spirituality, as a proof of harmony between the world of physique and spirituality.
Desain Kebaya Sunda Abad Ke-20 Studi Kasus di Bandung Tahun 1910-1980 Irma Russanti
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.3

Abstract

The female traditional outfits of Sunda are varied according to geography, history, social life, economy, and cultural transformations that have taken place for centuries. The similarity in both cultures and historical background had resulted in the similarity on structural design of the various female outfits in this area. This study focuses to identify various styles of kebaya Sunda that shared similarity of features. The word Sunda itself was used as a collective term, and apparently had a relation with the original place and culture of the kebaya wearers "“ female Sundanese. Given wide geographical area and historical richness of Sunda, the study focuses on the area of Bandung during the period of 1910"“1980. The study employed a descriptive analysis that was based on the historical approach, in an attempt to describe the cultural transformation of kebaya as the traditional female outfit that had taken place in Sunda area. To identify design features of kebaya Sunda, the study employed both synchronic and diachronic approaches. To analyze the effect of modernization toward aesthetical shift and changes of design in kebaya Sunda during 1910-1980, the study employed aesthetical approach. In addition, the study also looks into the influence of social stratification upon the classification of the designs in kebaya Sunda. Results suggest that: (1) Design features of the kebaya Sunda had accumulated into five different styles (V neckline, wide samleh, small samleh, cowak, and triangle bef), (2) The modern education and the changes of thinking pattern, trend mode and textile, and the technological development of pattern making had greatly influenced the aesthetical shift of the kebaya Sunda design, thus greatly affecting their design changes (sleeve shape, collars, necklines, proportions, textures, silhouettes, constructions, and decoration varieties, (3) The influence of the social stratification to the design classification of kebaya Sunda in Bandung in 1941 was evident, when kebaya menak and kebaya cacah were created. Their significant differences appear in shapes, lines, silhouettes, proportions, textures, decoration varieties, details, and trimmings. The style of kebaya menak was predominantly used by all styles of the kebaya Sunda whereas kebaya cacah tended to use small samleh style.
Persoalan Kesetaraan Gender dalam Karya Seni Rupa Kontemporer Indonesia Ira Adriati Winarno
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.4

Abstract

Art work serves not only for personal expression but also have social function. It is quite obvious as some Indonesian women artists use their art works to express gender equality issues. Their ideas are contributing greatly to the development of contemporary visual art in Indonesia. These women artists express issues of gender that whether personally experienced by them or other women in general, using the expressive style of surrealism, expressionism, and naturalism. Certainly, their art works show good aesthetics values, supported by excellent skills and technical abilities. Most of their art works not only provide excellent visualizations but also send strong messages on gender equality issues. Their works, as explained in this study, provide a common ground to increase public awareness for the importance of gender equality issues in Indonesia.
Makna Simbolis pada Unsur Visual Kostum Tari Topeng Babakan Cirebon Keni Arja di Desa Slangit Ayoeningsih Dyah
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.5

Abstract

Mask dance is one of the traditional performing arts that has grown and developed ever since the Hindu period. At the beginning, this artistic performance serves as the medium in the ceremonial tradition related to the ritual of elderly summon, for giving blessings and provide salvations.  In the Islam period, the performance was used by Sunan Gunung Djati as a media of religious endeavor to show the phase in human's beliefe. In this special type of performance, the dancer wears five character masks: Panji, Pamindo, Rumyang, Patih and Klana, along with their equipments, such as costumes, clothes, and headdress called sobrah. Although it looks visually simple, its provide lots of symbolical values that are related to the growing period of arts, where major philosophies from the two grand religions (Hindu and Islam) collided. It is also related to the concept of Mandala, a primordial discourse of Indonesian society. This study focuses in analyzing the symbolic meaning of visual elements from the babakan dance's costume, which was used by Keni Arja in the year of 2006. It is found that inside Keni Arja's costume there are full varieties of forms, motives, and colors. For instance, the figure of Panji, Pamindo, Rumyang, and Patih wear a tie; however Klana wears ombyok to cover the chest. Patih's figure is no longer using sobrah as headdress, instead it uses peci-bendo and glasses. Results of analysis indicate that there are several changes on the visual elements inside mask-dance costume, especially in the element of form among ornament of sobrah, the material of sobrah, the costume colors of every character, and the motive of kain. Interestingly, Keni Arja keeps using some traditional elements, such as headdress (called sobrah) and a cloth piece to cover below. This indicates that traditional dancer still obeys the old form, which refers to the early birth of this artistic performance, as a way to keep magical values of the performing arts.
Narasi-Narasi Tentang Tubuh dalam Seni Rupa Kontemporer Indonesia Studi atas Karya-Karya Agus Suwage, Arahmaiani, Ivan Sagita, dan IGAK Murniasih Acep Iwan Saidi
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.6

Abstract

This paper ellaborates how human body is visualized in Indonesian contemporary art works, especially in the works of Agus Suwage, Arahmani, Ivan Sagita, and IGAK Murniasih. In their works, human body becomes the base of epistemological creation. Their different points of view and vocalizations resulted in the various themes of human body. Human body becomes full of social, political, psychological, philoshopical, empirical, and cultural values.
Mengamati Aspek-Aspek Visual Pertunjukan Tari Sebagai Pengayaan Kajian Senirupa Anis Sujana
Journal of Visual Art and Design Vol. 1 No. 2 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.2.7

Abstract

According to the medium, arts can be classified into the art of visual, the art of hearing, and the art of words. Those included in the art of visual are dance and fine art, in the art of hearing is music and in the art of words is poetry. This paper describes one of the art of the visual"”dance, which use human body and its movement as a medium of expression. Fact shows that a dance performance exists due to the involvement of supporting elements such as visual disposition. Certain dances limit themselves to the supporting elements of costumes, make-up, property (tools) and musical instruments; others equip with stages, decorations, and lightings. Traditional dances"”in particular"”extensively equip themselves with supporting elements to show its characteristics. Thus, since dance requires the supporting element of visuals, it is reasonable to observe it as similar to the way we observe the object of fine art. The scope of observation for the supporting elements of dance performance may cover the whole visual events or just merely one of the scenes. Therefore, a contextual knowledge of both inside and outside can be fully grasped to form the background of the dance performance.

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