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INDONESIA
Corak : Jurnal Seni Kriya
Published by Institut Seni Indonesia Yogyakarta
ISSN : 23016027     EISSN : 26854708     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
CORAK adalah jurnal ilmiah yang diterbitkan oleh Jurusan Kriya, Fakultas Seni Rupa, Institut Seni Indonesia Yogyakarta dengan nomor p-ISSN: 2301-6027 dan nomor e-ISSN: 2685-4708. Jurnal ini berisikan tentang artikel hasil penelitan, gagasan konseptual (hasil pemikiran), penciptaan, resensi buku bidang seni kriya dan hasil pengabdian masyarakat dalam bidang kriya.
Arjuna Subject : -
Articles 228 Documents
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POTENSI SENI KRIYA ISTIMEWA DALAM PAMERAN “NEGARI NGAYOGYAKARTA HADININGRAT 2012” Eskak, Edi
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Abstract

Arts Festival Negari Ngayogyakarta Hadiningrat 2012 undertaken in order to commemorate the first century of Hamengku Buwono IX as well as 2,5 century of Ngayogyakarta Hadiningrat, featuring the character or the privilege of Yogyakarta through works of art by artists with no exit from the corridors of copyrighted artistic distinctiveness. The works on display most of the particular character, specific and have their own specialty. Privileges of Yogyakarta with its dynamic, multicultural, and tolerant of the works reflected on display in the various mediums of expression and creation. A wide assortment of works of art displayed expression of both the traditional, conventional and non conventional, such as: painting, graphics, sculpture, video, film, animation, installation, performance art, digital prints, puppets, mixed media and others. Not to mention that the exhibition has a variety of craft works of art, such as the art which haselements of craftmanship. The uncommon art that relies on creativity ideas and handskills in this exhibition appear surprisingly with exceptional works that have creative potential prospective. These young artists, among other craft; Karyadi, Fitriasih Pudyo Atmaningrum, I Gde Suryawan, and I Gusti Ngurah Edi Basudewa.Keywords: potential, arts crafts, specialty, and Negari Ngayogyakarta Hadiningrat
PENGARUH KEBUDAYAAN ASING DALAM PEMBENTUKAN RAGAM HIAS PELAMINAN NAREH PARIAMAN Rahmanita, Nofi
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Abstract

The Handicraft of embroidery “palaminan” in Nareh Pariaman is an old culture product which is used for social purposes. As the time goes, now, the “palaminan” is not only used by the king or noblesse. Right now, it has been used in mostly wedding parties of Minangkabau tradition. It is used as the seat of the bride groom and bride who are called king and queen for a day. Regarding this theme, when we see the several various of palaminan, it looks like been influenced by the Chinese and Hindi/Gujarat Custom. Such as phoenix 9(bird) and lion decorated at the “palaminan”, or for the Gujarat custom, there are embroidery with mirrors that decorate the palaminan. The mirror embroidered for the people of Nareh Pariaman has the meaning “suluah bendang” in the village. The art of embroidery palaminan Nareh Pariaman has many structures which are connected to each other. They can not be separated in each use. The structures are decorated by the many kinds of Minangkabau decoration. Most of the decorating comes from application of the Minangkabau’sphilosophy known as “alam takambang Jadi Guru”. The philosophy has symbolic meaning that contains some lessons about managing humans life, especially for people of Nareh Pariaman.Keywords: beyond culture, motif, pelaminan
PERTALIAN TRADISI KERIS TANGGUH NGÉNTHA-ÉNTA YOGYAKARTA: Titik Awal dan Kebangkitan Historis Timbul Haryono, Supriaswoto dan
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Abstract

Kerris is stabbing weapon for the archipelago wich have a term of religious, values, magical, aesthetic, and mysterious, but also have a politic value, economy, sociology, and art that not timeless. It prove that kerris existence still exists and continuous to exists. The one that get tracked is Tangguh Ngentha-entha Kerris of Yagyakarta. Who masters that become the supportersand how Tangguh Ngentha-entha Kerris rise back and found their identifycan be listened to in the following text.Keyword : Kerris, Tangguh Ngentha-entha, empu, Entha Wayang.
GREBEG MAULUD DALAM REPRESENTASI BUSANA DAN MOTIF BATIK DI KERATON YOGYAKARTA Hasan, Renta Vulkanita
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Abstract

Culture growing in Indonesia and overseas intrinsically dynamic. Nature of culture as a result of human creativity is always moving and displacement. When his journey to the vibrant place anyway, culture is likely to mix with the native culture which then grow and develop into a new culture. Culture is a strong factor that affects the mindset. Over time, society has a way of looking at the world deal, behave, and interact with each other. In other words, they have their own color and pattern of the deal while making rules in social life. Yogyakarta in Java, which is known as one of the cultural centers of Java development, especially ritual Grebeg Maulud. Ritual Grebeg Maulud over time reflecting the constantly changing movement of social change, culture, politics, economics and society in his day. Ritual is a means of connecting Grebeg Maulud transcendental between man and God (Manunggaling Kawula-Gusti) and guidance from the teachings of the holy book (Islam). But this time Grebeg Maulud also has another function, namely as a spectacle. This suggests a cultural shift from the sacred to the profane. Batik as a dress code in the Carnival celebrations Grebeg Maulud is one reflection of the existence of culture in Yogyakarta Palace. The use of batik in a ritual procession Grebeg Maulud is a tradition that continues to this day. Batik palace is considered one of the symbols of the existence of power relations by creating a specific motive for a particular class. Dynamism of culture led to the use of batik is not only a marker of power relations, but also as an exciting treat for the fashion show at the Carnival lasts Grebeg Maulud.Keyword: Grebeg, Maulud, representations, clothing, batik, palace, Yogyakarta
KRIYA KERAMIK: WUJUD, POSISI, DAN PERANNYA DI MASA KINI Satrio, Akbar Adhi
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Abstract

This article act as a response for what is kriya especially ceramic craft in nowadays context. Public usually knows about ceramic is limited to traditional terracotta product that they usually found in a craftsmen village or an industrial mass produce ceramic that they always use in their everyday life. Kriya (or craft in the western term) now has grew more not only limited in the scope of tradition or even a mass product only. There are many new small independent studio emerge as a new perception that combine the potential of both industrial and traditional have. The role of educational institutions are producing graduates working in the field of ceramic craft has established a new perception on how it should craft in contemporary ceramics put his position in the midst of globalization. Ultimately concluded that the ceramic craft began to position himself to a wider sphere, not only as a center for craftsmen but also intangible and handicraft industries based independent studio-based designermaker.Keywords : kriya, ceramic, culture, identity
RAGAM HIAS BINATANG DALAM MEDALION ., Kirno
CORAK Vol. 1, No. 2 Nopember 2012-April 2013
Publisher : CORAK

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Abstract

Indian - Indonesia culture acculturation played a riddle which still debated until today. Indian cultural influence was strong in Central Java and inversely proportional to the area of East Java. At the temple, the visual form change was easily found where the form of towering slender turned into fat and wide. The concentric form change to chtonis system, human decorations that look realistic style turned into puppets as one of the characteristics of prehistoric cultures. Decorative variety of medallions as one of ornament in Induk Panataran Temple are a visual text that attempts to convey a message. Animal species diversity engraved in Decorative variety of medallions became an evidence of the local genius skills in blending and gathering the Indian cultural influences for the future.Keyword : Ornament, Medallion, Panataran Temple, Local Genius
KRIYA KERAMIK: WUJUD, POSISI, DAN PERANNYA DI MASA KINI Akbar Adhi Satrio
Corak : Jurnal Seni Kriya Vol 1, No 2 (2012): NOVEMBER 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (445.289 KB) | DOI: 10.24821/corak.v1i2.2322

Abstract

This article act as a response for what is kriya especially ceramic craft in nowadays context. Publicusually knows about ceramic is limited to traditional terracotta product that they usually found in acraftsmen village or an industrial mass produce ceramic that they always use in their everyday life.Kriya (or craft in the western term) now has grew more not only limited in the scope of tradition oreven a mass product only. There are many new small independent studio emerge as a new perceptionthat combine the potential of both industrial and traditional have. The role of educational institutionsare producing graduates working in the field of ceramic craft has established a new perception onhow it should craft in contemporary ceramics put his position in the midst of globalization. Ultimatelyconcluded that the ceramic craft began to position himself to a wider sphere, not only as a center forcraftsmen but also intangible and handicraft industries based independent studio-based designermaker. Keywords : kriya, ceramic, culture, identity
BATUAN LOKAL PACITAN (DRUZY) DALAM PENCIPTAAN PERHIASAN PERAK INOVATIF Alvi Luviani
Corak : Jurnal Seni Kriya Vol 3, No 2 (2014): NOVEMBER 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (543.483 KB) | DOI: 10.24821/corak.v3i2.2349

Abstract

The creation of innovative jewelry using local gem stone Pacitan (Druzy) isconsidered to be essential in addition to introduce Indonesia's natural wealth in the form ofjewelry and also shows that the local gem stone can look elegant, high qualified and tasteglobally if we can mix and match it with other appropriate supporting material and innovativedesign .The method used in the creation of innovative jewelry using this Druzy stone is amethod of exploration, experimentation and the materialization according to the stage in thecreation of craft art.Contribution that can be given in the creation of silver jewelry by utilizing local gemstone are able to increase the awareness of Indonesia people that a lot of potential naturalwealth around us that still unprocessed wisely and creatively. If the ability to process thenatural wealth is more refined, it will create a lot of local jewelry products that has world-classquality. In addition, those innovative jewelry products would enrich the world of art jewelry inIndonesia and speaks at the international level bringing the identity and culture of the nation. Key words: Silver jewelry, innovative, Druzy local gemstone  Penciptaan perhiasan inovatif dengan menggunakan batuan local Pacitan (druzy ) inidirasa penting selain untuk lebih memperkenalkan kekayaan alam Indonesia dalam bentukperhiasan juga untuk menunjukan bahwa batuan local dapat tampil elegan, berkelas danbercita rasa global apabila kita dapat memadu padankannya dengan material pendukung lainyang tepat dengan desain yang inovatif.Metode yang digunakan dalam penciptaan perhiasan inovatif dengan menggunakanbatu druzy ini adalah metode eksplorasi, eksperimen dan perwujudan sesuai dengan tahappenciptaan dalam seni kriya.Kontribusi yang dapat diberikan dalam penciptaan perhiasan perak denganmemanfaatkan batuan local ini adalah dapat semakin meningkatkan kesadaran masyarakatluas Indonesia bahwa banyak sekali potensi alam yang ada di sekitar kita yang belum diolahsecara bijak dan kreatif. Apabila kemampuan mengolah tersebut semakin terasah, maka akan banyak sekali tercipta produk perhiasan bermuatan local dengan cita rasa global. Selain itukarya perhiasan inovatif ini mampu memperkaya khasanah dunia seni perhiasan di Indonesiasekaligus berbicara di kancah internasional tanpa meninggalkan jati diri dan budaya bangsa.Kata kunci: Perhiasan perak, inovatif, batuan local Druzy
SENI KRIYA ANTARA TEKHNIK DAN EKSPRESI Rispul Rispul
Corak : Jurnal Seni Kriya Vol 1, No 1 (2012): MEI 2012
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (526.648 KB) | DOI: 10.24821/corak.v1i1.2315

Abstract

The art craft is one of the traditional arts that could be used as an expression medium foranybody. With its capacity as an art filled of local genius, the art craft keep changing in everyaspect, including on creating process and the medium has been used. Combination betweentechnique and proper medium will create the art craft that capable to fulfill the world’s needand demand. Craftsman capability to manage the medium, understanding it, createdinnovatively and to be able to see society’s phenomenon will definitely generate responsiblywork of art. Especially if they can took advantage of local genius that filled with sophisticatedtraditional value during their creating process, this will creates remarkable works of art craftwhich creative and innovative in a fresh form.Keywords: Art craft, technique, expression
TREND DESAIN FURNITUR : Pemakai, Nilai Ekonomis, dan Pengembangannya Herry Puji Harto
Corak : Jurnal Seni Kriya Vol 3, No 1 (2014): MEI 2014
Publisher : Institut Seni Indonesia Yogyakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (626.369 KB) | DOI: 10.24821/corak.v3i1.2340

Abstract

The presence of works supportedby adequate capabilities and skills, and supportedby a creative and innovative capabilities, they create works that can meet the demands of thematerial quality, product quality, management quality, and quality of service, and has acomparative advantage, have traits, character and special identity, so that its presence cancompete with other products, and are required to have a new value on creative efforts and aninnovative, so as to reflect the life of the nation that is democratic and accommodatingtowards changes and new developments.Furniture has an important role for the Indonesian economy, but to rely on laborintensiveindustries and is able to give and donate foreign exchange earnings from the exportvalue. Furniture industry highly viscous his Indonesiaan, where the raw materials used bearsalof local natural resources that should be developed., The Indonesian furniture products will bemore competitive and attractive to the world market.Trend furniture design can provide insight into the dynamic neighbor design andfurniture design that can not be separated from the user aspect, sociological relations, marketrelations and cultural trend that developed in the community.Keywords: furniture design trends, economic value, consumer products, design development. Kehadiran karya yang didukung oleh kemampuan dan ketrampilan yang memadai,serta didukung oleh kemampuan yang kreatif dan inovatif, maka tercipta karya yang dapatmemenuhi tuntutan mutu bahan, mutu produk, mutu pengelolaan, dan mutu layanan, danmempunyai keunggulan komparatif, memiliki ciri, karakter dan identitas khusus, sehinggakehadirannya dapat bersaing dengan produk yang lain, dan dituntut memiliki nilai baru atasusaha kreatif dan inovatf, sehingga dapat mencerminkan kehidupan berbangsa dan bernegarayang demokratis dan akomodatif menuju perubahan dan perkembangan baru.Furnitur mempunyai peran yang penting bagi perekonomian Indonesia, selainmengandalkan industri padat karya dan mampu memberikan dan menyumbangkanpenghasilan devisa dari nilai eksport. Industri furnitur yang sangat kental ke-Indonesiaan nya,di mana bahan baku yang digunakan bearsal dari sumber daya alam lokal yang patutdikembangkan., maka produk furnitur Indonesia akan semakin kompetitif dan menarik bagipasar dunia.Trend desain furnitur dapat memberikan pemahaman tetang dinamisasi desain dandesain furnitur yang tidak dapat lepas dari aspek pemakai, relasi sosiologis, hubungan pasardan kecenderungan budaya yang berkembang di masyarakat.Kata kunci: tren desain furnitur, nilai ekonomi, pemakai produk, pengembangan desain.

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