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INDONESIA
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa
Published by Institut Seni Indonesia Surakarta
ISSN : 20870795     EISSN : 26220652     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
The main focus of this journal is to promote global discussion forums and interdisciplinary exchanges among academics, practitioners and researchers of visual arts and visual culture. Series will encourage practice and research innovation that focuses on visual arts and visual culture, contributing to a better understanding of the highly dynamic development of dynamic theories, practices and discourses of visual art and visual culture.
Arjuna Subject : -
Articles 191 Documents
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Simbolis Bentuk Dan Seni Hias Pada Istana-Istana Raja Bugis Sulawesi Selatan Pangeran Paita Yunus; R.M. Soedarsono; Sp. Gustami -
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 3, No 2 (2011)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2344.03 KB) | DOI: 10.33153/bri.v3i2.313

Abstract

The cosmologic view of the Buginese tribe assumes that this macrocosmos (the universe) is arranged into three levels: Boting langi (the upper world), Ale kawa (the middle world), Uri’ Li’yu’ (the Under world). As the centre from the three parts of this universe is Boting Langi (the highes sjy), the place of Dewata SeumaE (God) to lie down. This view is represented in the traditional house building seen as the microcosmos. So, the traditional house of the Buginese is devided also into three levels (stacks), those are: Rekkeang (top floor) viewed as the head of the human being, Alle bola (the body of the house) viewed as the body, and Awabola (space underneath of the house) viewed as the leg of the human being. The three parts are centered at Posi bola or the house navel. The result of this research is hoped to enrich the knowledge treasury in the art sector, mainly the plastic arts related to the decorated arts obtained in the Buginese kings’ palace. Keyword: decorated art, Buginese tribe.
Estetika Seni Lukis Kaligrafi Karya Syaiful Adnan Aghni Ghofarun Auliya; Nunuk Nur Shokiyah
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 5, No 2 (2013)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (352.351 KB) | DOI: 10.33153/bri.v5i2.417

Abstract

This research is a descriptive qualitative research. The object under study is the aesthetic value of the art of calligraphy Saiful Adnan. The author uses the techniques of data collection through literature review, observation, and interviews. The validity of the data using triangulation of data by utilizing the data sources and review interviews that have been conducted.Analysis of the data used are data reduction, data presentation, inference, and interpretation of data. To explain the aesthetics of painting calligraphy Saiful Adnan using interpretation approach Susanne K. Langer's aesthetic theory. The results of the study explained that, the character of the Arabic calligraphy art kaligarfi Adnan Saiful different from raw calligraphy character has evolved over the years. The character is known as khatkaligarfiSyaifuly. Calligraphy character formation through several internal and external factors. Internal factors include environmental factors Adnan Saiful place of origin, education factors, and spiritual factors. The external factors include factors phenomena that occur in the community and form factors of artistic calligraphy. The process has led to the formation of the character of the aesthetic value of the art of calligraphy Saiful Adnan symbolic color, shape, composition, and verses from the Qur'an with the meaning of the beauty of Islamic values in each painting calligraphySaiful Adnan. Keywords: Aesthetics, painting calligraphy, Saiful Adnan, Syaifuly.
PERAN TEKNOLOGI DIGITAL DAN VISUAL (BATIK) FRAKTAL DALAM PERKEMBANGAN BATIK NUSANTARA DAN INDUSTRI KREATIF Andri Nur Cahyo; Nanang Rizali; Nooryan Bahari
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 8, No 2 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (246.429 KB) | DOI: 10.33153/bri.v8i2.1817

Abstract

Jurnal ini akan mendiskusikan tentang bagaimana sebenarnya eksistensi batik fraktal. Fokusnya adalah pada peran batik fractal dalam perkembangan batik Nusantara dan lingkup industry kreatif.Batik fraktal yang merupakan sebuah inovasi baru di dalam percaturan batik Nusantara, berhasil memadukan komputasional digital dengan visualitas fractal sebagai tonggak utama kerja desainnya.Hal itu telah menghasilkan suatu perwujudan batik modern berbasis teknologi dan desain yang membawa pengaruh terhadap industri kreatif batik dan berperan penting dalam membawa batik Nusantara untukmenghadapipersaingan global. Kata Kunci: Batik Fraktal, Batik Nusantara, IndustriKreatif.
Studi Penciptaan Game Komputer Pembelajaran Perbendaharaan Kata Budaya Anung Rachman
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 2, No 1 (2010)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (2563.01 KB) | DOI: 10.33153/bri.v2i1.285

Abstract

Mastery of multimedia applications, content, and aesthetics is an integral Trichotomy in the design of inter-active learning games. All three must function in proportion if a developer of multimedia applications to achieve optimal results in education. In this study the learning game was created by local cultural vocabulary. The work is the result of a combination of educational content of local culture and aesthetics of multimedia.The work of "game culture" not only offers information about culture, but further, this work aims to provide learning using a humanistic ap-proach. Lessons are presented in the form of multimedia games and animations intended to be a beauty to the learner to display the difference to the lesson as usual. Key words: games, animation, local culture
Studi Penciptaan Karya Seni Instalasi Berbasis Eksperimen Kreatif Dengan Medium Gembreng Henri Cholis
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 5, No 1 (2013)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (428.976 KB) | DOI: 10.33153/bri.v5i1.385

Abstract

This research is a study of the creation of installation art based experimentation byexploring new possibilities to craft products that exist in the market gembreng KabanganLaweyan Surakarta as one of the aesthetic elements of installation art , in the form ofreadymade as well as new forms that can be developed through the technique ofcontrolled by craftsmen gembreng Kabangan Market Surakarta.The object to be observed in this study is the result of the creation of products that havebeen produced and the techniques of making craft products available in the marketKabangan . It is important to seek the possibility of developing various forms as anaesthetic element of the planned installation art .To increase the validity and quality of the work wear means of "trial -and-see " , orcontrolled trial , through an adaptive strategy . Data analysis using the SWOT analysis ,the results of this analysis will be the basis of making art installation .The idea of the shape penciptan installation work is derived from Javanese mythologyassociated with the figure of Garuda, Jatayu bird icon as being the world over , areconsidered sacred creatures . Research result is the creation of a work of installationekperimentatif with gembreng raw materials with a touch of shapes , colors andornaments sourced from Javanese culture .
KARYA SENI LUKIS BIBIT WALUYA PADA PAMERAN TEMACULTUUR=TANDUR DI BENTARA BUDAYA JAKARTA TAHUN 2012 Findha Dwi Laila Firdausi
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 8, No 1 (2016)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (756.952 KB) | DOI: 10.33153/bri.v8i1.1799

Abstract

Artikel ini menjelaskan latar belakang konsep berkesenian Bibit Waluya yang cenderung mengangkat konsep peristiwa dalam aktivitas kehidupan sehari-hari masyarakat Jawa. Istilah cultuur dalam bahasa Belanda berasal dari kata mengelola atau mengolah tanah (bercocok tanam), merupakan sebuah konsep dalam aktivitas kehidupan sehari-hari. Bibit Waluya melakukan pendekatan terhadap suatu kebudayaan sebagai tema pameran tunggalnya serta dalam konsep karya-karya lukisnya. Dilihat dari tema dan konsep yang telah diusung oleh Bibit Waluya, karya lukisnya memunculkan aktivitas masyarakat dari berbagai kalangan seperti petani, pedagang, pejabat, budayawan dan sebagainya. Hal ini bertujuan agar masyarakat dapat menjaga serta melestarikan budaya Jawa berdasarkan atas gagasan tentang pesan moral yang diungkapkan oleh Bibit Waluya dalam karya lukisnya. Pembahasan mengenai estetika seni lukis karya Bibit Waluya  menggunakan pendekatan teori Monroe Beardsley tentang kesatuan (unity), kerumitan (complexity), dan kesungguhan (intensity). Hasil dari penelitian ini menunjukkan bahwa Bibit Waluya telah menjadikan identitas budaya Jawa sebagai tema yang diusung dalam pameran tunggalnya. Kemudian Bibit Waluya telah mengolah rupa wayang beber menjadi bentuk wayang beber yang menjadi khas dalam lukisannya yaitu dengan proporsi realis. Selain itu juga mempunyai karakter dalam bentuk garis yaitu teknik sunggingnya serta mengangkat konsep yang berhubungan dengan budaya Jawa dalam karya-karya lukisnya. Kata kunci : seni lukis, Bibit Waluya, cultuur=tandur
RASIONALISASI DAN REALITAS BUDAYA JAWA TERHADAP MOTIF GURDA Aan Sudarwanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 10, No 2 (2018)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (494.029 KB) | DOI: 10.33153/bri.v10i2.2326

Abstract

The article that discusses the motive of the gurda aims to find out more clearly how the position and changes in the gurda motives in the perspective of Javanese society. In addition, it is also to find out the forms of the gurda motif and its application to Javanese culture from several perspectives, namely tradition, modern and postmodern.Changes from tradition to modernism then arrive at postmodern discourse to be interesting, because from there it can be analyzed how far the changes are from aspects of form, structure and application, as well as several causes. Several approaches are used in analyzing these problems. among others, using the concept of Max Weber's rationality and the concept of deconstruction that Derrida proposes.The importance of material objects raised in this article is based on the idea that the gurda motif on batik does not appear suddenly but has undergone a very long journey. The motif that symbolizes the eagle was originally described as more realistic and even anthropomorphic which can be found in various temple realiefs on Java, including Prambanan temple, Penataran temple, jago temple, candi Belahan and Sukuh temple. After becoming a batik motif until the postmodern era also experienced a very interesting dynamic to study so that it could become a model of changing a cultural phenomenon. Keywords: motifs of gurda, tradition, modern, postmodern discourse
Kajian Batik Motif Kawung Dan Parang Dengan Pendekatan Estetika Seni Nusantara Anton Rosanto
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 1, No 2 (2009)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1622.906 KB) | DOI: 10.33153/bri.v1i2.261

Abstract

Art is not only related to aesthetics, but also associated with non-symbolic or symbolic meanings, the symbolic meaning of the classical era is often used to signify rank or degree, for example in Batik, Batik patterned particularly Kawung. When viewed from the evidence of its history it can be seen the development of batik was there when the temples are made, even though no physical evidence of the existence of a piece of batik cloth but can be seen from the depiction of figures in the form of statues are in the use of batik cloth. In the group of geometric decoration, the familiar motif Batik old (ancient) Kawung criteria that goes into the motives Ceplok2, and more specifically into the Outback or Kraton Batik motifs (Based on Hinduism traditions), and the motive is one of the members of prohibition in the 7 (seven) other restrictions such as motive Parang, Parang Rusak, Cemukiran, Sawat, Udan lyrical, Cement, and Alas-alasan. Above fact is the reason for the authors to examine batik Kawung and parang with nusantara aesthetic approach. Batik kawung because one of the old motifs and motifs machete is one of the motives ban. Keywords: batik, kawung motive, parang motive, nusantara aesthetics.
Komunitas Airbrush Indonesia Dalam Rana Seni Rupa Dina Lestari
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 4, No 2 (2012)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1686.007 KB) | DOI: 10.33153/bri.v4i2.359

Abstract

Indonesia Airbrush community was founded in 2007 by MG. Pringgotono, an airbrush artist from Jakarta. Members that are joining this community came from different places in Indonesia such as Jakarta, Yogyakarta, Bandung, Lampung, Palembang, Solo, Tanggerang, Tuban, Serang, Bekasi, Pematang Siantar, Ngawi, Bali, Kediri, Bangka Belitung and many more. This community was build as a reaction to respond the influence of commercial industry on airbrush developmental image branding by making a change and expanding to the realm of visual art. Their vision and mission is to support the Indonesian airbrush artists, mapping, and collecting data and archive of Indonesian airbrush development by providing information and developing Indonesian airbrusher as a preparation for the creative era. Some of their program is to hold a workshop, an airbrush art exhibition, compiling Indonesian airbrush art work catalogues, held an Indonesian airbrush artist meeting gathering, arranging an airbrush competition and operating  an airbrush website which is Airbrush Indonesia websites. Keyword: Airbrush, Indonesia, Community and Visual Art
KONSTRUKSI MEDIA Albertus Rusputranto Ponco Anggoro
Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa Vol 7, No 1 (2015)
Publisher : Institut Seni Indoensia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (411.9 KB) | DOI: 10.33153/bri.v7i1.1587

Abstract

Media institutions were never really neutral. They keep partisanship and ideology stand on each. Media also never really according to the broadcast media producers. Media has the power to menyempal and interpreted differently by the audience. Even so media or media agency always tries to frame (framing) of their products, constructing reality. The media, especially news, are often regarded as a representation of reality. By using the framing analysis terkuaklah construction of reality that media have tried to build on the audience and the resistance, such as what might be done spectators.Keywords: media, construction, framing analysis, reality.

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