Brikolase最新文献

英文中文

PERSEPSI MAHASISWA TERHADAP SENI RUPA TRADISI DAN KONTEMPORER SERTA RELASI PROSES PENJELAJAHAN IDE KREATIF DALAM BERKARYA 学生对美术的传统、当代和关系的看法，是创意探索的过程

Brikolase

Pub Date : 2019-01-23 DOI: 10.33153/BRI.V10I2.2325

Narsen Afatara, Sigit Purnomo Adi, Sayid Mataram, Nadia Sigi Prameswari

ABSTRACTThe essence of art is creating beauty. Since ancient times beauty is something that is always sought after by humans. The beauty is getting worse due to traditional art increasingly abandoned. Traditional art is all things related to values in a particular community which are maintained purely from generation to generation. In contrast to contemporary art, one of the most prominent and prominent characteristics in contemporary art is the disappearance of boundaries between art. Both forms and styles of fine arts need to be preserved by students as the next generation. The importance of preserving art is part of the preservation of the arts and culture of the nation's heritage. Traditional and contemporary art are taught in the realm of education, especially at the university level through fine arts courses. The purpose of this study is to find out the perceptions of art students on traditional art and contemporary art, so that students as young people can identify and determine their interest in one form and style between traditional and contemporary art. Keywords: Fine Art, Contemporary and Traditional

艺术的本质是创造美。自古以来，美一直是人类追求的东西。由于传统艺术越来越被抛弃，美变得越来越差。传统艺术是指与某一特定群体的价值观有关的一切事物，这些价值观是纯粹代代相传的。与当代艺术相比，当代艺术一个最突出、最突出的特点是艺术之间的界限消失。美术的形式和风格都需要学生作为下一代来保存。保护艺术的重要性是保护国家遗产的艺术和文化的一部分。传统和当代艺术在教育领域被教授，特别是在大学的美术课程中。本研究的目的是找出艺术学生对传统艺术和当代艺术的看法，以便学生作为年轻人可以在传统艺术和当代艺术之间识别和确定自己的兴趣。关键词:美术，当代与传统

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引用次数: 1

SPIRIT OF NOAH : MEMAKNAI ULANG SEMANGAT KENABIAN DALAM ALKITAB MELALUI KARYA SENI RUPA 诺亚的精神:通过艺术品重新点燃圣经中预言的精神

Brikolase

Pub Date : 2019-01-23 DOI: 10.33153/BRI.V10I2.2331

Theresia Agustina Sitompul

In the legend of Noah's Ark, God punished one whole generation of Noah who were wicked and defying God by sending a natural disaster in the form of the Great Flood, destroying the nature. Noah was commanded to build an ark (medium) to save himself, his family, and his followers, also all kind of animals in pairs; to save a generation of life that later will create a new civilization and culture in a new area or location. The legend of Noah's Ark can be found in almost every holy book of divine religions where the story conveys the message of a life-cycle and how we learn about the meaning of life.Associating the story with our current lives, Noah's Ark has two concepts of interpretation; in the context of salvation and at the same time as a mediation space of the birth of a new culture. How human save themselves from their worldly problems, and at the same time a mediation space, a shifting space from the old culture into the new culture. These two concepts of Noah's Ark are the background and the base this creation for the writer. Keywords : Spirit of Noah, graphic art, hermeneutika.

在诺亚方舟的传说中，上帝以大洪水的形式给诺亚带来了一场自然灾害，毁灭了大自然，惩罚了邪恶违抗上帝的整整一代诺亚。诺亚被命令建造一艘方舟(中)来拯救他自己，他的家人，他的追随者，以及所有成对的动物;为了拯救下一代的生命，他们将在新的地区或地点创造新的文明和文化。诺亚方舟的传说几乎可以在每一本神圣宗教的圣书中找到，其中的故事传达了生命周期的信息以及我们如何了解生命的意义。将这个故事与我们现在的生活联系起来，诺亚方舟有两种解释概念;在救赎的语境中，同时作为一种新文化诞生的中介空间。人类如何将自己从世俗问题中拯救出来，同时也是一个中介空间，一个从旧文化到新文化的转换空间。这两个关于诺亚方舟的概念是作者创作的背景和基础。关键词:诺亚精神，平面艺术，解释学。

引用次数: 1

REFLEKSI DIRI TERHADAP HUBUNGAN MANUSIA DAN ALAM SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI RUPA EKSPERIMENTAL 作为一件实验艺术品创作灵感的来源，自我反思的人类和自然关系

Brikolase

Pub Date : 2019-01-23 DOI: 10.33153/bri.v10i2.2327

Farid Dwi Bagus Sugiharto, Satriana Didiek Isnanta

Creation of experimental art with the title "Self Reflection Against Human and Natural Relations" in the background of the writer's anxiety about the environmental damage caused by humans. From the source of the idea, the writer creates experimental fine arts that will be used as an awareness media on how important the role of nature is for the survival of living thing on earth.The results of this creation are experimental installation with elements of painting, audio, video and motion installation to point a space. The processing of this final project refers to the method of creation of Henri Cholis which refers to Hawkins, namely that in the process of create there are three stages: exploration, imvising and forming. Keywords: self-reflection, experimental art, nature damage

在作者对人类造成的环境破坏感到焦虑的背景下，创作了以“对人与自然关系的自我反思”为题的实验艺术。作者从这个想法的源头出发，创作出实验性的美术作品，作为一种意识媒介，让人们意识到自然对于地球上生物的生存是多么重要。这次创作的结果是用绘画、音频、视频和运动装置的元素来指向一个空间的实验性装置。这个final project的处理过程参考了Henri Cholis的创作方法，参考了Hawkins的创作方法，即在创作过程中有三个阶段:探索、想象和形成。关键词:自我反思，实验艺术，自然破坏

引用次数: 1

PEMBELAJARAN EKSTRAKULIKULER SENI LUKIS KACA DI SMP NEGERI 3 SUKASADA

Brikolase

Pub Date : 2019-01-23 DOI: 10.33153/BRI.V10I2.2328

I. G. Suryawan

Glass painting art as a “Kosa Rupa Bali” wealth especially Buleleng was very important to keep, one of them was in education. Because of that, it must be trained and directed for skill development through glass painting art extracuricular in many level, in this research focus on junior high scool especially at SMP N 3 Sukasada. The problem, that would be analyzed in this research are: (1) How are the glass painting art extracuricular learning process at SMP N 3 Sukasada. (2) How is the result of glass painting art extracurricularat SMP N 3 Sukasada. (3) What are the factor that affect the glass painting art extracuricular at SMP N 3 Sukasada. The research method that used was qualitative. The location that was choose for this research was SMP N 3 Sukasada. The technique that was used for collecting the data included: observation, interview, and documentation. The data was analysed by descriptive. Keywords: Learning, Ekstracuricular, Glass Painting

玻璃绘画艺术作为“Kosa Rupa Bali”的财富尤其被布列伦非常重视，其中之一就是在教育方面。因此，必须通过玻璃绘画艺术在多个层面的课外训练和指导技能的发展，本研究的重点是初中，特别是在SMP n3 Sukasada。本研究将分析的问题是:(1)Sukasada SMP n3玻璃绘画艺术的课外学习过程如何。(2)玻璃绘画艺术课外活动SMP N 3 Sukasada的结果如何?(3)影响Sukasada SMP n3玻璃绘画艺术课外活动的因素是什么?使用的研究方法是定性的。本研究选择的地点是SMP N 3 Sukasada。收集数据的方法包括:观察、访谈和记录。对数据进行描述性分析。关键词:学习，建筑，玻璃绘画

引用次数: 1

KOMUNITAS SEBAGAI INFRASTRUKTUR PERKEMBANGAN SENI GRAFIS DI YOGYAKARTA 日惹作为图形艺术发展基础设施的社区

Brikolase

Pub Date : 2018-10-04 DOI: 10.33153/BRI.V10I1.2175

A. N. Mahendrapati

ABSTRACTThe research was conducted on the basis of there are at least three reasons why the first is, there has been no mapping to the printmaking community in Yogyakarta and their activity. Second, raise awareness college students to forming a community as a receptacle for learning, working, and do the movement of together in independent to develop printmaking. Third, the results of the study to determine the learning methods that continued as an effort to increasing the quality of the artworks of the students are, created the atmosphere at work, to providing the socialization about printmaking to the people. Qualitative descriptive study is used in analyzing the results of observations are done continuously thus obtaining a complete mapping concerning the phenomenon of the growth of the printmaking communities following the influence of existence of them in the development of printmaking in Yogyakarta, and positive values to be adopted or developed further as learning materials for graphic art students the Indonesia Institute of The Arts Surakarta. The result of research conducted in the form of mapping the art community graphic in yogyakarta and recommendations on one method learning with a system of the formation of groups small in the class in the process of the achievement of the creation for students, and a growing spirit to introduce printmaking to the people of Surakarta to become a branches of art popular. Keywords: mapping , community , printmaking, popular.

【摘要】之所以进行此项研究，至少有三个原因:一是没有对日惹的版画社区及其活动进行测绘。第二，提高大学生的意识，形成一个社区，作为学习，工作的容器，并做运动，共同在独立发展版画。第三，研究结果确定学习方法，继续努力提高学生的艺术作品质量，创造工作氛围，为人们提供关于版画的社会化。定性描述性研究用于分析连续观察的结果，从而获得关于日惹版画社区发展的完整地图，以及它们的存在对日惹版画发展的影响，以及作为印尼艺术学院平面艺术学生学习材料的积极价值。研究结果以绘图的形式在日惹艺术社群中进行，并建议一种学习方法，以系统的形式在班级中形成小组，在小的创作过程中为学生取得成就，并以成长的精神将版画介绍给泗水人民，使其成为一门受欢迎的艺术分支。关键词:制图，社区，版画，流行。

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引用次数: 0

ABSTRAKSI FIGUR PUNOKAWANDENGAN TEKNIK STENLING (Menggabungkan Teknik StencilDan Teknik Marbling)

Brikolase

Pub Date : 2018-10-04 DOI: 10.33153/bri.v10i1.2174

Much. Sofwan Zarkasi, S. Sukirno

ABSTRACTCreation of Mono PrintGraphic Art Work with Abstraction of Punokawan Figure Use STENLING Technique (Combining Stencil Technique and Marbling Technique), based on opportunities related to creativity and experimentation in graphic arts that have two-dimensional printing art character. One of them is creating mono print graphic artwork with the process of combining stencil techniques and marbling techniques. The purpose of this creation is to open opportunities as wide as possible regarding creativity in graphic art works that have been seen as having occupied the position of the second art in fine arts after painting. The method applied in the creation of this work is the method of experimentation which is the incorporation of stencil techniques and marbling techniques. The creation of monoprint graphic artwork by combining these two techniques produces monoprint graphic artwork with visuals in the form of Punokawan figure characters abstraction. It is hoped that the results of the creation of this work can be one of the innovations in graphic art both in technical and form forms so that it can elevate the prestige of the graphic artwork itself.Keywords: monoprint, combined stencil & marbling

利用STENLING技术(将STENLING技术与大理石纹技术相结合)创作具有二维印刷艺术特征的平面艺术创作与实验的机会，以抽象的普野川人物为对象的单幅版画艺术作品。其中之一是将模版技术和大理石纹技术相结合，创作单幅版画艺术作品。这种创作的目的是为了尽可能广泛地打开图形艺术作品的创造力的机会，图形艺术作品被视为在美术中仅次于绘画的第二艺术。在这个作品的创作中应用的方法是实验的方法，这是模板技术和大理石纹技术的结合。将这两种技法结合在一起创作出具有视觉效果的单印版画作品，以普野川人物抽象的形式出现。希望本作品的创作成果能够成为平面艺术在技术和形式形式上的创新之一，从而提升平面艺术本身的威望。关键词:单印，组合模版和大理石纹

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引用次数: 0

EKSPLORASI TEKNIK FACE DAN BODY PAINTING UNTUK MENAMBAH ARTISTIK PAGELARAN BATIK FASHION ART WEAR

Brikolase

Pub Date : 2018-10-04 DOI: 10.33153/bri.v10i1.2176

S. Syamsiar, Nunuk Nur Shokiyah

ABSTRACT

This artistic research is conducted to explore face and body painting techniques. Its application to the model in fashion batik fashion show. Face painting is a painting that only uses the face as a medium (the field to be painted), while the body painting medium is the whole body from the neck to the feet. The creation process model refers to contemporary art in which art barriers are not limited to a combination of face and body painting, batik fashion art wear, dance art and music art, which is packaged in the form of a fashion show. Kind of batik fashion art wear is selected batik carnival fashion, glamorous batik fashion, Fashion Batik Klasic and fashion batik casual. The four forms of fashion batik is chosen because it is often displayed in the event of a major fashion show in the city of Solo.

Creation methods include Exploration (Observation, exploration of objects and the subject of creation), Improvisation (Experiments to make sketches of face design and body painting), Embodiments (creation of works and Fashion show performances). Creation of the work of face and body painting is expected to be able to produce artwork face and body painting the right model used in batik fashion art wear fashion, and able to add artistic batik fashion art fashion wear.

Keywords: Face painting, body painting, fashion, batik, artistic, art wear.

摘要本艺术研究旨在探讨脸部与人体彩绘技法。将其应用于时装蜡染时装表演中的模特。面部彩绘是一种仅以面部为媒介(待绘领域)的绘画，而人体彩绘媒介则是从颈部到脚部的全身。创作过程模式指的是艺术障碍不局限于面部和身体彩绘、蜡染时装艺术服装、舞蹈艺术和音乐艺术的结合，以时装表演的形式包装的当代艺术。蜡染时尚艺术服装种类有蜡染狂欢时尚、魅力蜡染时尚、时尚蜡染克拉克和时尚蜡染休闲。选择这四种形式的时尚蜡染，是因为它经常在索罗市的大型时装表演中展出。创作方法包括:Exploration(观察，探索对象和创作主体)，Improvisation(实验制作面部设计草图和人体彩绘)，Embodiments(作品创作和时装表演)。创作的面部和人体彩绘作品希望能够制作出适合蜡染时装艺术服装的脸部和人体彩绘作品模型，并能够为蜡染时装艺术服装增添艺术色彩。关键词:面部彩绘，人体彩绘，时尚，蜡染，艺术，艺术穿着。

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引用次数: 1

KUASA SIMBOLIK PATUNG RUANG PUBLIK : STUDI KASUS DI WILAYAH KOTA SURAKARTA 公共空间象征力量:日惹市个案研究

Brikolase

Pub Date : 2018-10-04 DOI: 10.33153/bri.v10i1.2177

M. H. Himawan

ABSTRACTThis article is the result of research examining how the development of public art, definitive public space sculpture and conventions that surround it, to see the extent to which the political dimension sees how to make the existence of public sculpture as a tool of legitimacy of power, development of image and power and contact with social discourse that develops in society.From the qualitative method of the Slamet Riyadi Statue on Jalan Slamet Riyadi, the Major Achmadi Statue in the Banjarsari Lima Proximity (Proliman), 45 Banjarsari Monument Statue (Serangan 4 Hari Monument in Surakarta) is located in Banjarsari Park, and the Statue Soekarno at Manahan Sports Complex, Surakarta, found that the existence of the statue was a proof of how the symbolic system was carried out to legitimize power by government authorities.Various forms of work that illustrate the dominance of militaristic icons compared to civilian icons, which shows how the quo vadis of military-civil relations are explicit and implied. Furthermore, this research found evidence that so far there have been a lot of public space sculptural works that do not idolize the public's need for living space.Symbolic power practices are continuously echoed through a system of visual language and symbolization that shows how power sneaks under the conscious space of society. The community is not aware of how the power system stands and hides behind these sculptures of public space, whatever the reason for their establishment; inheritance of nationalism, development of moral values, even ideology. Keywords: history, public space sculpture, symbolic of power, Surakarta City

摘要本文是通过研究公共艺术的发展、决定性的公共空间雕塑及其周围的习俗，来了解政治维度在多大程度上看待公共雕塑的存在如何成为权力合法性、形象和权力发展以及与社会话语接触的工具。从Jalan Slamet Riyadi雕像的定性方法，Banjarsari Lima Proximity (Proliman)中的Major Achmadi雕像，Banjarsari公园中的45 Banjarsari纪念碑雕像(泗水市的Serangan 4 Hari纪念碑)，以及泗水市Manahan体育中心的Soekarno雕像，发现雕像的存在是政府当局如何进行象征系统以使权力合法化的证明。各种形式的作品说明了军国主义图标与平民图标相比的主导地位，这表明了军民关系的现状是如何明确和隐含的。此外，本研究发现有证据表明，到目前为止，有很多公共空间雕塑作品并不崇拜公众对生活空间的需求。符号化的权力实践通过视觉语言和符号化的系统不断回响，展现了权力如何在社会意识空间下潜行。无论这些公共空间雕塑的建立原因是什么，社区都没有意识到权力系统是如何站在和隐藏在这些雕塑背后的;继承民族主义的道德价值观的发展,甚至意识形态 . 关键词:历史;公共空间雕塑;权力象征

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引用次数: 1

GAMBAR WAYANG KARYA SURIPNO DARI PERSPEKTIF RASA DALAM KEBUDAYAAN JAWA

Brikolase

Pub Date : 2018-10-04 DOI: 10.33153/bri.v10i1.2172

Feri Widiyanto

ABSTRACT

Wayang purwa is a Javanese art and culture product. The existence of wayang purwa in Javanese culture is very influential on the life of Javanese society. Variants of wayang that can be found today is one of them is a puppet image made by Suripno. The process of creating Suripno puppet shapes also can not be separated from the experience and knowledge of Suripno as the maker. The method used in this study is an ethnographic method that emphasizes the observation of behavior, interviews and artifacts.

Suripno's wayang pictures are an expression of his inward appreciation to the characters, mythology and the wayang story. Viewed from the perspective of taste in the Javanese culture aesthetics Suripno puppet pictures are a non-sensory aesthetic based on sense of appreciation, protection, tranquility, evenness and irony.

Keywords: Suripno, puppet image, aesthetics, taste, Javanese culture.

Wayang purwa是爪哇的一种艺术文化产品。爪哇文化中wayang purwa的存在对爪哇社会生活产生了很大的影响。今天可以找到的wayang的变体之一是Suripno制作的木偶形象。Suripno木偶造型的创作过程也离不开Suripno作为制作者的经验和知识。本研究使用的方法是民族志方法，强调对行为、访谈和人工制品的观察。Suripno的wayang图片是他对人物、神话和wayang故事的内心欣赏的表达。从爪哇文化美学的审美角度看，Suripno木偶画是一种以欣赏感、保护感、宁静感、均匀感和反讽感为基础的非感官美学。关键词:Suripno，木偶形象，美学，品味，爪哇文化。

引用次数: 0

KEBERADAAN KERAJINAN LOGAM DI TUMANG CEPOGOBOYOLALI 他们在TUMANG cepoboyolali发现了金属工艺

Brikolase

Pub Date : 2018-10-04 DOI: 10.33153/bri.v10i1.2173

Kuntadi Wasi Darmojo

ABSTRACT

Metal Crafts in Tumang, Cepogo, Boyolali, is one of the nation's cultural assets that has been passed down through generations from generation to generation, which is still occupied by the majority of Tumang people. The tradition of making products in Tumang metal handicrafts has undergone significant changes, where from the beginning of its establishment until before the 1960s, the results of products oriented to household items, then in the early 1970s until now have experienced object-oriented product changes ornamental.

Factors that cause cultural change through new products include: internal and external factors, impulses and direction of the process of change (innovation), as well as various phenomena of socio-cultural change. Internal factors are driven by the creativity of metal craft makers, while external factors are triggered by scholars, artists, or other innovation figures.

Changes in Tumang metal handicraft products have implications for the community, marked by a professional division of labor and the establishment of new institutions. The existence of metal crafts in Tumang, as an art product in society is still accepted in accordance with the development and changes in civilization of its supporting society.

Keywords: crafts, metals, Tumang, changes and products

博约拉利塞波戈图芒的金属工艺品是民族文化遗产之一，代代相传，至今仍为大多数图芒人所占有。土莽金属工艺品制作产品的传统发生了重大变化，从成立之初到20世纪60年代以前，产品的结果都是面向家居用品，再到70年代初直到现在都经历了面向对象的产品变化。通过新产品引起文化变化的因素包括:内部和外部因素，变化(创新)过程的冲动和方向，以及社会文化变化的各种现象。内部因素是由金属工艺制造者的创造力驱动的，外部因素是由学者、艺术家或其他创新人物引发的。土族金属工艺品的变化对社会产生了影响，其标志是专业分工和新机构的建立。土芒金属工艺品作为一种艺术产品在社会上的存在，仍然根据其支撑社会的文明发展变化而被接受。关键词:工艺，金属，土芒，变化，产品

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引用次数: 0

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