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Ornamen Jurnal Pengkajian dan Penciptaan Seni Kriya

ornamen
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Published by Institut Seni Indonesia Surakarta

ISSN : 16937724 EISSN : 2685614X DOI : 10.33153

Core Subject : Humanities, Art,

Arts Humanities

Art craft journal contains scientific articles on the results of research on the art of craft and the creation of craft art within the scope of Indonesian culture. The substance presented is in the form of a mission to preserve the cultural values of the archipelago as well as the development of concepts and aesthetics, along with the development of the complexity and dynamics of people's lives. The critical approach method in an interdisciplinary scientific perspective can open the widest possible opportunity for scholars, researchers, and stakeholders to work together in advancing a dignified national culture in the midst of global competition. ORNAMENTS art craft journals are published twice a year.

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Articles 177 Documents

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Eksplorasi Bambu Betung Untuk Pembuatan Lampu Hias Edi Eskak
Ornamen Vol 9, No 2 (2012)
Publisher : Institut Seni Indonesia Surakarta

Bamboo betung (dendrocalamus asper) is a big and tall bamboo species in Indonesia which come in potentially abundant. This bamboo has its advantages as a thick reed, tubular hollow tube in natural form which is strong enough to meet the technical requirements to be testedÂ as a wood substitute materials in the manufacture of products interior accessories with technical krawangan (hole). Despites its superior characteristics mentioned above, carved bamboo betung also has the disadvantage that is difficult when it is carving because of its straight and easy fiber to split. This is a question that will be examined to find a solution from this research. In the implementation of pilot activities to the manufacture of interior accessories on bamboo betung krawangan carving techniques, the process consists of the initial formation, krawangan making, carving and finishing. It has been equipped also with profound observations aboutÂ the bamboo betung, techno economic calculation. From the results showed that the hole techniques (krawangan)Â with four times in drilling then its forwarded with hand saws jigsaw obtained an average speed (4 x 5.1) + 20 = 40.4 seconds for the hole size 3-4 cm, thick 1.5 cm straight curved shape variation, in bamboos half-wet conditions (magel). This means 5 times faster than the manual sculpting (209.1 seconds), and the results are neater and cleaner. TheÂ best conditions for making krawangan is half wet conditions (magel) and the water content of bamboo is 30-60%. Keywords: bamboo betung, krawangan carving, decorativeÂ lights.

KASTA SENI KRIYA INDONESIA DALAM PENDEKATAN TEKS DAN KONTEKS I Ketut Sunarya
Ornamen Vol 2, No 1 (2005)
Publisher : Institut Seni Indonesia Surakarta

Kriya and human being as if cannot be separated, even can be said that is human being so there is kriya, so in any context this art always ~uman being life. The complexity of duty of she or he who concern in to translate era in every shape op product, which is needed by that duty is a major job that has to be carried by she or he who in kriyawan.In the development era demands art not just stuck in a place but and arises, kriya also begun to tiuch in self-satisfying of the creator. It tion of critical attude that has to be strived to the society, so kriya open. Means that products of art can make lover of art feel addicted fortable in society life.In a text and context approach, kriya development as a text cannot be ed from context, which is products are born: firs called that mystical gave birth primitive kriya with from follows meanings concept. Kriya ection of human being attude that feel surrounded by mystical power them. Second, classic also called post-modern era, in this era kriya edpeak of development. Third, ontology concept resulted kriya withform filows function, it is a reflection of human being attude that is ore surrounded by mystical power. Â Â Human being is free to study ~y thing and what to kenow the meaning of something. Every prod-resulted is come back to the meaning of function aspect; develop ete physical need or psychologicsl need and economy. Fourth, fuction and a rext that has concept of form follows fun. Human being is not e amazed by nature environment, but capture environment and pro-into new environment. This era results a creative kriya and also can be as kriya art. Fifth, cotemporary kriya that was born to bring a new brave of concept to slling product, creation of contemporery avant radical and sensational. But still shows a technique exlporation intenÂand or materal processing using a high skill.Keyword : follows meaning, follows function, follows fun.

Nilai-Nilai Kebudayaan Seni Kriya Antara Ekspresi Dan Desain Kusmadi Kusmadi
Ornamen Vol 5, No 1 (2008)
Publisher : Institut Seni Indonesia Surakarta

Culture as a result of human activities in their life and it is a reflection of the level of their ages. One of subculture is art, including fine arts which containing craft arts. The results of this art can be practical functional, aesthetics and also as an expression/symbolic work of the creator, in nature.The expression of craft arts is highly bound by its elaborate materials, technical or process. The realization requires for technical sckill, persevere and patience, and also it can be done in short way, while it can be arranged/ordered so that the expression exposures can be touchable for them who observe them.The craft design can also be understood as the design approach both in methodology, principal and objective of design, both in relation with the practical functional, aesthetics and also symbolic aspects.One of the characteristic of the craft arts is its concrete outcome of the ability or skill from the creator (craftmanship) on the form or shape of their works in high quality, both in uniqueness, aesthetics, philosophy, symbolic and also practical function aspects viewpoints. The craftman can use any simple equipment, even with relatively modern technology in hands to realize them, but the control still on their own bare hands.Keyword : expression,symbolic,craft, design

KEBERADAAN DAN PERKEMBANGAN TENUN TROSO JEPARA Ratri Dewi Ramadhani; S., Subandi
Ornamen Vol 12, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Skripsi ini membahas tentang tenun Troso di Kabupaten Jepara Propinsi Jawa Tengah. Permasalahanpenelitian difokuskan keberadaan tenun Troso dan perkembangannya. Aspek-aspek penting yang berkaitandengan keberadaan dan perkembangan tenun Troso meliputi latar belakang, kondisi geografis Desa Trosoyang banyak lahan kosong namun tidak cocok untuk kawasan pertanian yang disebabkan permukaan tanahlandai sehingga membuat para masyarakat Desa Troso beralih matapencaharian menjadi pengrajin tenun.Keadaan monografis menjadikan masyarakat Troso dari berbagai usia turut serta dalam proses pembuatanTenun Troso, mulai dari anak-anak sampai lanjut usia.Metode penelitian yang dilakukan pada tenun Troso yaitu kualitatif deskriptif. Pendekatan yang digunakanadalah pendekatan historis. Tinjauan sosial budaya masyarakat Desa Troso tidak memiliki pengaruh yangberlebih dalam adanya kerajinan tenun Troso, karena tenun ikat ini hadir di tengah-tengah masyarakatTroso sebagai pemenuhan kebutuhan ekonomi.Berdasarkan penelitian diperoleh kesimpulan bahwa tenun sebenarnya telah lama ada di Desa Troso. Mitosyang berkembang di masyarakat menyatakan bahwa keberadaan tenun Troso dilatar belakangi olehmasuknya Islam ke daerah tersebut. Ciri khas visual tenun Troso adalah motif-motif yang mengaplikasi motifdaerah Indonesia bagian timur. Hadirnya motif-motif tersebut dikarenakan adanya masyarakat Troso yangdahulunya merantau ke Bali kemudian pulang ke Troso dengan membawa motif-motif dari Bali dan daerahlainnya untuk diaplikasikan pada hasil produksi tenun mereka dengan memodifikasi motif-motif Indonesiabagian timur tersebut. Unsur-unsur yang muncul pada motif tenun Troso mayoritas adalah motif geometrismaupun motif flora dan fauna, karena dilihat dari motif-motif Indonesia bagian timur memiliki ciri motifgeometris dan non geometris. Visual tenun Troso dipengaruhi juga dengan kondisi geografis desa Troso.Contohnya adalah motif Nagasari yang dijadikan sebagai identitas dari tenun Troso, hal ini dikarenakannama Nagasari diambil dari nama makam sesepuh Desa Troso yaitu Nyi Senu dan Ki Senu. Nama-namadari ragam hias motif tenun Troso berdasarkan dari unsur-unsur motif pembentuknya. Tidak diketemukanmakna dari ragam hias tenun Troso yang berhubungan langsung dengan ritual adat daerah Troso.Kata kunci: Troso, historis, motif

Kerajinan Gerabah Di Desa Jati Kec. Jaten Kab. Karanganyar Sunarmi Sunarmi
Ornamen Vol 2, No 1 (2004)
Publisher : Institut Seni Indonesia Surakarta

This writing gave emphazises on the problems about (1) Why the Banaranâ€™s society in Jati village has still been preserved work as gerabah maker,Â (2)Â HowÂ ia asanÂ the making process is, (3) flow about the gerabah products in the village. This research used anthropological strategy with ethnographical approach. The data collection technique were the involued observation and deeply interview. The data validity has been done by: (1) triangulation of data sources,Â (2)Â peer deÂbriefing, (3) data rechecking. The technique of analysis by interactive model. The observation results showed: (1) Given the activities of the society in Jati village as gerabah maker are induced by pressence of two motivations, thatÂ 3ndunÂ ~ are, main motivations in form of: economical demand, hereditary belief that they would get enough wealth from this activity; the belief that there is littleÂ campetitor; and the supported motivations: this skill obtained hereditarily, freeÂ materials are available and there are consumers.Â (2)Â The process in makingÂ JakartaÂ gerabah Is conducted traditionally. (3) The kinds of products are kendhit (cooking pots)Â to boil medicinal herbs and placenta pots, the average number could obtained is WX)-120 products per five days. The products are marketed to the potition clinics and the boiled medicinal herb stores.Â society in Jati village has still been preserved work as gerabah maker,Â (2)Â HowÂ ia asanÂ Â Â Â the making process is, (3) flow about the gerabah products in the village. This research used anthropological strategy with ethnographical approach. The data collection technique were the involued observation and deeply interview. The data validity has been done by: (1) triangulation of data sources,Â (2)Â peer deÂbriefing, (3) data rechecking. The technique of analysis by interactive model. The observation results showed: (1) Given the activities of the society in Jati village as gerabah maker are induced by pressence of two motivations, thatÂ are, main motivations in form of: economical demand, hereditary belief thatÂ they would get enough wealth from this activity; the belief that there is littleÂ campetitor; and the supported motivations: this skill obtained hereditarily, freeÂ materials are available and there are consumers.Â (2)Â The process in makingÂ Jakarta~Â ~ gerabah Is conducted traditionally. (3) The kinds of products are kendhit (cook-Â inq pots)Â to boil medicinal herbs and placenta pots, the average number couldobtained is WX)-120 products per five days. The products are marketed to thetion clinics and the boiled medicinal herb stores.

Seni Dan Kebudayaan Dalam Pendekatan Hermenutik / Interpretif Guntur Guntur
Ornamen Vol 4, No 2 (2007)
Publisher : Institut Seni Indonesia Surakarta

This writing tries to look for the most appropriate definition of art to examine the art phenomenon with hermeneutics/ interpretive perspective. Some definitions considered include art as mimetic, art as language and art as presentational symbol. In order to get conformity with the approach used in a research, discussion concerning definition of culture, particularly cultural theory emphasizing on the symbol system, is also included in this study. In the last section, the conclusion is conveyed by balancing between definition of art and definition of culture considered as appropriate to use as the footing in hermeneutics/ interpretive perspective-based study. Keywords: Art, Hermeneutic, Interpretive.

KAJIAN MINAT PELAJAR SMA DI BANTUL TERHADAP SENI BATIK A Aruman dkk
Ornamen Vol 8, No 1 (2011)
Publisher : Institut Seni Indonesia Surakarta

Penelitian ini bertujuan mengetahui minat pelajar SMA di kabupaten Bantul terhadap perkembangan seni batik. Dari hasil penelitian ini diharapkan dapat diketahui sejauh mana minat dan kertertarikan pelajar SMA di Bantul terhadap seni batik. Metode yang digunakan dalam penelitian ini dengan menggunakan alat ukur kuisioner, berisi 15 daftar pertanyaan tertutup yang disebarkan kepada 300 responden dari 6 SMA yang ada di kabupaten Bantul. SMA tersebut adalah SMA NÂ I Kretek, SMA N I Bambanglipuro, SMA N I Pundong, SMA N I Imogiri, SMA N I Jetis, dan SMA N 2 Bantul. Analisis data menggunakan metode kuantitatif dan deskriptif. Pengolahan data menggunakan perangkat lunakÂ SPSSÂ 11.0 dengan cara menghitung diskriptif jumlah dan rata-rata jawaban responden terhadap masing-masing aspek. Selanjutnya dicari hubungan antar aspek penelitian yang berkaitan satu sama lain dengan mengunakan analisis varian. Dari hasil penelitian ini diperoleh hasilÂ 94,24% tertarik dengan warna batik, 92,67% tertarik dengan motif, 100% setuju batik merupakan hasil budaya, 88% bersedia untuk mempelajari batik, 97,33% setuju Bantul dijadikan sentra industri batik, 96,24% setuju untuk mengembangkan wisata batik di Bantul. Dengan demikian dapat disimpulkan bahwa pelajar SMA di Bantul tertarik dan berminat terhadap perkembangan seni batik.

ARTI SIMBOLIS DIBALIK ORNAMEN RUMAH LIMAS PALEMBANG Abdul Rakhman; D., Dharsono
Ornamen Vol 12, No 1 (2015)
Publisher : Institut Seni Indonesia Surakarta

Penelitian ini bertujuan untuk menjelaskan bentuk-bentuk dan makna dibalik ornamen yang terdapat padaRumah Limas Palembang, Sumatera Selatan. Rumah Limas atau Rumah Bari merupakan bentukarsitektur tradisional Palembang yang paling terkenal karena corak, bentuk, dan kepadatan seni ukirpada rumah tersebut yang disertai kemegahan. Selain itu, keunikan dan kekhasan dari berbagai bentukmotif hiasan Rumah Limas Palembang itu tidak dimiliki oleh rumah tradisional lainnya. Ciri khas bentukmotif hiasan Rumah Limas Palembang terlihat dari atapnya yang berbentuk piramida menurun curam,dihiasi simbar-simbar, dan diberi tambahan bunga melati. Bentuk atap tersebut melambangkankeagungan dan pengayoman adab sopan santun. Semua motif dalam Rumah Limas Palembang itumenggambarkan kehidupan atau tatanan tata krama dari masyarakat Palembang.Metode yang digunakan dalam penelitian adalah metode etnografi yang menggunakan berbagai datakualitatif berkaitan dengan ornamen Rumah Limas Palembang. Hal itu dilakukan dengan pendekatanestetika Djelantik dan data diperoleh dari kegiatan observasi, dokumentasi, wawancara, dan studi pustaka.Hasil penelitian ini menunjukkan bahwa keberadaan rumah Limas Palembang sangat berkaitan eratdengan matahari dan sungai, sehingga hal itu sangat menentukan posisi rumah yang akan didirikan.Budaya itu dipegang teguh karena masyarakat Palembang dahulu sangat bergantung pada sungai, baikuntuk transportasi maupun untuk mencukupi kebutuhan sehari-hari. Ornamen Rumah Limas Palembangsangat beragam dan terletak pada dinding rumah, pintu, pagar rumah depan. Setiap ornamennyamemiliki fungsi masing-masing dan dikerjakan dengan teknik ukir menggunakan bahan dasar berupakayu. Ditinjau dari nilai estetikanya, Rumah Limas Palembang memiliki motif yang sederhana, namunindah dan menarik, serta mengandung makna simbolis di dalamnya.Kata kunci: arti simbolis, ornamen, rumah Limas

Candi, Paduan Artistik Antara Pemujaan Nenek Moyang Indonesia Dengan Kuil India Muhammad Arif Jati
Ornamen Vol 3, No 2 (2006)
Publisher : Institut Seni Indonesia Surakarta

Temple is an ancient architecture heritage of Indonesian classic period, move in Hindust and Budhist culture about V until XV century. Temple is one of culture aspect influence India country together with movement of Hindust and Budhist in Indonesia. The form of temple got an influence from Indian, but the world of temple it self not from India. Foremely the people thing that temple is the place burial of King, whereas it is as a King servitude symbol.From the explanation above can be sumarized that temple is the artistic combination betwen an cestors worship and Indian stupa. Keywords : Candi (temple), place burial of King, an cestors worship and Indian stupa.

Seni Kriya Dalam Kehidupan Manusia Kusmadi Kusmadi
Ornamen Vol 7, No 1 (2010)
Publisher : Institut Seni Indonesia Surakarta

Craftmanship art as human cultural creation results in materialÂ form reflects the level of civilization in their ages. Functional value as daily activity support becomes the main special characteristic. VisualÂization of the art tends to aesthetic, expressive and symbolic expresÂsion of the creator's soul as the influence of refine arts transformation in general.Â Craftmanship is closely related with materials, technique andÂ processes in which stressing high patience, precise and thorough atÂtitudes because handcraft, besides conceived as an art closely related with handcraft as one of its special characteristic, it is also the concrete result of an ability between the skills of the creator (craftmanship) and the instruments as the revealer of the creativity idea.Â Craftmanship has been reaching on classical level such nobleÂ creation as puppets, batik, and carved objects which are necessarily to be preserved and developed for the next generation for not to be extinct, ate by the fast of modernization dynamics.Â Â

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