Pub Date : 2022-10-30DOI: 10.33153/artistic.v3i2.4528
Aries Budi Marwanto, J. Wahyudi, Raden Ersnathan Budi Prasetyo
There was a lot of used roof tile discovered throughout the village. However, the community did not turn it into usable items. The roof tile waste motivated us to turn it into artwork. This artistic research focused on the production of repurposing ceramic pieces utilizing roof tile waste materials. This creative study made use of the experimentation, reflection, and formation phases of Dharsono's artistic creation approach. This artistic creation process resulted in a jug of art entitled "Wanawarih." This artwork is full of symbolic expression values about the trilogy of vitality, namely forest preservation, water function maintenance, and earth manifestation
{"title":"THE CREATION OF “REPURPOSING” CERAMIC USING ROOF TILES WASTE","authors":"Aries Budi Marwanto, J. Wahyudi, Raden Ersnathan Budi Prasetyo","doi":"10.33153/artistic.v3i2.4528","DOIUrl":"https://doi.org/10.33153/artistic.v3i2.4528","url":null,"abstract":"There was a lot of used roof tile discovered throughout the village. However, the community did not turn it into usable items. The roof tile waste motivated us to turn it into artwork. This artistic research focused on the production of repurposing ceramic pieces utilizing roof tile waste materials. This creative study made use of the experimentation, reflection, and formation phases of Dharsono's artistic creation approach. This artistic creation process resulted in a jug of art entitled \"Wanawarih.\" This artwork is full of symbolic expression values about the trilogy of vitality, namely forest preservation, water function maintenance, and earth manifestation","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"69 8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129883517","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-29DOI: 10.33153/artistic.v3i2.4496
Arif Luqman Al Hafidl, A. Supriyanto
Petruk is one of the punakawan figures in the puppet show who always entertains the audience. Despite his cute appearance, Petruk's figure has exemplary values and admirable values. In addition, Petruk also has a unique body shape, making it fascinating to use him as an inspiration for the creation of metal cast artwork for window decoration. This decorative artwork was made in 4 (four) steps: exploration, experimentation, incubation, and visualization. Five titles were given to the production of this decorative window artwork: "Petruk Ngilo," "Petruk Duding," "Berharap dan Berserah Diri," "Pemomong," and "Petruk Kanthong Bolong." Each of these window decorations represents a symbolic value for our existence as social beings and God's creatures.
佩特鲁克是木偶戏中的普那卡旺人物之一，他总是能逗乐观众。尽管他的外表很可爱，但佩特鲁克的形象却有着模范的价值观和令人钦佩的价值观。此外，Petruk还拥有独特的体型，将他作为创作窗户装饰金属铸造艺术品的灵感来源，令人着迷。这个装饰艺术品是通过4个步骤完成的:探索、实验、孵化和可视化。制作这一装饰性窗户艺术品的作品获得了五个称号:“Petruk Ngilo”、“Petruk Duding”、“Berharap dan Berserah Diri”、“Pemomong”和“Petruk Kanthong Bolong”。每一种窗户装饰都代表了我们作为社会人和上帝的创造物存在的象征性价值。
{"title":"THE VISUAL CREATION OF PETRUK CHARACTER USING CASTING TECHNIQUE AS WINDOW DECORATION ELEMENTS","authors":"Arif Luqman Al Hafidl, A. Supriyanto","doi":"10.33153/artistic.v3i2.4496","DOIUrl":"https://doi.org/10.33153/artistic.v3i2.4496","url":null,"abstract":"Petruk is one of the punakawan figures in the puppet show who always entertains the audience. Despite his cute appearance, Petruk's figure has exemplary values and admirable values. In addition, Petruk also has a unique body shape, making it fascinating to use him as an inspiration for the creation of metal cast artwork for window decoration. This decorative artwork was made in 4 (four) steps: exploration, experimentation, incubation, and visualization. Five titles were given to the production of this decorative window artwork: \"Petruk Ngilo,\" \"Petruk Duding,\" \"Berharap dan Berserah Diri,\" \"Pemomong,\" and \"Petruk Kanthong Bolong.\" Each of these window decorations represents a symbolic value for our existence as social beings and God's creatures.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"184 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130164013","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-29DOI: 10.33153/artistic.v3i2.4494
Rengga Kusuma Nawala Sari, S. Wuryani, Kosalalita Anggiyumna R.
Koi fish breeding in Blitar City produces Koi with superior quality. Koi fish are also used as the mascot of this city. Koi fish from Blitar are widely marketed both nationally and internationally. This is inextricably linked to the shape and color attractiveness of koi fish. Accordingly, koi fish are an interesting source of inspiration for wall art creation. The creation of this ornamental artwork used an aesthetic approach. The three steps of the creative process were exploration, design, and embodiment. Tapestry and knitting techniques were used in the embodiment technique. This process produced three decorative artworks: (1) “Koi Fish Harmony”, which depicts a harmonious life; (2) “Meek Soft”, illustrates gentleness; and (3) “The King of Freshwater Fish”, which portrays charming luxury.
{"title":"KOI FISH AS AN INSPIRATION FOR WALL DECORATION ARTWORK","authors":"Rengga Kusuma Nawala Sari, S. Wuryani, Kosalalita Anggiyumna R.","doi":"10.33153/artistic.v3i2.4494","DOIUrl":"https://doi.org/10.33153/artistic.v3i2.4494","url":null,"abstract":"Koi fish breeding in Blitar City produces Koi with superior quality. Koi fish are also used as the mascot of this city. Koi fish from Blitar are widely marketed both nationally and internationally. This is inextricably linked to the shape and color attractiveness of koi fish. Accordingly, koi fish are an interesting source of inspiration for wall art creation. The creation of this ornamental artwork used an aesthetic approach. The three steps of the creative process were exploration, design, and embodiment. Tapestry and knitting techniques were used in the embodiment technique. This process produced three decorative artworks: (1) “Koi Fish Harmony”, which depicts a harmonious life; (2) “Meek Soft”, illustrates gentleness; and (3) “The King of Freshwater Fish”, which portrays charming luxury.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"77 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133405798","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-28DOI: 10.33153/artistic.v3i2.4466
Sito Fossy Biosa, Waret Khunacharoensap
Time-based art, often known as dynamic art, is becoming increasingly popular since the artsy community finds realistic action movies monotonous. In this respect, the Dadaist Film movement is crucial as a part of the dynamics of the non- compartmentalized art. The intimacy of the artistic production and manipulation process of the Dada movement encouraged me to apply the TRISIKON (Three Situations and Conditions) idea to make the Dada movement-inspired film "Pasca Lisan." The Dadaist movie "Pasca Lisan" used the idea of TRISIKON as a way of speaking to depict resistance to terrorist acts. Documentary footage gave the impression that what the camera was capturing actually happened; imaginative animation added the expression and impression effects; and live-action produced absurd, biased, and multi-interpreted dramatic scenes. Additionally, this movie was a picture of art and cross-disciplinary lines that worked together to reveal original and novel concepts, or perhaps things that dared to be referred to as "new."
{"title":"“PASCA LISAN”, A DADAIST FILM WITH TRISIKON","authors":"Sito Fossy Biosa, Waret Khunacharoensap","doi":"10.33153/artistic.v3i2.4466","DOIUrl":"https://doi.org/10.33153/artistic.v3i2.4466","url":null,"abstract":"Time-based art, often known as dynamic art, is becoming increasingly popular since the artsy community finds realistic action movies monotonous. In this respect, the Dadaist Film movement is crucial as a part of the dynamics of the non- compartmentalized art. The intimacy of the artistic production and manipulation process of the Dada movement encouraged me to apply the TRISIKON (Three Situations and Conditions) idea to make the Dada movement-inspired film \"Pasca Lisan.\" The Dadaist movie \"Pasca Lisan\" used the idea of TRISIKON as a way of speaking to depict resistance to terrorist acts. Documentary footage gave the impression that what the camera was capturing actually happened; imaginative animation added the expression and impression effects; and live-action produced absurd, biased, and multi-interpreted dramatic scenes. Additionally, this movie was a picture of art and cross-disciplinary lines that worked together to reveal original and novel concepts, or perhaps things that dared to be referred to as \"new.\"","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"80 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115659383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.33153/artistic.v3i2.4524
Ken Andhisti
Batik ERNA Mojokerto is a hand-written Mojokerto-style batik renowned for incorporating a Majapahit theme into its batik production. Some of the names of the batik motifs, such as the Surya Majapahit, Alas Majapahit, and Bunga Cinta Majapahit, have Majapahit nuances. The uniqueness of Batik Erna motivates this study to formulate the following research problem: how to transform the shape of the Majapahit heritage ornaments into Batik ERNA motifs? The purpose of this descriptive qualitative study is to investigate ERNA Batik motifs. Observation and interviews were utilized for data collecting, whereas data was examined using domain, taxonomy, and component analysis. The results of this study show that Batik ERNA transforms the ornaments of Majapahit heritage, such as the shape of the temple, flora and fauna ornaments on the relief walls, and the Majapahit royal signs into its batik motifs. The ornaments and the temple shapes have inspired the creation of batik motifs. The transformation results can be seen in the batik motifs of Ukel Cambah, Surya Majapahit, Rawan Inggek, and Kembang Suruh.
{"title":"THE TRANSFORMATION OF MAJAPAHIT TEMPLE ORNAMENTS INTO BATIK MOTIFS","authors":"Ken Andhisti","doi":"10.33153/artistic.v3i2.4524","DOIUrl":"https://doi.org/10.33153/artistic.v3i2.4524","url":null,"abstract":"Batik ERNA Mojokerto is a hand-written Mojokerto-style batik renowned for incorporating a Majapahit theme into its batik production. Some of the names of the batik motifs, such as the Surya Majapahit, Alas Majapahit, and Bunga Cinta Majapahit, have Majapahit nuances. The uniqueness of Batik Erna motivates this study to formulate the following research problem: how to transform the shape of the Majapahit heritage ornaments into Batik ERNA motifs? The purpose of this descriptive qualitative study is to investigate ERNA Batik motifs. Observation and interviews were utilized for data collecting, whereas data was examined using domain, taxonomy, and component analysis. The results of this study show that Batik ERNA transforms the ornaments of Majapahit heritage, such as the shape of the temple, flora and fauna ornaments on the relief walls, and the Majapahit royal signs into its batik motifs. The ornaments and the temple shapes have inspired the creation of batik motifs. The transformation results can be seen in the batik motifs of Ukel Cambah, Surya Majapahit, Rawan Inggek, and Kembang Suruh.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"48 1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130995687","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.33153/artistic.v3i1.4415
Amalya Wijayanti, Danis Sugiyanto
Grobogan Regency is one of the areas where Tayub art is still present. One of the distinctive and unique pesindhèn who produces gendhing recordings is Lasmi. This research focuses on artist Lasmi's creativity in working on her sindhènan (song), typically distinguished by parikan, wiledan, and céngkok. This study uses a qualitative approach by collecting data through observation and in-depth interviews and analyzing data with interactive analysis. The results of this study indicate that working on parikan, which has a comical character, is a rather distinct characteristic of Lasmi's style of working on sindhènan. Lasmi's vocal style in presenting unique céngkok-céngkok can be seen in the gendhing-gendhing Tayub. Sindhènan Lasmi differs from other sindhènan lèdhèk Tayub because it is more luwes (flexible) and prênès.
{"title":"LASMI’S STYLE OF SINDHENAN GENDHING TAYUB","authors":"Amalya Wijayanti, Danis Sugiyanto","doi":"10.33153/artistic.v3i1.4415","DOIUrl":"https://doi.org/10.33153/artistic.v3i1.4415","url":null,"abstract":"Grobogan Regency is one of the areas where Tayub art is still present. One of the distinctive and unique pesindhèn who produces gendhing recordings is Lasmi. This research focuses on artist Lasmi's creativity in working on her sindhènan (song), typically distinguished by parikan, wiledan, and céngkok. This study uses a qualitative approach by collecting data through observation and in-depth interviews and analyzing data with interactive analysis. The results of this study indicate that working on parikan, which has a comical character, is a rather distinct characteristic of Lasmi's style of working on sindhènan. Lasmi's vocal style in presenting unique céngkok-céngkok can be seen in the gendhing-gendhing Tayub. Sindhènan Lasmi differs from other sindhènan lèdhèk Tayub because it is more luwes (flexible) and prênès.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"58 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114248314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.33153/artistic.v3i1.4453
Siti Nafisah, Sri Marwati
Wijayakusuma flower is a unique and rare flower that only blooms once at night and after that it will wither and not bloom again. This uniqueness is an attraction to make it an inspiration for batik art work. The formulation of the studdy in this creation is how to visualize the Wijayakusuma flower in the form of a batik motif and implement it into party dresses. This artistic research uses three stages, namely exploration, design and visualization. The results of this study are the creation of the Wijayakusuma batik motif, the application of the Wijayakusuma floral batik motif to the party dresses, and the realization of the Wijayakusuma batik patterned party dress. The works of this party dress are entitled Selene, Amaris, Luna, and Neoma.
{"title":"DESIGNING PARTY DRESS WITH WIJAYAKUSUMA BATIK MOTIF","authors":"Siti Nafisah, Sri Marwati","doi":"10.33153/artistic.v3i1.4453","DOIUrl":"https://doi.org/10.33153/artistic.v3i1.4453","url":null,"abstract":"Wijayakusuma flower is a unique and rare flower that only blooms once at night and after that it will wither and not bloom again. This uniqueness is an attraction to make it an inspiration for batik art work. The formulation of the studdy in this creation is how to visualize the Wijayakusuma flower in the form of a batik motif and implement it into party dresses. This artistic research uses three stages, namely exploration, design and visualization. The results of this study are the creation of the Wijayakusuma batik motif, the application of the Wijayakusuma floral batik motif to the party dresses, and the realization of the Wijayakusuma batik patterned party dress. The works of this party dress are entitled Selene, Amaris, Luna, and Neoma.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127644777","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.33153/artistic.v3i1.4431
Ninik Putri Yulianti, Soemaryatmi Soemaryatmi
Halang dance is a choreographic work that departs from a folk tale, namely the love story of Raden Inu Kertapati with Galuh Candra Kirana who faces many obstacles. The formulation of the research problem, namely: How is the creative process of creating Halang dance? This study uses a practice-based research methodology. The creative process in creating this dance uses the 3R theory. The result shows that the artistic process gives freedom of interpretation and creativity to anyone to realize ideas in the form of works. Halang dance is a work of art that is done through a creative process by going through the steps of Re-Visiting, Re-Questioning, and Re-Interpreting. Then through the steps of the creation process, namely exploration, improvisation, composition, evaluation, rehearsal, and performing. Halang dance is performed by four scenes as a literal dramatic choreography. The elements in Halang dance are able to convey the atmosphere and message to the audience that in truth life will never be separated from all problems and love will continue to grow and develop in souls who have sincerity.
{"title":"CREATIVE PROCESS OF HALANG DANCE","authors":"Ninik Putri Yulianti, Soemaryatmi Soemaryatmi","doi":"10.33153/artistic.v3i1.4431","DOIUrl":"https://doi.org/10.33153/artistic.v3i1.4431","url":null,"abstract":"Halang dance is a choreographic work that departs from a folk tale, namely the love story of Raden Inu Kertapati with Galuh Candra Kirana who faces many obstacles. The formulation of the research problem, namely: How is the creative process of creating Halang dance? This study uses a practice-based research methodology. The creative process in creating this dance uses the 3R theory. The result shows that the artistic process gives freedom of interpretation and creativity to anyone to realize ideas in the form of works. Halang dance is a work of art that is done through a creative process by going through the steps of Re-Visiting, Re-Questioning, and Re-Interpreting. Then through the steps of the creation process, namely exploration, improvisation, composition, evaluation, rehearsal, and performing. Halang dance is performed by four scenes as a literal dramatic choreography. The elements in Halang dance are able to convey the atmosphere and message to the audience that in truth life will never be separated from all problems and love will continue to grow and develop in souls who have sincerity.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"71 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134213318","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.33153/artistic.v3i1.4421
Anggi Wulan Sari, Sri Rochana Widyastituningrum
Jepin Tali dance is one of the traditional Malay dances from Sintang Regency, West Kalimantan Province. This Jepin Tali dance was very popular then, especially among the Malay tribe community, because the community participated in dancing or bejepen at every performance. This is a group dance performed by both male and female dancers. However, this dance has been hibernating. Accordingly, this research aims to reconstruct the Jepin Tali dance so it can be revived in the community. This study is a practice-led research. Data were collected through interviews, observation, and literature study. Burra Charter's theory was used in the dance reconstruction. The results of this study indicate that the reconstruction increased the range of motion from 3 to 16 varieties, musical instruments, make-up and clothing, and floor patterns. The dance structure was developed into three parts: the beginning, the core, and the closing, by using the property of eight ropes braided in red, green, blue, and yellow colors and accompanied by music featuring Siti Zubaidah's poetry.
{"title":"THE RECONSTRUCTION OF “JEPIN TALI” SINTANG DANCE","authors":"Anggi Wulan Sari, Sri Rochana Widyastituningrum","doi":"10.33153/artistic.v3i1.4421","DOIUrl":"https://doi.org/10.33153/artistic.v3i1.4421","url":null,"abstract":"Jepin Tali dance is one of the traditional Malay dances from Sintang Regency, West Kalimantan Province. This Jepin Tali dance was very popular then, especially among the Malay tribe community, because the community participated in dancing or bejepen at every performance. This is a group dance performed by both male and female dancers. However, this dance has been hibernating. Accordingly, this research aims to reconstruct the Jepin Tali dance so it can be revived in the community. This study is a practice-led research. Data were collected through interviews, observation, and literature study. Burra Charter's theory was used in the dance reconstruction. The results of this study indicate that the reconstruction increased the range of motion from 3 to 16 varieties, musical instruments, make-up and clothing, and floor patterns. The dance structure was developed into three parts: the beginning, the core, and the closing, by using the property of eight ropes braided in red, green, blue, and yellow colors and accompanied by music featuring Siti Zubaidah's poetry.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114458114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-21DOI: 10.33153/artistic.v3i1.4454
Puput Saputri, Basuki Teguh Yuwono
Raden Adjeng Kartini, an Indonesian national hero from Jepara, Raden Adjeng Kartini, is an interesting inspiration for keris art. This creation seeks to realize the keris putut’s work with Raden Adjeng Kartini's dhapur as a form of respect and to imitate her character. The putut keris is made using a forging (tempa) technique and the primary ingredients of iron, nickel, and steel. The method of creation used is exploration, design, and embodiment. Meanwhile, the conceptual basis consists of greget, guwaya, and wangun. This creation results in three keris: the Putut Dhapur Emansipasi Raden Adjeng Kartini Keris, the Putut Dhapur Madhurya Raden Adjeng Kartini Keris, and the Putut Dhapur Anggit Raden Adjeng Kartini Keris. Each keris has a meaning related to Raden Adjeng Kartini’s character.
Raden Adjeng Kartini，来自Jepara的印度尼西亚民族英雄，Raden Adjeng Kartini是keris艺术的有趣灵感来源。这个创作试图实现keris putut与Raden Adjeng Kartini的dhapur的工作，作为一种尊重和模仿她的性格的形式。putkeris是用锻造(tempa)技术和铁、镍和钢的主要成分制成的。使用的创作方法是探索、设计、体现。同时，概念基础包括greget、guwaya和wangun。这种创造产生了三个keris: Putut Dhapur Emansipasi Raden Adjeng Kartini keris, Putut Dhapur Madhurya Raden Adjeng Kartini keris和Putut Dhapur Anggit Raden Adjeng Kartini keris。每个keris都有一个与Raden Adjeng Kartini的性格相关的含义。
{"title":"THE CREATION OF RADEN ADJENG KARTINI’S PUTUT DHAPUR KERIS","authors":"Puput Saputri, Basuki Teguh Yuwono","doi":"10.33153/artistic.v3i1.4454","DOIUrl":"https://doi.org/10.33153/artistic.v3i1.4454","url":null,"abstract":"Raden Adjeng Kartini, an Indonesian national hero from Jepara, Raden Adjeng Kartini, is an interesting inspiration for keris art. This creation seeks to realize the keris putut’s work with Raden Adjeng Kartini's dhapur as a form of respect and to imitate her character. The putut keris is made using a forging (tempa) technique and the primary ingredients of iron, nickel, and steel. The method of creation used is exploration, design, and embodiment. Meanwhile, the conceptual basis consists of greget, guwaya, and wangun. This creation results in three keris: the Putut Dhapur Emansipasi Raden Adjeng Kartini Keris, the Putut Dhapur Madhurya Raden Adjeng Kartini Keris, and the Putut Dhapur Anggit Raden Adjeng Kartini Keris. Each keris has a meaning related to Raden Adjeng Kartini’s character.","PeriodicalId":297032,"journal":{"name":"ARTISTIC : International Journal of Creation and Innovation","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-09-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132190965","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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