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All Journal Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya Ranah Seni: Jurnal Seni dan Desain Dinamika Kerajinan dan Batik : MAJALAH ILMIAH
Dharsono Dharsono
Unknown Affiliation
Arts Humanities Chemical Engineering, Chemistry & Bioengineering Education Environmental Science Industrial & Manufacturing Engineering Materials Science & Nanotechnology Social Sciences

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Artefak Budaya Jawa Dalam Sistem Kebudayaan Nusantara Dharsono Dharsono
Ornamen Vol 3, No 1 (2006)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1076.555 KB) | DOI: 10.33153/ornamen.v3i1.829

Abstract

Culture represent the overall of idea system, action and result are masterpiece of human being in life society. Form and content of culture, according to anthropologist at least has three forms (1) ideas, (2) activities and (3) artifacts. The form of culture are interactive each other. The most abstract system (ideas) looks like stay in the top of system to arrange social system activity more concrete, while the activities in social system yield the material culture (artifact). To ask about Nusantara fine arts, it will not release the Nusantara artifact culture result. Nusantara artifact culture in Java societies represent the expression of Java culture according to the philosophy and the culture system of values its self.Keyword: culture, philosophy,
LUMBUNG PADI DALAM KARYA SENI GRAFIS GAYA SUREALIS PADA MASYARAKAT KERINCI Jeki Aprisela H; Andar Indra Sastra; Dharsono Dharsono
Ranah Seni Vol 11 No 02 (2018): RANAH SENI
Publisher : Jurusan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Negeri Padang

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24036/ranahseni.v11i02.18

Abstract

ABSTRACT The aim of the study was to realize the transformation of the granary aspect in the form of surrealist-style graphic art in the background of Kerinci community culture. Rice granaries for the Kerinci community not only as a place to store rice in the past, then also have a social dimension that gives kerinci community identity and relations. The qualitative method is used in this study by relying on observation, in-depth interviews to conduct analysis that can sharpen the imagination of the graphic arts media. The results of this study concluded that the rice barn is still a cultural icon of the Kerinci community. Rice barns also have a deep meaning, can be used as a foundation to look for values ​​as a living guide for the Kerinci community so that it can be used as an example, because the philosophy of the rice granary is to teach about togetherness and cohesiveness in society. In the past the community worked together to harvest rice and collect their crops to be collected, because they already knew that saving money or collecting results meant they formed cooperation in the community so that they could help other disadvantaged citizens.
Batik Gaya Modern di Surakarta dalam Perspektif Quantum Sujadi Rahmat Hidayat; Rustopo Rustopo; Dharsono Dharsono
Dinamika Kerajinan dan Batik: Majalah Ilmiah Vol 37, No 1 (2020): Dinamika Kerajinan dan Batik : Majalah Ilmiah
Publisher : Balai Besar Kerajinan dan Batik

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22322/dkb.v37i1.5321

Abstract

Peningkatan apresiasi terhadap batik gaya modern di Surakarta pada awal abad XXI merupakan fenomena penting untuk dipelajari sebagai referensi untuk terus menjaga kelangsungan batik atau pelestarian seni tradisi lainnya. Apresiasi terhadap batik gaya modern dipengaruhi oleh wujud seni dan esensi dari karya yang dikreasi oleh penciptanya. Kajian ini bertujuan untuk memahami dan menjelaskan wujud dan esensi batik gaya modern di Surakarta pada awal abad XXI. Metode yang digunakan dalam kajian permasalahan melalui penelitian deskriptif kualitatif studi kasus pada karya Pandono. Metode pengumpulan data yang dignakan adalah wawancara, observasi, analisis dokumen, dan studi pustaka. Setelah dilakukan analisis terhadap data yang terkumpul, diketahui bahwa wujud batik gaya modern yang dikembangkan di Surakarta pada awal abad XXI tidak mengacu pada pakem visual batik gaya klasik ataupun batik tradisi lainnya, namun seringkali masih mengambil bentuk-bentuk khas dari batik klasik untuk diolah dengan prinsip desain yang berbeda sebagai penanda bahwa batik gaya modern tersebut masih terdapat benang merah dengan batik klasik. Esensi batik gaya modern lebih bersifat profan sebagai ekspresi keindahan dan bentuk kecintaannya terhadap tradisi melalui inovasi tradisi bukan pembekuan tradisi.
Co-Authors Andar Indra Sastra Jeki Aprisela H Rustopo Rustopo Sujadi Rahmat Hidayat