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INDONESIA
ARS: Jurnal Seni Rupa Dan Desain
ISSN : 18297412     EISSN : 25807374     DOI : -
Core Subject : Humanities, Art,
ARS merupakan jurnal ilmiah berkala yang ditujukan untuk mempublikasikan karya ilmiah hasil penelitian, pengembangan, dan studi pustaka di bidang seni rupa dan desain. Jurnal ini terbit 3 kali setahun dengan 6 artikel setiap edisi yang jatuh pada bulan Januari - April, Mei - Agustus, September - Desember.
Arjuna Subject : -
Articles 205 Documents
Apotheosis Freemansonry Dalam The Lost Symbol deni junaedi
Ars: Jurnal Seni Rupa dan Desain Vol 3, No 11: September-Desember 2010
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v3i11.122

Abstract

In the latest novel, The Lost Symbol, Dan Brown explains about “apotheosis”: “Human became God” or “Divinized Man”. Like in older novels, Brown uses art masterpieces to support his ideas, now explores Brumidi’swork, The Apotheosis of  Washington. He writes that apotheosis is in accordance with Bible, Koran, Bhagavad Gita, and others holy books; actually, there is no apotheosis concept in Koran. The world of  Freemasonry can not be separated with his novels.Keywords: The Apotheosis of  Washington, Constantino Brumidi,Freemasonry, The Lost Symbol.
'Jalan Pembebasan' Edi Sunaryo Suwarno Wisetrotomo
Ars: Jurnal Seni Rupa dan Desain No.1 TH.1 April 2004
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.237

Abstract

Melacak jejak proses kreatif pelukisEdi Sunaryo (lahir di Banyuwangi, JawaTimur, 4 September 1951), sejak iamenapakkan pilihan profesinya menjadipelukis sekitar tahun 1970-an, akanditemukan fase-fase yang menarik. Di awaikarier, karya-karyanya bersandar padakekuatan dan kemampuannya menyusungaris, bidang, warna, dan tekstur, hinggamencapai kutuhan harmoni. Dalam fase itu,ia menggulirkan semacam tema yangdicitrakan sebagai 'citra primitif; yangmengisyaratkan bagaimana gubahan tatarupa itu berdasarkan atas spirit dari duniaseni (rupa) yang arkhaik. Fase ini dilaluicukup panjang (hingga akhir 1990-an). EdiSunaryo seperti terperangkap dalam jaringjaringtata rupa yang dibangunnya sendiri.
KAJIAN SENI KRIYA MELALUI PENDEKATAN SEMIOTIK ROLAND BARTHES Mr. Andono
Ars: Jurnal Seni Rupa dan Desain No. 6/September - Desember 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i1.262

Abstract

work o f art .is. in essence, a language in its visual form. It is the visualisation o f the jtersonalexpression o f an artist. Nowadays, a work o f art not merely possesses a practical function but also becomcsan expressive work in a two or three-dimensional format. Therefore, it can be considered as a text containingcertain meanings and messages which can be analysed, for example, using a semiotics approach. Thisanalysis can be carried out since there is a seiniotic proccss involving the signs within a work o f art.Roland Barthes presents a theory o f mythical analysis in his semiotics approach which is called"the order seiniological system. " It consists o f two levels, i.e. language as the first order semiological system,and myth as the second. The first level is a denotation level. A work o f art - as an image - possesses an iconicmessage. An explanation at this level gives meaning to the literal or the non-coded iconic message whichcan be seen from indicators o f observable reality. The second level (level o f connotation) is the reading o f thesymbolic message, -which is based on a certain cultural code or familiarity towards a particular stereotype.In this case, an image or artwork with such a connotation signifies an ideology, while that being signifiedis called rhetoric or cannot at or.Works to be analysed are /DM. Mekomatia's “Dikejar Waktu" and Uliana Iraw.vii's "Tak AdaBatas." These are examples o f images which possess iconic messages: literal/denotative as well as symbolic.In addition, they also contain a contextual "text" (the title o f the work). The structure is able to be usedas a reference in giving meaning or reading a urork o f art, denotatively and connotatively as well. Tnecommunicative relationship behoeen the existing iconic messages guides a person in giving it meaning.Keywords: art, semiotics, mythical theory
KERAMIK CINA MENGUAK PERADABAN MANUSIA Noor Sudiyati
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 10: Januari-April 2009
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i10.110

Abstract

Ceramic is a cultural creation that shows human civilization at the moment it   is created. Ceramic is also a reliable reference to reveal the history of a nation, not only from the high quality of its material, but also from the documentation applied on it. Chinese ceramic existed within a period of various dynasties had peculiar feature and specific characteristic. Chinese civilization history is eternally recorded in their   ceramic ornament. Those ceramics contain symbols, hope,narration and artistic expression that words cannot express. Moreover, information of civilization thousands years ago, can be obtained from various motives  and symbols printed on ceramics.Keywords    :    ceramics,    ornament,    civilization
HAK KEKAYAAN INTELEKTUAL: Selayang Pandang Tentang Hak Cipta, Paten dan Disain Industri F. Mursiati SH.
Ars: Jurnal Seni Rupa dan Desain No. 3 November 2006
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i3.226

Abstract

The Indonesian terms "HAKI" or "IIKI" which are equivalent to the English term IntellectualProperty Rights are considered as a new idea for Indonesians Nevertheless, the Indonesians are familiarwith the terms "Hak Cipta" "Paten" and '’Disain". Even though it is common that those words arcapplied in a sentence at the same time, e.g. 'mematenkan ciptaan" (the u>ord "paten" and "cipta '),"disain yang sudah dipatenkan"(the words "disain"and "paten"), it is a complete mistake.A creator as the subject o f "Hak Cipta " (copyright) is someone or a group o f people loho createssomething in afield o f science, art, and literature because ofhidfher/their inspiration.An invertor, the subject o f "Paten" f Pa tent), is an individu or a group o f people who conducts anactivity o f solving a problem in technology. It can beaprocess orproduct.A designer is someone or a group o f people who produces an industrial design. It can be in a form o fshape, configuration, or composition (o f lines and colors, or the combination o f lines and colors) or thecombination o f them in a form o f 3-dimertsior. or 2-dimension that gives esthetic impression and can berealized in a 3-dimensional o< 2-dimensional pattern. It can also be used to producc a product, object, orindustrial commodity and handycraft.Key words: Intellectual Property Rights (IPR) HKI, copyright (Hak Cipta), Patent (Paten;,Industrial Design (Disain Industri).
IDEOLOGI DALAM IKLAN Arif Agung Suwasono
Ars: Jurnal Seni Rupa dan Desain No. 5 / Mei - Agustus 2007
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v2i5.251

Abstract

This paper discusses the ideology implied in an advertisement. The discussion does not focus uponthe busi» uf the ideology und its schools, but instead on how an advertisement acts as a means o f capitalism./\s the media o f an ideology, an advertisement not only reflects reality but also represents the social realitythat often transforms ideological meaning. As a social representation, an advertisement is a language,covered by an accumulation o f values, choices and interests which are integrated within the capitalist systemand which eventually fosters the development o f consumerism.Keywords: ideology, advertisement, capitalism.
Pendidikan Tinggi Seni Rupa Di Jaman Edan Subroto Sm
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 14: September-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i14.136

Abstract

Akhir-akhir ini di media massa cetak atau elektronik, hari-hari kita kian disesaki oleh berita-berita dan peristiwa carut marutnya kehidupan sosial-ekonomi-politik-budaya bangsa Indonesia yang membuat  rakyat semakin cemas, geram, dan seolah kehilangan harapan.  Carut marut kehidupan itu demikian beragam dan susul menyusul setiap hari. Namun dari sekian berita-berita buruk itu, yang paling menonjol dan menyesakkan adalah tindak korupsi, kekerasan, dan keserakahan yang dilakukan oleh para pemimpin maupun elit politik mulai dari tingkat atas sampai bawah, baik di kalangan eksekutif, legislatif maupun yudikatif. Kejujuran, kesabaran, sikap sosial dan tenggang rasa, serta kasih sayang antar manusia, terasa menipis dan makin dipinggirkan.  Rakyat pun sering menjadi objek penderita yang menanggung akibatnya. Carut marut dan tindakan tak terpuji itu ternyata telah merasuki segala sektor kehidupan bangsa, termasuk sektor pendidikan, seni, dan budaya. Tidak mengherankan apabila ada orangorang bijak di negeri ini menamakan kondisi sekarang ini sebagai zaman edan. Pendidikan dan kebudayaan adalah sektor-sektor kehidupan yang diharapkan dapat mengatasi berbagai kemelut bangsa dan negara kita dewasa ini. Karena diyakini, pendidikan dan kebudayaan selalu memanusiakan manusia. Masih terngiang ajakan Syafii Maarif yang berkata demikian: “Jika politik gagal, seni harus turun gunung. Gunakan the Power of Beauty!” 2 subroto sm. Judul tulisan ini bertolak dari asumsi dasar bahwa carut marut kehidupan bangsa kita dewasa ini terjadi karena tidak diberdayakannya pendidikan dan kebudayaan dengan baik, benar, dan terarah. Berdasar latar belakang pemikiran di atas, dan berbekal pendidikan dan pengalaman penulis, tulisan ini disusun sebagai materi kuliah umum dalam rangka purna tugas penulis sebagai tenaga pengajar/PNS di Jurusan Seni Murni FSR ISI Yogyakarta. Oleh karenanya isinya dipersempit ke bidang pendidikan tinggi seni rupa, seni rupa murni khususnya, dan dialamatkan khusus kepada mahasiswa dan dosen muda di lingkungan Jurusan Seni Murni FSR ISI Yogyakarta.
sTudi awal TenTanG isTilah dan BenTuk mohammad hadid
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 14: September-Desember 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i14.2804

Abstract

This article would like to begin a short studyon the term ‘graphic novel’. As we can see, the termis problematic. Most arguments shaped around‘graphic novel’ clearly show that the works havebeen regarded as a part of literature, while theothers have been considered the term as a formof sequential art which has lengthened story. Theaim of this article, then, is to deconstruct the term‘graphic novel’ by pointing out the weaknesses, boththrough the meaning of the term and also by meansof the discourses that have been strengthened withsome episteme built with the essence to justify themeaning of graphic novel amidst the discourses ofsequential art
Batik di Era Teknologi Digital Djanjang Purwo Sedjati
Ars: Jurnal Seni Rupa dan Desain Vol 1, No 12: Januari-April 2011
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i12.127

Abstract

Batik in the Era of  Digital Technology. The process of  Batik making (handmade batik and printed batik) operates certain techniques and equipments that are certainly influenced by the technology development. The effects do not only touch the production process but also the distribution process. Digital technology is also applied in this field that in one way or another promotes the batik art. Digital technology is already used in creating batik design. It results in various type of  design, for example the fractal batik that makes over the geometrical forms. Digital technology applied in designing batik causes a more effective and efficient making process. This technology completes the manual process that is still employed until today.Keywords: batik, digital, fractal, art, craft
Proses Kreatif Nasirun dan Resepsi Publik atas Karya-karyanya M. Rain Rosidi, S.Sn.
Ars: Jurnal Seni Rupa dan Desain No. 2 - Februari 2005
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.24821/ars.v1i2.242

Abstract

Yogyakarta adalah sebuah koia di Indonesia yang melahirkan begitu banyak pelukis.Kondisi ini didukung ol<‘H keberadaan Institusi Pendidikan Tinggi Seni, yang sekarangdisebut ISI Yogyakarta. Selain itu, suasana berkarya di luar pendidikan seni formal jugatumbuh subur, terutama didukung oleh pariwisata dan industri kerajinan. Kondisi inilah yangmembawa pendatang dari luar Yogyakarta untuk belajar dan mendalami seni rupa diYogyakarta. Salah satunya adalah Nasirun, yaitu seorang pelukis yang cukup dikenal di tanahair. Prestasi Nasirun yang bisa dicatatAntara lain: memperoleh penghargaan Indonesian Art Award, Me Donald ArtAward, Penghargaan dari FSR ISI Yogyakarta, dan mendapat undangan berpameran dibeberapa even bergengsi. .Selain iru basil karya pelukis ini cukup digemari oleh kolektorkolektorlukisan di tanah air. Sebagai pelukis, Nasirun juga memperoleh kesempatan untukmelakukan beberapa lawatan ke negara-negara yang mempunyai sejarah tua dalam seni rupamodern, seperti Amerika, beberapa negara di Eropa, serta China.Nasirun dilahirkan di Cilacap, pada tanggai 1 Oktober 1965. Pelukis ini tumbuhdalam lingkungan yang kental dengan tradisi dan kepercayaan masyarakat Jawa di desa. Sejakkanak kanak, ia sudah menggemari pertunjukkan wayang kulit. Kegemarannya akan wayangkulit tersebut ikut serta membentuk minatnya dalam mendalami profesi pelukis. Nasirunberasal dari tujuh bersaudara. Di antara semua saudaranya itu, hanya Nasirun dan adiknyayang bisa menyelesaikan pendidikan S MA, yang bahkan kemudian Nasirun melanjutkanpendidikan seninva ke Institut Seni Indonesia Yogyakarta. Kebanyakan masyarakat didesanya, pada waktu itu merasa belum membutuhkan pendidikan formal, apalagi pendidikantinggi.

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