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Journal : Jurnal Filsafat

Tinjauan Filsafat Seni terhadap Tata Rias dan Busana Pengantin Paes Ageng Kanigaran Gaya Yogyakarta Widayanti, Sri
Jurnal Filsafat "WISDOM" Vol 21, No 3 (2011)
Publisher : Fakultas Filsafat, Universitas Gadjah Mada Yogyakarta

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Abstract

The bridal make up and fashion of Yogyakarta’s style, namely Paes Ageng Kanigaran, is a sacred Paesan style in Javanese tradition that has come down through generations as a national heritage. Since the Yogyakarta’s Paes Ageng Kanigaran, with Ngayogyakarta Palace as its source, has standard rules or provisions, its principle meanings will not change. Various elements are used to construct or assemble bridal make-up and fashion of the Yogyakarta’s Paes Ageng Kanigaran; each of them as well as the whole of them has profound philosophical meanings.The interview is used in the field research for this study as a method of collecting data. The data are analysed using several methods, those are: descriptive, Verstehen, interpretative, hermeneutical, comparative, and heuristically methods.The results show that the contents/meanings of the Paes Ageng Kanigaran style are found in the elements used to organize the bridal make-up and fashion of Paes Ageng Kanigaran, while its external form constitutes the whole. The style always experiences growth for it contains aesthetic values as elements of the art of paes which can make someone looks differently beautiful (manglingi).Keywords: wedding dress, fashion, Paes Ageng Kanigaran, aesthetic
MAKNA FILOSOFIS KEMBAR MAYANG DALAM KEHIDUPAN MASYARAKAT JAWA Widayanti, Sri
Jurnal Filsafat "WISDOM" Vol 18, No 2 (2008)
Publisher : Fakultas Filsafat, Universitas Gadjah Mada Yogyakarta

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Abstract

AbstractKembar Mayang is one of the elements in a Javanesetraditional ceremony. The terminology of Kembar Mayang isknown in a form of janur (young coconut leaf) which is decorated with flowers and leaves in such manner on a banana bar. Kembar Mayang as a typical Javanese flowers arrangement can be seen on an engraving relief which is located on Prambanan temple and named as Kalpataru. The eldest form of Kembar Mayang can be found in Keraton Yogyakarta (Yogyakarta Palace) which is made by the year 1906 in the era of Sri Sultan Hamengku Buwono VII (King of Yogyakarta Palace). There has been many changes of Kembar Mayang style since the year 1950. In Javanese society Kembar Mayang has a philosophical meaning which expresses relation between human being and environment/ nature. Human being and nature/ environment have a cosmological bond. While the Kembar Mayang form shows the existence of aesthetic values,in fact, it is a medium of both human and his/ her ancestors to have a mutual relationship, especially for a king. Kembar Mayang functions as a witness of an event and a guardian. Symbolically Kembar Mayang is a witness of status change from a bachelor/virgin (single) to marital status. Kembar Mayang also can be used as a death witness. Therefore, there are two terms of Gagar Mayang for a witness of bachelor/ virgin passing away, and Kembar Mayang for a witness in marriage ceremony as a ceremonial medium.Keywords: Kembar Mayang, Gagar Mayang, Traditional ceremony, Aesthetic
MAKNA FILOSOFIS KEMBAR MAYANG DALAM KEHIDUPAN MASYARAKAT JAWA Widayanti, Sri
Jurnal Filsafat "WISDOM" Vol 18, No 2 (2008)
Publisher : Fakultas Filsafat, Universitas Gadjah Mada Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (49.137 KB) | DOI: 10.22146/jf.3520

Abstract

AbstractKembar Mayang is one of the elements in a Javanesetraditional ceremony. The terminology of Kembar Mayang isknown in a form of janur (young coconut leaf) which is decorated with flowers and leaves in such manner on a banana bar. Kembar Mayang as a typical Javanese flowers arrangement can be seen on an engraving relief which is located on Prambanan temple and named as Kalpataru. The eldest form of Kembar Mayang can be found in Keraton Yogyakarta (Yogyakarta Palace) which is made by the year 1906 in the era of Sri Sultan Hamengku Buwono VII (King of Yogyakarta Palace). There has been many changes of Kembar Mayang style since the year 1950. In Javanese society Kembar Mayang has a philosophical meaning which expresses relation between human being and environment/ nature. Human being and nature/ environment have a cosmological bond. While the Kembar Mayang form shows the existence of aesthetic values,in fact, it is a medium of both human and his/ her ancestors to have a mutual relationship, especially for a king. Kembar Mayang functions as a witness of an event and a guardian. Symbolically Kembar Mayang is a witness of status change from a bachelor/virgin (single) to marital status. Kembar Mayang also can be used as a death witness. Therefore, there are two terms of Gagar Mayang for a witness of bachelor/ virgin passing away, and Kembar Mayang for a witness in marriage ceremony as a ceremonial medium.Keywords: Kembar Mayang, Gagar Mayang, Traditional ceremony, Aesthetic
Tinjauan Filsafat Seni terhadap Tata Rias dan Busana Pengantin Paes Ageng Kanigaran Gaya Yogyakarta Widayanti, Sri
Jurnal Filsafat "WISDOM" Vol 21, No 3 (2011)
Publisher : Fakultas Filsafat, Universitas Gadjah Mada Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (105.289 KB) | DOI: 10.22146/jf.3109

Abstract

The bridal make up and fashion of Yogyakarta’s style, namely Paes Ageng Kanigaran, is a sacred Paesan style in Javanese tradition that has come down through generations as a national heritage. Since the Yogyakarta’s Paes Ageng Kanigaran, with Ngayogyakarta Palace as its source, has standard rules or provisions, its principle meanings will not change. Various elements are used to construct or assemble bridal make-up and fashion of the Yogyakarta’s Paes Ageng Kanigaran; each of them as well as the whole of them has profound philosophical meanings.The interview is used in the field research for this study as a method of collecting data. The data are analysed using several methods, those are: descriptive, Verstehen, interpretative, hermeneutical, comparative, and heuristically methods.The results show that the contents/meanings of the Paes Ageng Kanigaran style are found in the elements used to organize the bridal make-up and fashion of Paes Ageng Kanigaran, while its external form constitutes the whole. The style always experiences growth for it contains aesthetic values as elements of the art of paes which can make someone looks differently beautiful (manglingi).Keywords: wedding dress, fashion, Paes Ageng Kanigaran, aesthetic
BEKSAN GOLEK AYUN-AYUN GAYA YOGYAKARTA DALAM PERSPEKTIF AKSIOLOGI Widayanti, Sri
Jurnal Filsafat "WISDOM" Vol 25, No 2 (2015)
Publisher : Fakultas Filsafat, Universitas Gadjah Mada Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.22146/jf.12677

Abstract

The Golek Ayun-ayun dance of Yogyakarta's style is a sacred Golek dance style in Javanese tradition that has come down through generations as a national heritage. This dance is a classical Javanese dance comes from the court of Yogyakarta. It depicts a young woman's desire to always look her best.The Golek Ayun-ayun dance celebrates feminine beauty and appeal, including the coquettish dance because this dance portrays a woman who was dressed up. Many varieties of these dances that depict women being dressed up, like for example stole (sondher/sampur) games movement, or pairs of the ring (ali-ali), there is also look in the mirror (ngilo) and so forth. For Golek Ayun-ayun dance which the source comes from Ngayogyakarta court has standard rules or provisions, so it will not change the principle meaning.The principles of classical Javanese dance/Joged Mataram are Sawiji (concentration of mind), Greged (enthusiasm, consciousness), Sengguh (self-confidence), Ora Mingkuh (no surrender). Library research is done by collecting data and completed by interview. The material object of the research is Golek Ayun-ayun dance, and the formal object is axiology. Data analysis by descriptive, Verstehen, interpretation, hermeneutics, comparison, and heuristics method. The result showed that the elements used to organize the dancer makeup and fashion, also the beautiful movement of Golek Ayun-ayun dance is the content /meaning of makeup, fashion, and beautiful movement of Golek Ayun-ayun dance style, while the whole is external form. It contains the aesthetic value as an element of art or the art of dance. The art values in the movement, rhythm, makeup and fashion of Klana Raja dance are sensuous value, formal value, cognitive value, and life value.