Garuda - Garba Rujukan Digital

Rica Rian

Institut Seni Indonesia Padang Panjang

Author-ID : 4087489

Arts Humanities Education Social Sciences Other

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Articles

Representasi Rumah Gadang Pada Karya Lukis Hamzah Mukhtia Resfa; Suryanti Suryanti; Rica Rian
V-art: Journal of Fine Art Vol 1, No 1 (2021): Juli - Desember 2021
Publisher : Institut Seni Indonesia Padang Panjang

This study discusses the representation of the rumah gadang presented by Hamzah in his paintings, viewed from an aesthetic point of view. This research will explain how the form of representation presented by Hamzah. In this study, qualitative methods used include observation, interviews, and literature study. In this study, we will review Hamzah's paintings based on the period from 2010-2020, so eight Hamzah paintings will be studied. Hamzah's paintings illustrate how the social life of the Minangkabau community has changed due to the changing times. Physical changes from the results of Minangkabau culture are changes that occur in the form of the rumah gadang. The visual of the rumah gadang is expressed in the forms of the rumah gadang that has been damaged, weathered, and even collapsed. Hamzah does not emphasize the forms of rumah gadang in one type only but symbolizes the symbolic rumah gadang. The representation of rumah gadang in Hamzah's painting can be analyzed that there are 3 visual types of rumah gadang in this study, namely the type of rumah gadang Gajah Maharam, Lipek Pandan and Balah Bubuang.

Karakteristik Warna Pada Lukisan Wakidi Alfiqra Aswat; Rajudin Rajudin; Rica Rian
V-art: Journal of Fine Art Vol 1, No 1 (2021): Juli - Desember 2021
Publisher : Institut Seni Indonesia Padang Panjang

This study discusses the color character that Wakidi presents in his paintings, which mostly uses soft colors in his naturalist paintings. The method used in this study refers to a qualitative method which includes field observations, interviews, documentation, and literature studies as well as research conducted in the Padang area, West Sumatra. Based on the results of research on the characteristics of Wakidi's color in his paintings, the use of soft colors in Wakidi's paintings is to remind him that nature is very beautiful and has a calm atmosphere. Based on the type of human according to the typology of Hypocrates and Galenus Wakidi, it is a Phlegmatic type. Wakidi tends to present natural scenery in the evening with a reddish color. The color characters in Wakidi's works are discussed based on color dimensions, color composition, and differences with other artists. There is a lot that can be learned and researched from Wakidi's active work in addition to being a painting teacher and an Mooi Indie artist at the beginning of the pioneering of fine arts in West Sumatra, as well as being able to become a cultural asset that elevates natural scenery and ancient culture into his paintings. It is hoped that research on the color character of Wakidi's paintings can be a reference so that there are opportunities for other researchers to research from other scientific points of view.

Monumen Perjuangan Masyarakat Cupak Ditinjau Dari Segi Bentuk, Fungsi Dan Tata Letak Dinda Fitria; Maulid Hariri Gani; Rica Rian
V-art: Journal of Fine Art Vol 1, No 1 (2021): Juli - Desember 2021
Publisher : Institut Seni Indonesia Padang Panjang

This study discusses the Cupak Community Struggle Monument in Solok Regency in terms of form, function, and layout. In addition, we briefly discuss the brief history behind the monument's establishment. This study uses a qualitative approach which includes observations, interviews, literature studies, and research is carried out directly to the field, namely to the Cupak area in Solok Regency, West Sumatra. Based on the results of the research conducted, it is known that the construction of the Cupak Community Struggle Monument aims to commemorate the period of the Cupak people's struggle against the Japanese army, and the shape of the monument is a visual representation of 3 warriors including statues consisting of figures dressed in Indonesian soldiers, Japanese soldiers, and community warrior. The layout of the Cupak Community Struggle Monument is closely related to the function of the monument itself, a monument that has a social function and a physical function, namely a monument which, if created and viewed on a public scale, means that it can reach the wider community.

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