I Made Sukanadi
Jurusan Kriya, Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta

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PADMASANA KAJIAN SENI HIAS DAN FUNGSI I Made Sukanadi
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 10: Januari-April 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i10.113

Abstract

Padmasana is a sacred building for the Hindu people. It is used to worship God. This building is located in the northeast zone of the worship complex (Pura) as the main building. Padmasana building is very closely related to the symbolic values reflected in the name ‘padmasana’ itself, also the shape of the building and its decorative art that adorning the entire padmasana. To reveal these symbolic values, the writer approached the topic using some theories on function that were proposed by some prominent functionalist. The conclusion was that Padmasana functioned, first regiously, second ethically or morally, third aesthetically, fourth economically, and fifth expressively.Keywords: Padmasana, decorative art, function
PEMBERDAYAAN MASYARAKAT PERAJIN TENUN LURIK ATBM MELALUI INOVASI PRODUK Nany Noor K.; Kristiana Sri Utami; I Made Sukanadi
Corak : Jurnal Seni Kriya Vol 7, No 2 (2018): NOVEMBER 2018
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (762.566 KB) | DOI: 10.24821/corak.v7i2.2675

Abstract

The study aims to make effective model of empowerment of SMEs that can improve competitiveness and support the creative economy, so as to increase enterpreneurs that are oriented to product innovation. The specific target of the research is to obtain design and prototype of lurik weaving modification with natural fiber. The research was conducted with quantitative and qualitative approach, with Participatory Action Research (PAR) method. The research phase begins with the identification of human resources and product potentials, identifies the constraints faced by SMEs, followed by guidance and innovation development through design and prototype of lurik weaving modification with natural fiber. Based on the potential of human resources and products by considering the constraints faced by craftsmen, as well as based on the potential of natural resources (natural fiber) owned by the surrounding area, the researchers succeeded in making the design as the basis for creating prototype of the Lurik Abstract I Design, Lurik Abstract II , Lurik Dashed Lines Design, Lurik Mendong Combination Printing Design, Bamboo Lurik Feed Design and Lurik Combination Design.  Keywords: empowerment of SMEs, creative economy, lurik  Penelitian ini bertujuan membuat model pemberdayaan UKM  secara efektif yang dapat meningkatkan daya saing dan mendukung ekonomi kreatif, sehingga mampu meningkatkan pelaku usaha yang berorientasi pada inovasi produk. Target khusus penelitian adalah memperoleh desain  dan prototype modifikasi serat alam pada tenun lurik. Penelitian dilakukan dengan  pendekatan kuantitatif dan  kualitatif, dengan metode Participatory Action Research (PAR). Tahapan penelitian dimulai dengan pengidentifikasian potensi Sumber Daya Manusia (SDM) dan produk, pengidentifikasian kendala yang dihadapi UKM, dilanjutkan pembinaan dan pengembangan inovasi melalui pembuatan desain dan prototype tenun lurik modifikasi serat alam. Dengan mendasarkan pada potensi SDM dan produk dengan mempertimbangkan kendala yang dihadapi perajin, serta mendasarkan pada potensi sumber daya alam (serat alam) yang dimiliki daerah sekitar, maka peneliti berhasil membuat  desain  sebagai dasar untuk membuat prototype, yaitu Desain Lurik Abstrak I, Desain Lurik Abstrak II, Desain Lurik Garis Putus-Putus, Desain Lurik Mendong Kombinasi Printing, Desain Lurik Pakan Bambu, dan Desain Tenun Lurik Kombinasi. Kata Kunci: pemberdayaan UKM, ekonomi kreatif, lurik.
“BATIK MBANTULAN” DI SENTRA BATIK GIRILOYO DAN WIJIREJO BANTUL I Made Sukanadi; Arif Suharson
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 (1804.362 KB) | DOI: 10.24821/corak.v1i1.2309

Abstract

The study of batik in the batik centers of Giriloyo and Wijirejo Bantul is intended to develop the existing motifs of batik mbantulan and create new motifs while maintain the identity of batik mbantulan with its local-rich characteristics in Kabupaten Bantul. The development of batik mbantulan has undergone the rising and falling trend. To survive and develop artisans of batik mbantulan have to adapt themselves to the ongoing market preference through the improved characteristics of batik mbantulan. It is necessary to explore the possible existing motifs of batik mbantulan that have brought up the batik center of Giriloyo and Wijirejo have. The motifs of batik mbantulan have to be reserved in the batik products through identification, diversification, and creation of new batik mbantulan motifs, Therefore, the new designs is expected to be more competitive in batik market and create the spirit of creativity and innovativeness among the artisans of batik mbantulan in the Batik Center of Giriloyo and Wijirejo Bantul. The main obstacles that the artisans in the batik center of Giriloyo and Wijirejo have to face up is the meeting of consumers’ orders with their new motifs. The artisans are not capable enough to create new designs through the development of mbantulan motifs and prefer to work on the present and general motifs of batik Yogyakarta. The study is expected to deal with the artisans’ problem in creating new designs / motifs and improve their capacity to make new creative and innovative designs to meet consumers’ desired standard. In turn, this will lead to a better economic prospect for the artisans of batik mbantulan in the batik center of Giriloyo and Wijirejo. Key words: batik mbantulan, artisans, motifs
INSPIRASI ATT (ALAT TRANSPORTASI TRADISIONAL) SEBAGAI MOTIF KAIN BATIK Noor Sudiyati; Sunarto Sunarto; Made Sukanadi; Pandansari Kusumo
Corak : Jurnal Seni Kriya Vol 5, No 1 (2016): MEI 2016
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1486.28 KB) | DOI: 10.24821/corak.v5i1.2375

Abstract

Historically, traditional transport is very interesting to be analyzed. The people ofYogyakarta has had various traditional transport as the artifact with different meanings. Decadesago, the traditional horse cart (andong), cart, and classic cart currently kept in the Royal Museumas well as cow cart were the reliable transport for public mobility. Other vehicles were traditionalpedicab (becak) and bicycles both for male and female riders.The artifacts have currently not been in operation any longer. Although some peoplehave attempted to reserve the existence of those traditional transport, such as the cow cartcommunity, traditional bicycle community, and still many others, the reservation has to be takenmore seriously in order that the young generation have the sense of belonging. They have to beproud of the fact that the ancestors already had such traditional transports.The data concerning the traditional transports was collected from the regions inYogyakarta which still reserve the artifacts. Only few are operated, while most of them arereserved in such museums as the Royal Museum of Yogyakarta. The ancient Royal Palace usedto operate their classic carts for royal events. The carts had different functions, performances,and esthetics. They also symbolize different historical meanings. The parts of the carts have highesthetic value and craftsmanship. The decoration is sophisticated and can be transformed intovisualized works for further reservation.To reserve the historical artifacts and parts with their artistic value, they are put into themotif of batik in Yogyakarta. In this way, batik Yogyakarta will be have richer motifs. Such motifsand patterns as the traditional transports as becak and bicycle are reserved on batik. It isexpected that the young generation will proudly see and appreciate the wonderful historicalvalue inherited by the ancestors.Key Words: Traditional Transport, history, reserve, inspiration, Batik motif Garis kesejarahan akan Angkutan Tradisional menarik untuk dikaji, MasyarakatYogyakarta memiliki sejarah Angkutan Tradisional sebagai kekayaan artefak peninggalan, yangmenyiratkan berbagai makna. ATT: Andhong, kereta , kereta klasik yang ada di Museum Keretakeraoin, serta gerobag sapi itu puluhan tahun yang lalu menjadi andalan bagi mobilitasmasyarakat kita. Dilengkapi dengan becak dan sepeda onthel lanang maupun wedhok. KiniArtefak tersebut tinggal kenangan. Walaupun masih ada yang nguri-uri sebagaimana berdirikomunitas gerobag sapi, komunitas sepeda onthel dan yang lain, namun perlu dilestarikan untuk kepentingan generasi muda agar masih memiliki rasa handarbeni: bahwa dulu leluhurnyamemiliki berjenis-jenis kendaraan tradisional.Upaya untuk mendapatkan data dari ATTT didapatkan di daerah Yogyakarta yang masihartefak dan masih aktif dijalankan, sebagian besar sudah dilestarikan dalam museum sepertimuseum kereta di Keraton Yogyakarta. Kereta klasik yang pernah dimiliki kerajaan Yogyakartatersebut bermacam fungsi, performent dan estetikanya. Semua itu bermakna, sebagai buktisejarah Keberadaan Angkutan Transfortasi Tradisional. Artefak tranportasi itu memiliki bagianbagianyang estetis, bernilai craft yang tinggi, penuh hiasan yang rumit, semuanya menjadiobyek estetika yang dapat dilanjutkan lagi menjadi karya-karya visual yang dapat memberikannilai kelestarian.Untuk melestarikan artefak bersejarah dan bagian-bagian yang memiliki nilai artistictersebut, selaras apabila dijadikan inspirasi sebagai motif batik bagi Yogyakarta, agar menambahbarisan panjang motif yang dimiliki oleh dunia perbatikan kota Yogyakarta, ATT seperti becak,sepeda tersebut diangkat menjadi inspirasi untuk pola dan motif batik. Agar lestari dan generasidapat menyaksikan dan tidak kehilangan nilai sejarah yang dimiliki para pendahulu. Kata kunci: alat transportasi tradisional, sejarah, melestarikan, inspirasi, motif, batik.  
STUDI DAN PENCIPTAAN MOTIF NITIK DI SENTRA BATIK KEMBANGSONGO BANTUL I Made Sukanadi; Sugeng Wardoyo
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 (1669.497 KB) | DOI: 10.24821/corak.v4i1.2359

Abstract

This study was conducted in the Batic Center in Kembangsongo in Desa Jetis, Trimulyo,Bantul. This center is known for its specific dotted motif which is popularly known as batikNitik. The life of batik is dynamic. Currently, batik users have started to keep up with thecontemporary batik and give up batik with Nitik motif as the unique characteristic of batikBantul. Consumers of painted batik see the dot motif of batik has been out of date andmonotonous. It lacks innovation in design, shape, motive, and color.Innovation in the motif of batik Nitik has to be performed. Studies on Nitik motifs areneeded to collect the data for further evaluation. New motifs are needed to meet consumers’interest. The motifs of Nitik have to be preserved. The obstacles that the artisans inKembangsongo have include the meeting of consumers’ need for new motifs and designs. Theartisans have no competence to create new designs due to their limited knowledge in designand innovation in batik Nitik.This study is expected to overcome the problem that the artisans face up. The newdesigns or motifs will have to preserve the specificity. Therefore, the artisans will be morecreative and innovative in anticipating the market to meet consumers’ preference. It isexpected that batik artisans of in the batik center in Kembangsongo, Trimulyo, Jetis, Bantul willhave better economic prosperity. Keywords: batik Nitik, artisans, motif, consumers, Kembangsongo  Penelitian ini dilakukan di Kembangsongo yang merupakan sentra batik tulis terletak diDesa Jetis, Trimulyo, Bantul. Sentra ini terkenal dengan hasil batik tulis yang memiliki cirri khasmotif titik-titik yang dikenal sebagai batik Nitik. Perjalanan batik tulis mengalami pasang surutdimana kepeduliaan masyarakat pengguna batik tulis Nitik yang sudah mulai mengikuti selerapasar dan seolah bergerak meninggalkan batik bermotif Nitik sebagai salah satu ciri khas batikBantul. Konsumen batik tulis menilai bahwa motif batik Nitik sudah ketinggalan jaman danterkesan monoton karena kurangnya inovasi desain, baik bentuk, motif, dan pewarnaannya.Pengembangan motif batik Nitik mutlak dilakukan, dengan cara studi melaluipenelitian motif-motif Nitik, kemudian didata, dilakukan evaluasi, dan dilakukan penciptaanmotif-motif baru sesuai selera konsumen dengan tetap mempertahankan motif batik Nitiksebagai warna lokal yang harus tetap dilestarikan. Kendala para pengrajin batik di sentraKembangsongo adalah memenuhi pesanan konsumen yang menginginkan desain motif-motifbaru. Pengrajin tidak memiliki kemampuan untuk menciptakan desain baru karenaketerbatasan pengetahuan desain dan inovasi bentuk batik Nitik. Penelitian ini diharapkan mampu membantu mengatasi masalah pengrajin, batikdalam menciptakan desain atau motif batik Nitik baru yang tetap memiliki ciri khas, sehinggatercipta masyarakat kreatif dan inovatif dalam menghadapi pasar dan mampu memenuhikeinginan konsumen. Dari kegiatan ini akan meningkatkan kesejahteraan ekonomi pengrajinbatik di sentra Kembangsongo, Jetis, Trimulyo, Bantul. Kata kunci: batik Nitik, pengrajin, motif, konsumen, Kembangsongo
Pembinaan Seni Pada Kelompok Kerajinan Bambu di Tlogosari, Margoyoso, Magelang, Jawa Tengah I Made Sukanadi
Jurnal Pengabdian Seni Vol 2, No 1 (2021): MEI 2021
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/jps.v2i1.5735

Abstract

AbstrakDusun Tlogosari adalah salah satu dusun yang terdapat di wilayah Margoyoso, Salaman, Magelang, Jawa Tengah. Di dusun ini terdapat Kelompok Pelestari pengrajin Bambu “KOPPERBAM” yang selalu aktif melakukan penanaman bambu di sekitar wilayah desanya. Kelompok ini juga aktif memproduksi berbagai jenis produk bambu, antara lain berbagai bentuk anyaman bambu, mebel bambu, dan gazebo bambu. Kerajinan bambu yang dihasilkan  saat ini cenderung memiliki desain yang sangat sederhana dan tidak mengalami perkembangan, maka sangat diperlukan pembinaan untuk pengembangan desain-desain yang lebih disesuaikan dengan keinginan konsumen saat ini. Pembinaan ini akan memberikan pengetahuan kepada pengrajin bambu, meliputi seni kerajinan khusus kerajinan bambu, pengawetan bambu, dikenalkan dan diajarkan membuat desain yang baru, serta mempraktikkan  sekaligus menerapkan teknik konstruksi bambu yang lebih kokoh “konstruksi pantek dalam”. Pembinaan ini dilakukan dengan metode ceramah dan praktik. Produk yang dihasilkan dalam pembinaan ini antara lain 1 set kursi sofa bambu tutul, 3 buah kursi kafe, 1 buah rak televisi dengan bambu hitam, 1 buah tempat tidur dengan bambu apus, dan beberapa buah tempat dan speaker telepon genggam. 
PERKEMBANGAN MOTIF BATIK WALANG JATI KENCONO DI GUNUNGKIDUL YOGYAKARTA I Made Sukanadi
PROSIDING: SENI, TEKNOLOGI, DAN MASYARAKAT Vol 3 (2020): Seni, Tenologi, dan Masyarakat #5
Publisher : LP2MP3M, INSTITUT SENI INDONESIA SURAKARTA

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/semhas.v3i0.142

Abstract

Walang Jati Kencono batik motif has been certified industrial design rights obtained by gunungkidul district government used as uniform fabric of school students from paud, elementary, junior high, and high school/ vocational school level that must be produced by the batik craftsman community in Gunungkidul. Walang Jati Kencono batik motif is also the uniform of officials in Gunungkidul Regency. Since the enactation of this motif into gunungkidul batik character continues to undergo changes and developments, both in shape, technique, and coloring results. The purpose of this research is to know the source of the idea of the form, and the development of batik walang in Gunungkidul seen from the beginning was created until now used by gunungkidul people even outside people who are interested in the motif of batik walang. Research uses qualitative descriptive methods, with data collection using observation, interview, and documentation techniques, then the research instruments are the researchers themselves assisted by observation guidelines, interviews, and documentation. Validity of data with triangulation and persistence of observation, while data analysis techniques use the stages of data reduction, data presentation, and conclusion withdrawal. The results found from this study are: (1) Knowing the idea of the shape and development of Walang Jati Kencono batik motifs that are programmed as a characteristic uniform for students in Gunungkidul and strengthening local batik in order to drive the growth and empowerment of batik industry in Gunungkidul. Keywords: Batik, Motif Walang Jati Kencono, Gunungkidul, Craftsman