2026-05-28T16:48:22Z https://jurnal.isi-ska.ac.id/index.php/brikolase/oai

oai:ojs.pkp.sfu.ca:article/231 2025-02-26T06:46:12Z brikolase:ART

Studi Penciptaan Karya Seni Grafis Dengan Teknik Hot Print Di Atas Kaca Zarkasi, Much. Sofwan The development of discourse as well as the work process in the fine art realm relates to the contem-porary art spirit bringing pluralism, generates the tendency of art limit loss and daily needs, the fall of barriers between the high and popular cultures, opens the oppor-tunities of exploring form, technique and medium in creating the art work. The art institution and artist are required to attend and to participate actively in the dynamics of art development. A study on art work creation occurring from the observation, trial and creative experimentation is one proper answer for the demand of art development. This study begins from the observation of technique deve-lopment in the fine art work on the glass medium that still open the opportunity to explore the working technique, and it is inspired by the graphical art development beginning to expand to the computer tech-nology. The author wants to produce a fine art work with glass medium that is different from conventional glass pain-ting art and the technique employed was the printing technique in the graphical technique using thermal energy or called Hot Print. The hot print technique it self is a printing technique that utilize thermal energy in this case using the heat conductor plate connected to the electricity during the transfer of image to the drawing medium consti-tuting cloth, ceramic or glass. Mean-while, the experimentation the author stimulates is the picture visualization processing on the glass that later seems to be three dimensions, with the piled layer or glass system. In addition, the author also tries to present the problem, that is, questioning the communal identity of Javanese society amid the global culture, through Panakawan charac-ter, that is Bagong. Keyword: Wayang, Graphic art, Hot Print technique. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/231 10.33153/bri.v1i1.231 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/231/231 Copyright (c) 2016 Much. Sofwan Zarkasi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/233 2025-02-26T06:46:11Z brikolase:ART

Hubungan Wayang Kulit Dan Kehidupan Sosial Masyarakat Jawa Sukirno, Sukirno Wayang is a Javanese cultural es-sence inherited hereditary, not just a spectacle and a guide how people should behave in life, but also an order that must dititeni kanti tliti (which is an all natural law that needed to be regularly and judi-ciously adder-ssed) kasunyatan towards and achieve real life. Java for men (men who understand the true) is a way of life puppets, how they behave with others and how aware essence as human beings and how they can relate to the creator.  Now a social function for the Javanese wayang has shifted and changed, especially for urban com-munities who consume urban mass culture. Formerly a puppet show and guidance, now they see the puppet confined to enjoy an entertainment. It is very different from an agrarian society tiggal Javanese rural, social function puppets as educational media, ritual, entertainment and information is often held, for example, for this ritual, the village clean, and Ruwatan. Even so if we want to look more deeply, in fact the presence of a puppet in the life of Javanese society is still very strong. In his subconscious, attitude and mindset of Javanese society is still very close to the puppet either visually or philosophy. This can be seen from the emergence of puppet forms that apply to the various fields of life. This paper discusses the above issues, namely the shifting function and the role of puppets in contem-porary Javanese life of the com-munity. Dig up some possible affinity with the Javanese wayang both visually and the philosophy, views of behavior and thought patterns in several aspects of social life, including in the art world recent practice. Keywords: Puppet, Javanese so-ciety, global culture, art. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/233 10.33153/bri.v1i1.233 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/233/233 Copyright (c) 2016 Sukirno Sukirno http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/235 2025-02-26T06:46:11Z brikolase:ART

Bentuk Dan Strategi Perupaan Mural Di Ruang Publik Syamsiar, Syamsiar Mural now familiar to resi-dents of the city, almost in every street corners is murals with a wide range of visualization. The road users would not want to accept the existence of these murals. Two adjacent cultural city as a focus of research has a picture of the existence of the creation of the mural as follows: 1) The form and content according to envi-ronmental conditions, 2) Mural in form and content does not comply with the environmental conditions. 3) murals that have no clear goal and collided with the graffiti. The strategy needs to be done in the creation of murals, for suitable for public spaces are: 1) Workers mural art or artists should have experience in work-ing on the mural, 2) the idea or content of the mural should be considered in depth and tho-rough, to be more appropriate and beneficial to the wider community, 3) Visually (shape or form) should contain murals created aesthetic value as the comparison between the images with road users can be seen clearly. 4) Good collaboration with municipalities, and relevant par-ties would further support the implementation process of mural making 5) With the holding of the race course will also affect the variation of the mural that was created, because each group or individual has a different cha-racter-creation different, 6) Age mural tends to be short compared with other conventional works, because it works more on outdoor murals, so the weather was affecting the continuance. 7) In the mural creation strategies, will vary with the creation of conventional painting, because the mural visualization tend to occupy a vast space and some-times high, so that the necessary technical perspective and a more powerful distortion. Keywords: Mural, teknique and public art Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/235 10.33153/bri.v1i1.235 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/235/235 Copyright (c) 2016 Syamsiar Syamsiar http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/237 2025-02-26T06:46:11Z brikolase:ART

Eksperimentasi Penciptaan Karya Keramik Monumental Dengan Tungku Rekayasa Marwanto, Aries Budi In the process of creating ceramic art, the size scale is a problem. When making large ceramic works, meaning the risk of failure too great. This relates well with the chemical composition of clay and the right mixture. After the drying process is also longer, but the longer the drying period is the longer the duration of the crack or rupture prone. Last is a burning issue that must use a big oven. Larger furnace is also more expensive. Some of these cons-traints which ultimately makes ceramic artists in Indonesia did not dare to experiment making great work. Complex process coupled with the limitations of the furnace equipment (oven) for high-priced, making leaps of the idea of creation of ceramic artists and Indonesia not seprogresif dyna-mic branch other art. Es-pecially in terms of its magnitude. Noted, functional ceramics produced most only 2 meters, which is in Plered West Java, while the ceramic art ever created by Dadang Chris-tanto very monu-mental in his "1000 man land". The fact is captured by the author. Article "Creation Experi-mentation Stove Works Engi-neering Ceramics Using" this merrupakan exploration of the possibility of aspects of the main raw material composition (clay structure and all materials mixed), initial combustion process, and the main thing is burning stove model development, which is inspired from the stove burning bricks. Keywords: Experimentation, Cera-mics, Sculptures Monumental, Furnace Combustion Engineering. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/237 10.33153/bri.v1i1.237 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/237/237 Copyright (c) 2016 Aries Budi Marwanto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/239 2025-02-26T06:46:11Z brikolase:ART

Menyoal Seni Lukis Indonesia Kini -, Dharsono Our painting trip since pioneering   R. Saleh until the beginning of this XXI, was still swayed by the impact of conception. Indonesian art esta-blishment that has not reached the level of success, it has been devastating by western modernism that produce alternative art, with the emergence of the concept art (art conseptual): "Installation Art", and "Performance Art", which once flourished in college campuses throughout the art of the late 20th century. Then came the various alternatives such as "collaboration" as the final mode. Along the same conventions of painting adorned with a variety of styles-galleries, which is no longer as a token of appreciation to the community, but an alternative investment business. Now (the early 21st century) painting exposed to two forces; art remains a classic value of conventional forces from the inner consumption that belonged to the community, cha-llenged by the phenomenon of art as a market management forces in berorentasi leading commercial value in popular culture. Art no longer belongs to the people ....... Keyword: arts, painting, popular culture Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/239 10.33153/bri.v1i1.239 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/239/239 Copyright (c) 2016 Dharsono - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/241 2025-02-26T06:46:11Z brikolase:ART

Perfilman Indonesia Harapan Dan Kenyataan Budiman, Dwi Aji Previously, the New Order era, many filmmakers complain of the absence of freedom. So they do not make a movie that contains criticism and protest, especially to the govern-ment. Now times have changed. Why do not they make movies critical. Film Indonesia currently exploit as taboo in the social and cultural issues, some social and cultural issues like just lying, do not question the filmmakers those problems. Society was considered problematic and the film only touches the edge themes. Film Indonesia is also a little offensive themes that comment on social life (social commentary) and cultural life (cultural commentary). Yet social and cultural life, as portrayed in the film well, will be able to provide an important contribution to our lives as a nation. Whereas many social phenolmena that have lived followed by a good research will be able to produce a representation of the critical themes and interesting. This is an internal failure of the filmmakers themselves. But there was no denying that there are barriers that are external to the emergence of themes that do not represent a critical public life. Bar-riers were named business interests. Keyword: Indonesian film and social representation Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/241 10.33153/bri.v1i1.241 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/241/241 Copyright (c) 2016 Dwi Aji Budiman http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/243 2025-02-26T06:46:11Z brikolase:ART

Tokoh Punakawan Pada Wayang Orang Sebagai Sumber Ide Penciptaan Animasi 2d Dengan Konsep E-Learning Rachman, Anung The problem in the rising generation society concerning local culture are conflicting between the needs of rising generation society to have a suistainable edutainment as unity of a “living culture”, with many changes affected from the importing culture developed by foreign resources, high technology and the pressure by the world culture growth. Panakawan as one of culture local figure variety have many utilized by art agents as inspiration of art creating and creation media with various artistry shaped. It oftentimes we can see, considering on pana-awan's figure there are many contain positive simbol that is utilized to build nation personality. But unhappily current, the local culture is getting not popular among the rising generation because it’s ingoing the import culture to this nation with in fast. By the encapsulate local tradition and animation (modern technology) method for the research we have destination that the rising generation society can feel comfort and back to local culture as nation wealth. With animations technology, an object at computer can be made more interesting because this technology make the object moving and becomes ‘ life’. The encapsulation is made with e-learning method. The result is edutainment creation. The user which exploit it will be given local culture education and entertainment all at once. e-learning is define as learning method with technology (electronic) supporting. Keywords: local culture, animasi, e-learning Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/243 10.33153/bri.v1i1.243 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 1 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/243/243 Copyright (c) 2016 Anung Rachman http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/247 2025-02-26T06:57:05Z brikolase:ART

Makna Rumah Bagi Masyarakat Jawa -, Indarto Communities on the island of Java considers the house like a man worthy to be appreciated and respected. Respect means honoring the house occupants inside the man. Houses must be respected because it is sacred. This statement was seen when the ceremonies at the time of making the residence. Before the house started its construction, the thing to do is to give offerings as gratitude to God. Typically these offerings in the form of crops if the various types of food and pray together like a newborn baby. This traditional ceremony is performed from the ancestors of the Javanese community. Construction of the house is sacred and holy. Implementation of deve-lopment chosen by the good days are tailored to the occupants and a good day for the people in Java. Because the house as a sacred container, then the Javanese people always treat her well and always clean so that their lives are always peaceful and prosperous future free from the calamity that has adversely affected the family. Keywords: Houses, Sacred and Holy, Offerings, Peace and Prosperity Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/247 10.33153/bri.v1i2.247 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/247/249 Copyright (c) 2016 Indarto - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/251 2025-02-26T06:57:05Z brikolase:ART

Multimedia Pembelajaran Mixed Media dan Kolaborasi Rachman, Anung The role of education world always must be dynamic and listens carefully in facing and anticipates all changes in happened. Some problems experienced by teacher in process of pure art study at university with material scope Mixed Media and collaboration is the subject difficult to be comprehended without in backing with media because teacher in giving lesson still conventionally, and instructor which has not so mastering is information technology, and curriculum now is delivered university autonomy causing teacher is claimed to makes method and strategy in teaching Study model applied in research to distinguish computer by using Adobe Flash is being based on Multimedia with approach of the constructivism theory in overcoming study problems of pure art.This paper describes the process of making multimedia learning, concept, design, until programming. In the end section also described the results of produce including an analysis of the multimedia learning Keyword : mixed media and collaboration, Multimedia, learning Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/251 10.33153/bri.v1i2.251 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/251/253 Copyright (c) 2016 Anung Rachman http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/255 2025-02-26T06:57:05Z brikolase:ART

Fenomena Alam Sebagai Sumber Inspirasi Penciptaan Karya Seni Lukis -, Sukirno This paper is a report from the study of the creation of works of art with a source of ideas of natural phenomena. In the context of the creation of art, nature with all its elements are sometimes seen as a theme, sometimes seen as a motive, sometimes also as an object of study, or a source of inspiration of artists (Soedarso SP,: 2006:30). This paper is at once answered the purpose of creation studies conducted by the author, which explains: how the phenomenon of destruction of nature as a source of ideas placed the creation of works of art? And how the process of making paintings with natural phenomena as a source of ideas?Keywords: natural phenomenon, the source of the idea of creation, painting. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/255 10.33153/bri.v1i2.255 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/255/259 Copyright (c) 2016 Sukirno - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/261 2025-02-26T06:57:05Z brikolase:ART

Kajian Batik Motif Kawung Dan Parang Dengan Pendekatan Estetika Seni Nusantara Rosanto, Anton 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. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/261 10.33153/bri.v1i2.261 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/261/263 Copyright (c) 2016 Anton Rosanto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/263 2025-02-26T06:57:05Z brikolase:ART

Pergeseran Peran OHD Dalam Dunia Seni Rupa Indonesia (Kajian Sosio Budaya) Djaka S, Teguh For perpetrators of art in Indonesia, the name of Oei Hong Jien (OHD) is not a foreign name. Born of a family who loves painting, OHD become the world's top collector of Indonesian art. He is now not only become another collector's reference (and abroad) who want to buy works of painter Indonesia, but also a member of the Board of Directors and the Singapore Art Museum Singapore Art Retreat. Especially after OHD build an art museum containing paintings collection, adding to the prestige OHD as a collector and curator of the higher. From several sources obtained by the author, now at least OHD has collected 1500 painting, from a variety of visual styles and generations. From the works of old masters such as Affandi, Sudjoyono, Hendra Gunawan, Entang Wiharso, Adi Yuswantoro novice painter to emerge to the surface. Given all these facts, make a referral OHD museum and research data sources Indonesian art development for researchers from Indonesia and Overseas. This phenomenon is written in this article, which is related to (1) Background OHD so loved the painting until he wants to collect more than 1000 paintings. (2) There is a shift in the role of OHD in the Indonesian art world, from the limited apresian / consumers (collectors) to be a gallery curator and advisor and board member and Director of the Singapore Art Museum Singapore Art Retreat with authority or power to determine the value of a work or artist. (3) The background of thought or interest of OHD and when he prefers not to establish a museum gallery/ showroom collection. Key words: OHD, collectors, curators Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/263 10.33153/bri.v1i2.263 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/263/267 Copyright (c) 2016 Teguh Djaka S http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/269 2025-02-26T06:57:05Z brikolase:ART

Kajian Bentuk, Fungsi Dan Makna Patung Loro Blonyo Dengan Pendekatan Estetika Seni Nusantara Prasetyo, Raden Ersnathan Budi According to historical records, the statue of Loro Blonyo has existed since the time of the leadership of Sultan Agung of Mataram Kingdom in 1476. Manifestation of Hinduism was later modified to be more universal, to the statue of the Dewi Sri to bridal pair. At first, Loro Blonyo ownership is closely related to art and culture. Only the gentry who have it. In joglo house, the statue Loro Blonyo is placed at sentong or middle part of the house. The part that is considered as a private area husband and wife. In addition, Loro Blonyo also to be Krobongan complementary. This relates to several miitos that accompanies the presence of the Statue of Loro Blonyo. Loro Blonyo Statue of traditional forms of symbolic display smoothly because it is associated with ritual functions. Once pulled, the statue of Loro Blonyo is still favored by the people, although it functions and how to interpret this statue has been changed. Symbolic display of this statue are parsed in this paper. With the nusantara aesthetic approach of this paper is expected able to dissect the meanings embodied in symbolic statue Loro Blonyo Keywords: Loro Blonyo, symbolic meaning, nusantara aesthetics. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/269 10.33153/bri.v1i2.269 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/269/271 Copyright (c) 2016 Raden Ersnathan Budi Prasetyo http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/273 2025-02-26T06:57:05Z brikolase:ART

Seni Lukis Kaca Cirebon Refleksi Akulturasi Budaya Cholis, Henri This research was an attempt to find out the existence of the painting style in Cirebon. The decision to choose the topic was based on the aims at having a good knowledge of glass painting for improving the subject of glass painting. Cirebon was chosen as the location for the research because glass painting had been the inseparable  part of the cultural history of the city. In the course of time, the glass painting of Cirebon had come up with its unique style or characteristics which deve-loped until the present day. The problem studied in this research was the existence of the painting and glass painting style of Cirebon. The style of  this research is description of a qualitative nature, and the study takes the form of a field study using an aesthetic approach.The results of the research show that the glass painting developing in Cirebon is the result of the cultural acculturation of Arab, China, Java and that the unique style elements  of fine arts come into existence. The painting objects such as padasan ( a kind of water jar with a spout for ritual cleansing), rain cloud, three fish with one head, macan ali, figures of wayang, calligraphic wayang, sunya ragi, Singo Barong are the themes as the reference for the artists of glass painting in Cirebon. However, the younger artists of glass painting develop painting style outside the traditional themes. The glass painting of Cirebon can survive because of the support of the government, the court, the artists, curators, gallery, and market. Key words: style, glass painting, Cirebon. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/273 10.33153/bri.v1i2.273 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 1 No. 2 (2009) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/273/275 Copyright (c) 2016 Henri Cholis http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/275 2025-02-26T07:05:00Z brikolase:ART

Representasi Tubuh Perempuan Dalam Performance Art Karya Melati Suryadarmo Isnanta, Satriana Didiek This article addresses the question of focus related to the struggle for identity (body) of women in the new field called contemporary art, espe-cially in the work of performance art mance. With the consideration that performance art is one of the genre in contemporary art instruction to made deconstruction modern art (fine art) by the road doing demate-rialitation art.By using the body as a medium, the presence of the body in performance art became highly political. Espe-cially the work of performance artist (performer) named Melati Suryadar-mo. Electoral Budget Suryadarmo, because she's a performance artist- international standard and works much voiced about gender, espe-cially on issues of women's bodies in social reality.Works analyzed using Suryadarmo Budget semio when, in particular the "rhetoric of the image of" Roland Barthes. This analysis aimed to reveal mo-ivation, there are political motivations behind the creation pro-cess works and Suryadarmo’s pro-cces representation activity. What myth and ideology to build what was taken by Melati Suryadarmo.Keywords: Performance Art,Gender equality, representation of women's body, and Melati Suryadarmo Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/275 10.33153/bri.v2i1.275 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/275/277 Copyright (c) 2016 Satriana Didiek Isnanta http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/277 2025-02-26T07:05:00Z brikolase:ART

Studi Model Tungku Pembakaran Untuk Pembuatan Patung Keramik Monumental Marwanto, Aries Budi In the process of creating works of ceramic art, the amount of size is a problem. When making large ceramic works, meaning the risk of failure too great. This relates very well with the chemical composition of clay and mixtures that fit. After that also the longer the drying process, whereas the longer period of drying, the longer the duration also susceptible crack or rupture. Last is the burning issue that must use a large fireplace as well. Larger furnace means also more expensive. Some of these constraints which ultimately makes ceramic artists in Indonesia do not dare to make the work of a great experiment.Complex process coupled with the limited equipment furnace (oven) because high-priced, making leaps of idea creation Indonesian ceramic artist does not as dynamic as the other branches of art. Especially in terms of its magnitude. Noted, functional ceramic wares produced at large is only 2 meters, which is in Plered West Java, while the ceramic art ever created by Dadang Christanto very monumental in his work "1000 man land".The fact is captured by the researcher. In "Burning Furnace Model Development Study for the Preparation of Ceramic Sculpture Monumental", has researched and explored various aspects of the composition of the possibility of major raw materials (clay structure and all material pencampurnya), initial combustion process, and most important is the development model of the furnace combustion . Keywords: ceramics, furnace, monumental ceramic sculpture. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/277 10.33153/bri.v2i1.277 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/277/279 Copyright (c) 2016 Aries Budi Marwanto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/279 2025-02-26T07:05:00Z brikolase:ART

Dinamika Kehidupan Sosial, Politik Dan Budaya Sebagai Salah Satu Sebab Munculnya Fungsi Seni Sebagai Media Penyadaran Zarkasi, Much. Sofwan A paper titled dynamicization Social Life, Politics and Culture Play a Role as One For The emergence of Function of Art For the Media Awareness, describes the role of social life which affect the life and artistic development, especially the emergence of bentukl art that serves as a social awareness. Cultural and social development in a community group from the backwards will bring changes to all fields of politics, economics, art and culture itself. Community needs to grow and expand along with the awareness of individuals or the community in understanding life. Art is the one that felt the changes. The products or works of art created as a counterweight and a response will be the condition of the existing reality. The function of art became more varied, according to the understanding and awareness of its presence.This paper concludes; con-clude that a development of cultural, social, political, economic, will affect the dynamic role of art or artistic function. The effect was so strong because of environmental conditions will affect the human mind or society in it. Art as a product of society must be related to the functions of his presence in the environment and the arts have the power or the power transformation can be flexible and meaningful presence in social life. One of them is an art as a medium of awareness, where the presence of works of art based on awareness of partiality on a commitment to humanitarian and mission aware-ness through art rather than as a mouthpiece of propaganda that is not berestetika, but shared learning space for social transformation that contain aesthetic values.This artwork is also a form of expression or the response of the community in this manner can the artist or the general public towards social environmental conditions that may occur injustice, and this fact must be disclosed.  With the presence of works of art that has a function as a medium of awareness is expected to occur active communication related to the social reality which is disclosed in the message works. Creators and connoisseurs of art could be more touched and try to understand social reality or the reality that exists, which eventually is expected to show a change for the better. Keywords: art, Function of Art, Media Awareness Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/279 10.33153/bri.v2i1.279 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/279/281 Copyright (c) 2016 Much. Sofwan Zarkasi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/281 2025-02-26T07:05:00Z brikolase:ART

Lukisan Tabik Karya Bibit Waluya Sebagai Parodi Visual Dan Ekspresi Kritik Identitas Anggoro, Albertus Rusputranto Ponco Painting, as one form of matter creation of art works not only offer an aesthetic experience, imagination and sensory perception for their apreciations but also knowledge. The work of art seen from perspectif hermeneutics is an autonomous artistic phenomenon in the interpret-tation of meaning.To understand the hidden or latent meaning of a painting of hermeneutic theory is needed to unravel the particular text or set of potential marks. The painting, entitled adieu, the work of Seeds 'Jrabang'  Waluya is the subject of art is interpreted by using the rules of hermeneutics to understand its role as a visual parody of criticism and expression of identity. Keywords: Painting, Works of Art, Hermeneutics, Interpretation, Pa-rody, Criticism Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/281 10.33153/bri.v2i1.281 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/281/283 Copyright (c) 2016 Albertus Rusputranto Ponco Anggoro http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/283 2025-02-26T07:05:00Z brikolase:ART

Kajian Seni Lukis Lekra Dengan Pendekatan Fenomena Estetik Cholis, Henri LEKRA (1950) is a cultural institution established by the PKI. LEKRA brings an artistic concept with the background of party ideology oriented worship Mark, Lenin, and Mao. LEKRA form of art is Socialist Realism, but different with Social Realism that grows in America.Many Indonesian artists who take shelter in LEKRA institutions including: Tarmizi, Affandi, S. Soed-joyono, Henk Ngantung, Hendra Gunawan, Basuki Resobowo, Joko Pekik, also Bumi Tarung studio in Yogyakarta. Situation and political conditions in this country are always changing, bringing art LEKRA find their own fate, in the early turnout revered PKI, which was marginalized in the New Order regime, and now the work of the former painter LEKRA become prey items of art collectors by selling value fantastic and in terms of value of works of art LEKRA a sign of an era of vulgar chaos . Keywords: LEKRA, Art, Ideology. PKI. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/283 10.33153/bri.v2i1.283 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/283/285 Copyright (c) 2016 Henri Cholis http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/285 2025-02-26T07:05:00Z brikolase:ART

Studi Penciptaan Game Komputer Pembelajaran Perbendaharaan Kata Budaya Rachman, Anung 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 Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/285 10.33153/bri.v2i1.285 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/285/287 Copyright (c) 2016 Anung Rachman http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/287 2025-02-26T07:05:00Z brikolase:ART

Bentuk-Bentuk Kearifan Lokal Dalam Kehidupan Masyarakat Indonesia Sebagai Sumber Gagasan Berkarya Seni Rupa Syamsiar, Syamsiar Indonesia is an archipelagic nation which has approximately 1128 race, with plenty of cultural diversity and varied, each region contributing to the local distinctiveness of the culture in the form of customs, language, architecture, music, dance, decoration, fashion district, traditional food, and others. History shows us about how the local arts of the past are able to adapt the art that comes from outside and is able to transform the local culture in Indonesia, and has produced many stunning works of art in the form of prehistoric art, classical and traditional arts other. The values of life that grows in society tribes in the area of Indonesia, which relies on the wisdom of the natural environ-ment is a source of cultural wealth of a nation that needs to be maintained and preserved. Indonesia is a cha-llenge for artists today to be able to create works of art that has the characteristics or character in his work, with roads dug indigenous people of Indonesia to be imple-mented in his artwork.Keywords: Local Wisdom, and Artwork Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/287 10.33153/bri.v2i1.287 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 1 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/287/289 Copyright (c) 2016 Syamsiar Syamsiar http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/299 2025-02-26T07:14:06Z brikolase:ART

Transformasi Penciptaan Seni Lukis Bali Suyasa, I Nyoman Painting as one means of creating works of art activity experienced a fairly rapid developments changes.This transformation can not be denied again because of the demans of users and the development of technological developments, as well as occuring in the world of art in Bali. Transformation of visual styles in painting in Bali is what will be discussed in this article, of Balinese traditional painting (painting Kamasan), semi traditional painting or so called modern painting (a focus on Pita Maha art and young artists), until in modern painting. Keyword : transformation, painting,Bali Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/299 10.33153/bri.v2i2.299 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/299/301 Copyright (c) 2016 I Nyoman Suyasa http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/301 2025-02-26T07:14:06Z brikolase:ART

Alice in Wonderland versus "Alice in Wonderland": Praktik Apropriasi Dalam Teks (Komik) Poskolonial Anggoro, Albertus Rusputranto Ponco Children's novel Alice's Adventures in Wonderland by Lewis Carrol (fisrt published in 1865 in England) is one of the literary works of the 19th century which still popular as tales children. A myth that, once created the film version (1903), better known by the title of Alice in Wonderland represents the spirit of colonialism and imperialism. Alice's Adventures in Wonderland represent peoples of Europe who sailed the seas, explore alien worlds without a map that led to the occupation; Alice is a nation of "civilized" that comes in foreign lands., whisch they consider to disorder and "uncivilized", for make it civilized. Emerging resistance-cultural rsistance by the colonized, among which are appropriatied of colonial texts. They do imitation (mimicry) to mock (mockery). In the perspective of postcolonial resistance-resistance was studied and identified to understand the impacts of colonialism that still exists today. Comic / manga works Katherin alice in Wonderland is practice of appropriation : comics / manga that made a lot of time post-colonial after political decolonization in Indonesia.Keywords : colonialism,imperialism,orientalism,postcolonial,abrogation,appropriation,mimicry,mockery,comics,manga Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/301 10.33153/bri.v2i2.301 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/301/303 Copyright (c) 2016 Albertus Rusputranto Ponco Anggoro http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/303 2025-02-26T07:14:06Z brikolase:ART

Mengantarkan Seni Grafis Indonesia Menuju Pada Kematian Mahendrapati, A. Nawangseto Graphic arts (printmaking) is composing the image through the printing process with the purpose of reproduction or reproduce. History of graphic arts at first in Europe in the late 14th-century woodcut print used to make fabric patterns and print images for the following religious texts images-picture of a saint. Until the late 19th century graphic art has a role an informative function, as the dissemination of knowledge and as a medium of expression.The pioneers of graphic art in Indonesia is a visual artist,painter and sculptor,who found an alternative in the art print. Baharoedin M.S. and Mochtar Apin that makes a set of graphic works to be sent to countries that have recognized the sovereignty of Indonesia in 1946, is the painter. Momentum is regarded as heroic and patriotic moment that marked the birth of graphic arts in Indonesia.Talks abaout the art of graphic printing (printmaking) in Indonesia is always dwell on the issues concerning the position of inferiority issues in art map. Diversity techniques and material and assist in the creation of works of an artistic achievement of expression. But the opposite happened, as if the graphic arts lazy to move to find new things and seem like less sluggish blood.The development of graphic art certainly does not escape the role arts education institutions because, in general the new graphic art can be studied in educational institutions because of the workmanship is in need of facilities such as a studio representative and supported by the equipment that had to be there. Beyond that not a lot of agencies or organizations that facilitate or support the activities of the graphic arts. Therefore it is necessary to form a powerful synergy of inter-related infrastructure and support every movement printmaking Indonesia and able to spur a more lively movement or at least make an effort to slow death.Keyword : graphic arts, lethargy, effort, synergy Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/303 10.33153/bri.v2i2.303 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/303/305 Copyright (c) 2016 A. Nawangseto Mahendrapati http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/305 2025-02-26T07:14:06Z brikolase:ART

Lomografi Sebagai Komoditas Dan Media Ekspresi Masyarakat Urban Wahyudi, Johan Ies Digital carema technology is growing rapidly at this very indulgent lovers of photography, the image recording media facilities are also equiooed with sophisticated large data storage capacity and with a slim shape, making analog cameras are being abandoned. Analog camera is considered impractical because of the media are still using celluloid film recorder with a limitied number of photos, and not to mention the cost and time wasted to process film and print. This condition contrasts with the results of digital camera images that can be dircttly transferes and enjoyed on a computer screen. So if the world of analogue photography has been forgotten? Through the media Lomografi, analog photography as finding a new passion.LOMO is a phenomenon that is present in the digital age. LOMO cameras are still using celluloid film as a media recorder. The uniqueness of the camera and the images produced by LOMO camera makes quite a lot of people start experimenting to try it, so Lomografi in its development could create their own communities. In this article the author describes aspects of existence Lomografi, which begins by looking at commodities as a form of community Lomografi urban youth as this part of the tool to actualize themselves in their group who later gave birth to the consumtion of lomo cameras that serves as a lifestyle and a medium of expression for urban society.Keywords : Lomografi, expression media, lifestyle Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/305 10.33153/bri.v2i2.305 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/305/307 Copyright (c) 2016 Johan Ies Wahyudi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/307 2025-02-26T07:14:06Z brikolase:ART

Fusi Seni Dan Teknologi Mendorong Metamorfosis Bentuk Karya Seni Rupa (Studi penciptaan karya Video Performance) Isnanta, Satriana Didiek The presence of cameras,film,and video has created a synthesis between the art world's imagination with technology of mechanical reproduction. The birth of photography and cinema has brought great changes in human culture. A break in to level the concept of separation of art and technology. It is unceniable that the trend of development of contemporary art lately, so intersect at all with the development of existing technology, particulary information technology and recording media. This is evident with the emergence of several new genres in the contemporary art of Indonesia and the world.With a background as above, then the author of experimenting to make multi-media art works that exploit information technology and recording media. And this paper is the result of the experimentation process of making the work of Video Peformance. This genre according to the most interesting writers of the genres that exist in other new media art, it is associated from its long history as well as the mutation process when in contact with technological developments.Keywords : art, technology, video, performance art Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/307 10.33153/bri.v2i2.307 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/307/309 Copyright (c) 2016 Satriana Didiek Isnanta http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/309 2025-02-26T07:14:06Z brikolase:ART

Mengukur Wayang Ukur Karya Ki Sukasman -, Sukirno wayang Purwa, is one kind of puppet that has distinctive characteristics with humans in it a reflection of disposition. Typology thus, hard to find from a variety of ethnic art that is in the archipelago. Distinctive shape with a depiction of what is known than what is seen, is a distinctive characteristic of said visually unique way. In the development of new wayang come with a variety of concepts and styles pakelirannya, not to mention also the doll child. Since the days of Demak until now always appear wanda wanda new in order perfected. One is the "puppet measure/wayang ukur" Ki Sukasman creation of Jogja. The advantages of measuring Ki Sukasman puppet is no loss of character of child. Although if the observed puppet Sukasman Ki gauge is truly the work of individual expression of Ki Sukasman, but wanda perupaan puppet that characterize each of the characers in the puppet is not left, so when I saw a figure measuring puppet, people can still recognize it. Tjis is discussed in this article.Keywords : puppet measure, Ki sukasman Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/309 10.33153/bri.v2i2.309 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/309/311 Copyright (c) 2016 Sukirno - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/311 2025-02-26T07:14:06Z brikolase:ART

Media cat Minyak dan Pendukungnya Gozali, Amir The artwork must not only be measured/ assessed from the outside impression of the observer but also the good and bad quality of the physical. It depens how the process works is made, for the quality of course work rwquired precision in the selection of good materials and application of proper techniques in making a painting. Media oil paint, began to be known/discovered in the 15th century (the time Renisance in Europe). This medium was found closely related to the spirit if the Renaissance itself is the rebirth of ideas, thoughts Ancient Greek and Roman times are based on human reason(rationalism) and values of humanity (humanism) and the view that humans are used as a source all actions. As a result of the industrial revolution had improved oil paints in term of shape as it begins to be mass produced. Form of oil paint which originally separate between base material and developed into oil and solids in the form of a paste-like tube packaging at this time with different brands and package sizes. This makes oil paint more and more popular today because it has the character of a flexible and practical in its use.Keywords : painting,medium,oil paint Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/311 10.33153/bri.v2i2.311 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 2 No. 2 (2010) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/311/313 Copyright (c) 2016 Amir Gozali http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/313 2025-02-26T07:33:08Z brikolase:ART

Simbolis Bentuk Dan Seni Hias Pada Istana-Istana Raja Bugis Sulawesi Selatan Yunus, Pangeran Paita Soedarsono, R.M. -, Sp. Gustami 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. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/313 10.33153/bri.v3i2.313 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/313/315 Copyright (c) 2016 Pangeran Paita Yunus, R.M. Soedarsono, Sp. Gustami - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/315 2025-02-26T07:33:08Z brikolase:ART

Studi Penciptaan Karya Seni Rupa Wayang Beber Menggunakan Teknik Kolase Dengan Memanfaatkan Koran Bekas Zarkasi, Much. Sofwan Research the creation of works of art that took the title of the Creation Studies Fine Art Wayang Beber Using Collage Techniques Used by Utilizing newspaper, in 2011 by Much. Sofwan Zarkasi aims to open up wide open opportunities related to creativity in the art tradition in an increasingly globalized environment and create works of art beber puppets using collage techniques using newsprint as an alternative form in viewing works of art beber puppet that had been used paint manufacturer with natural dyes and painting techniques. The basic idea of this research is that there are opportunities that exist related to creativity and experimentation in the tradition-dimensional work of art as the development of an increasingly globalized era, as well as the opportunity to present a stimulus and a new perspective related beber puppet who started rare existence. The creation of art works using puppets beber tekonik collage using old newspapers is an engineering development ever undertaken in the work of art is a collage using feathers (hair painting) and collages using decoration technique that has been there on the puppet beber is using decoration techniques which is a technique attached using glue and old newspapers that has been there and selected according to the color needs. The method is applied in the creation of the work on this research is a method of experimentation is the process of conducting experiments that put forward from design planning, preparation and realization of the work in the media. Keywords : arts, puppet, beber, paper, collages Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/315 10.33153/bri.v3i2.315 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/315/317 Copyright (c) 2016 Much. Sofwan Zarkasi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/317 2025-02-26T07:33:08Z brikolase:ART

Degradasi Seni Reduksi Kreatifitas Dalam Arus Globalisasi Iksan, Nur As human beings that be dynamic creatures, they should not compromise or ended by neutralized from the authenticity offering from the outside. They should optimize their having potential to reveal the reality and they involvement in any process that they must be a subject of the process if they want to ben gebuine self.This portion will put them on the holistic of knowledge that became the foundation for life. This knowledge as a foundation for the improvement of the meaning of life into a personal selft and forming themselves freely and be aware of his actions. A konswensi to be faced with the choice of putting the authority that based on autonomous, and appreciation for the confidence with which to create a form of human responsibility for the existence. Humans created to “be authentic”. there are two elements of human to act creative. They are the productive capacity and the ability to rekonstruktif. every human being has the potential for resulting in literary works, independence be important factor fr themselves with “intact” and put the position by way of productivity in order to meet their needs. Creativity (the essence of art) this boils down to whether it’s the creation of something that could be used by others or just for personal expression. Here the creation of a literary work does not mean he has to paint, play music, play movies, and art is actually an activity that has an important role in human life, and in some perspectives of art is one aspect that must  be fulfilled for people in need of aesthetic or beauty. As a tool for reflection and raise awareness in personal, to response any issues.Here the subjectivity has a vital role in a terms of beautiful sense that have relation with a sense of satisfaction problems in human beings, there is fundamental need and absurd in its fulfillment.Moreover, the reality of the dynamic, demanding for human to always be example, the primordial man with several tolls in the ritual that aimed to worshiping the gods. The appearance of gods as projections is be the substances that embodiment of sublime everything that in needs are absurd. That is something similar that can be found in every human being in compliance with the terms that are beautiful. keywords : creativity, art,authentic. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/317 10.33153/bri.v3i2.317 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/317/319 Copyright (c) 2016 Nur Iksan http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/319 2025-02-26T07:33:08Z brikolase:ART

Lukisan Wakidi Dalam Semiotika Kemalasari, Rita Nature unfold as a teacher maybe this minang proverb is a guidance for a wakidi in creating paintings with a naturalist genre his loving of minagkabau nature led him to remain faithful to paint the beauty of nature till the rest of his life, and in he is being well known as the mooi indie personage. Even though wakidi is not from west sumatera, but as a founding father of tradition, social behavior, and kinship system that belongs to the societies. No wonder there is a lot of researchers who want to explore and critize because his artwork has so much meaning and marks contained threin. By using various approchment as in this writing which is a combination between trichotomy icon, index, symbol and cannotative semiotics. keywords:nature, wakidi painting, semiotic. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/319 10.33153/bri.v3i2.319 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/319/321 Copyright (c) 2016 Rita Kemalasari http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/321 2025-02-26T07:33:08Z brikolase:ART

Kaligrafi Arab Dalam Seni Lukis Kaca Cirebon Gozali, Amir Islamic culture transformation process continues to this day, the puppet is one proof of the continuity of historical reflection Indonesian culture resulting from the transformation of culture has characterized the culture of the archipelago. In addition it is also the object of puppets in the creation of works of art of Islamic calligraphy in Indonesia. Islamic Calligraphy has been media creativity of the artist to realize the creation of Islamic art that characterized the archipelago. During its development, calligraphy works, both produced by palace artist and artist from outside the palace, has managed to absorb the local cultture and accomplishment in calligraphy. In connection with this, mucullah calligraphy works in the form of works of calligraphy with the puppet motif adapted well in the archipelago, especially in Cirebon. Glass painting in Cirebon could not be separated from the cultural history of Cirebon that culture is the crystallization of several from the cultures that influence it. In the history of Cirebon culture influences from Arabic, Chinese, and Central and East Java.Acculturation in Cirebon culture integrated with peace, so that glass painting in Cirebon if observed bring a breath of uniqueness and distinctive character. Islamic Calligraphy in Cirebon is a mean of channeling creative art reflection of this artist.The trustee in Cirebon by successfully combining creative Islamic calligraphy art with elements of local art. So the calligraphy appears Cirebon identity. Traditional decorative patterns that have been developed previously distilir so as to produce beautiful calligraphic work without losing his character. Some works of calligraphy Panembahan which is stylized decorative patterns that emerge in the form of a charming figural calligraphy, monumental and filled with elements of local genius. Islamic Calligraphy presence in Indonesia has emerged as the archipelago cultures  capable of moving the tradition of thinking and notices, which is capable of touching the existence, cultivate ideas, open intuition, imagination cast a meaning behind the verses as a source of expression and creativity to create works that bercitra archipelago. Keywords: Glass painting, Cirebon, Islamic Calligraphy. Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/321 10.33153/bri.v3i2.321 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/321/323 Copyright (c) 2016 Amir Gozali http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/323 2025-02-26T07:33:08Z brikolase:ART

Efek Remasan Kertas Dalam Penciptaan Seni Lukis Putra, Ida Bagus Komang Sindu In art work creating, ideas often come inspired by situation that is lokk loke lightly, petty, spontaneous thing. This article submit in invention process of artistic and full of aesthetics paintng creating technique. The exploration to the observation toward paper that has kneading process that causes knead texture effect as a technical marker that important in painting visualization. The paper effect is visualized in realistic and deformative way in accordance to psychological and aesthetic need of the meaning of the paper effect that is recorded in a metaphoric way. Through the concept of paper as an obtuary that cross the memories of pas experiences, these art works will become strong cultural and environmental memories analogy of many problems that emerge in contemporary art of painting. Keywords: paper, psychology, aesthetic, painting and metaphor Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/323 10.33153/bri.v3i2.323 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/323/325 Copyright (c) 2016 Ida Bagus Komang Sindu Putra http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/325 2025-02-26T07:33:08Z brikolase:ART

Studi Penciptaan Batu Bata Ekspos Bermotif Lokal Marwanto, Aries Budi The focus of this study is divided into two major parts, the first is the search for material composition mixture of clay as the main material of brick making and the second is the development of product design to conventional brick-patterned brick exposed locally. The long term goal of this research in addition to improving product variants that have a competitive national and global markets. Research design in the creation of this study is exploratory research, a process of “trial and see” or controlled trial. Techniques of data collection was conducted by researchers observations (the process of making brick and clay soil sampling is used), interviews brick craftman in the district. Mojolaban (associated with a brick making technology) and literature searches (related on the clay-forming elements and some chemical elements as reinforcing material clay). Data is processed and tested in the laboratory with a ceramic combustion process, then selected a mixture of clay formula which is most suitable for making bricks. After successfully making quality bricks (strong and precision), then make the exposed brick with ornamnetal motifs develop tradition of batik motifs develop in Surakarta. Keywords : brick,ornamnet, batik  Institut Seni Indoensia Surakarta 2016-01-19 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/325 10.33153/bri.v3i2.325 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 3 No. 2 (2011) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/325/327 Copyright (c) 2016 Aries Budi Marwanto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/333 2025-02-26T07:33:40Z brikolase:ART

Seniman Dalam Perputaran Pasar Seni Rupa Wulandari, Retno After the booming, Indonesian art of painting come in to the era of the rise and the fall of the art of painting that happen very fast and drastic. Artists are often suddenly shocked and not ready to face a long famine era, because they are not ready and do not supply themselves with knowledge of their own art creating technique and infrastructure that built Indonesian art of painting market. It is only fitting that artists realize and ready to get in to the system that create art of painting market, because they have to behave as stakeholder for their own works, whether they want to or not. The principles “Art for Art” and “Art for Market” have to pass and to do in harmony without forcing to sacrifice the idealism in art work creating. Cooperation in all line, including artists, curators, art galleries, collectors, market and press, have to be ran in balance. Although it can not be denied that there are still many artists are “lazy” to get in and collaborate with one of those stakeholders. But, when artists start to have contact with market, the collaboration have to do for good cooperation and communication, because, however, market is one of the things that will establish Indonesian art of painting in the future, with focus on works quality and how the artist will survive in the world of art working.Keywords:  artist, gallery, collector, market Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/333 10.33153/bri.v4i1.333 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/333/335 Copyright (c) 2016 Retno Wulandari http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/337 2025-02-26T07:33:40Z brikolase:ART

Dinamika Garis Dalam Sketsa Analisis Karya Ipe Ma' aroef Dan Fadjar Sidik Suyasa, I Nyoman It is often said that the sketch is the most authentic trail, the exit from the artists themselves. Sketches reflect not just motor work, spontaneity, but also are difficult to be released from the documentary and a biography of the artist. Sketches are personal records in the form of visual and lines as its main element. Line shape can give birth once textures, tones, shades, and a certain volume, so as to give birth to a special character or disposition of a person. Character is owned by Ipe Ma'aroef and Dawn. They had a long journey in the creative process and the line is breath in his work. Pure lines of the sketch they showed strong character, who rarely owned by the artist now. Key words: Dynamics, outline, sketch, Ipe Ma'aroef and Fajar Sidik Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/337 10.33153/bri.v4i1.337 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/337/337 Copyright (c) 2016 I Nyoman Suyasa http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/339 2025-02-26T07:33:40Z brikolase:ART

Problem Sosial Masyarakat Marginal Dalam Konsep Pewarnaan Lukisan Impresionisme Merta, I Made Suka Human are individual as well as social beings. A social beings means that they live in the midst of others or living in a community defined as a society. Various social issues arise in the big city.  The development of a city brought many victims; the marginalized society is one of it.  The marginalized society is a group of people which are marginalized or excluded from the development, so they do not have any chance to obtain the benefit of the development. They frequently got systemic violence committed by the state (the authorizer).Those ideas then were manifested on an artwork of impressionism coloring concept. Impressionism is a style of painting which is characterized chiefly by concentration on the general impression of strong lighting, with emphasis on the color display and not the form. Specifically, the illustrated impression is the impression of light reflection on an object / invisible objects, especially sunlight because it has unlimited color richness. Colors used by the writer are mostly bold colors, i.e. bright colors. A bold black color is also used to create an atmosphere of misery, anguish, and gloom. Color used in the writer’s artwork is a description of few colors and displayed with an opaque technique / block.   Key terms: marginal, impressionism Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/339 10.33153/bri.v4i1.339 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/339/343 Copyright (c) 2016 I Made Suka Merta http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/343 2025-02-26T07:33:40Z brikolase:ART

Batik Sebagai Sarana Penanaman Nilai-Nilai Budaya Dan Pembentukan Karakter Bangsa Shokiyah, Nunuk Nur Batik is one of the world heritage that was had the Indonesian nation and it is essential to be introduced to the younger generation. Batik is a technique of drawing, painting, or providing color on cloth to get a certain pattern and it was given color with tutup celup system. The process of batik is very detail, the procedure consist of Nglowong, nembok, medel, ngerok, bironi, ntogo, sag, washing, and pressing. The process of making batik so requires patience and precision to achieve optimal results. Batik activities are conducted continuously with direct or indirect that will affect the person's character. Character is influenced by environment such as social values​​, experience and education. Batik activities that were taught for children both in the school and the family will be very influential in the formation of the child character. Children are trained to be patient, thorough, and independent. Besides, it also helps children to learn more about own nation culture , then it can strengthen the nation character and it  is as bastion of global culture influences. Key words: Batik, Cultural Velue, national character Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/343 10.33153/bri.v4i1.343 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/343/345 Copyright (c) 2016 Nunuk Nur Shokiyah http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/347 2025-02-26T07:33:40Z brikolase:ART

Ironi Dalam Memori Ruang Waktu Analisis Trauma Jiwa Sebagai Ide atau Refleksi karya Dengan Pendekatan Psikoanalisis Freud Wahyudi, Tri In psikoanalitika viewpoint, experiences during early life can and will shape his personality during later life, so that psychological problems in adulthood will be influenced by childhood trauma or difficulty. As adults most people do not remember that there's something to be started when they were still traumatized childhood and memories of the trauma will be hidden in their subconscious. Theory of psychoanalysis based on the application of the theory developed by Freud to focus on the structure and function of human thought in practical scientific and continues to influence the ideas, opinions, mindset and actions of their day-to-day. The first innovation is Freud when he recognized a different mindset between the conscious mind and the subconscious mind. Under the influence of the subconscious thoughts and feelings are allocated out of place, where they can be put together and expressed through an abstract shape in which the objects can be a symbol of another incident.Analysis with Freud's theory as well as to analyze the work of artists who use the subject of personal experience to present ideas in the works he made, in the course of his work meyisakan various problems that are hidden from the memory of the past as well as to convey no meaning in every image ironic paradox sometimes unintentionally created in game visual artists at work in the fields or created in the space of expression for the artist or artist author. Keyword: Psychoanalysis Freud, the idea of â€‹â€‹the work from artists, Irony, Memory space Time Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/347 10.33153/bri.v4i1.347 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/347/349 Copyright (c) 2016 Tri Wahyudi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/351 2025-02-26T07:33:40Z brikolase:ART

Perancangan Mainan "Odong-Odong" Sebagai Media Edukasi Tradisi Lokaluntuk Anak Usia 1-5 Tahun Zarkasi, Much. Sofwan This article is a summary of the research that has been conducted by the author, titled “Designing Toys” Odong-odong “As Media Education Local Traiding For Children Aged 1-5 Years”. this study is to reintroduce the children intheir world, which according to the present writer has been captured by the electronic mass media capitalists. Media odong-odong toys are usually only as a medium of entertainment media modified as local tradition based art education game,expected results of this designs is able to inspire people to develop and be differentiation products are much in demand by the children, which will indirectly increase the interest odong0odong to play, and also increase income enterpreneurs and artisans odong-odong. On the other side, the nature of entertainment media education is expected that children will be more familiar with local traditions and art imprint will continue until they later grow up, so they do not visually cultural identity tercaput of local cultural roots. This is important, because the issue is what actually became the main issue in the development of national identity.Keywords : odong-odong, media education, children, traditions. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/351 10.33153/bri.v4i1.351 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/351/353 Copyright (c) 2016 Much. Sofwan Zarkasi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/355 2025-02-26T07:33:40Z brikolase:ART

Kathe Kollwitz Kekelaman Dan Kepedihan Dalam Karya Seni Cetak Grafisnya Mahendrapati, Nawangseto Ekspressionis artist Kathe Kollwitz was a woman from Germany who has a major reputation as a graphic artist, althought he began his career as a painter and ended by making sculptures. His works done by combining technical masteryof the powerful, often shocking and disturbing, images were shown to the whole message strong. The overall theme of his work is mainly social and political, but the quality of emotional expression that is not chaotic. Kolwitz Kathe works that use black and white and the use of lighting effects felt very tense and dramatics. Facial expression and position objects depicted actually can represent feelings.This article discusses the background of the creation of works of graphic art prints by Kathe Kollwitz aesthetic approach. What factors underlying the creation of works of Kathe Kollwitz dark and gripping, and whether the expression of fellings like Kathe Kollwitz poured through his work with graphic print art techniques.Keywords : printmaking, dramatically, Kathe Kollwitz, Therapy Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/355 10.33153/bri.v4i1.355 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 1 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/355/355 Copyright (c) 2016 Nawangseto Mahendrapati http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/359 2025-02-26T07:47:14Z brikolase:ART

Komunitas Airbrush Indonesia Dalam Rana Seni Rupa Lestari, Dina 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 Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/359 10.33153/bri.v4i2.359 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/359/359 Copyright (c) 2016 Dina Lestari http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/361 2025-02-26T07:47:14Z brikolase:ART

Ekspresi Anak-Anak Petani Tradisional Taram Dalam Lukisan -, Hanafi The agricultural sector is a sector that has stratesis role in national economic development structure. This is a sector that does not get serious attention from the government in nation building. Ranging from protection, credit to none other policies that benefit the sector. Agricultural development programs that were never targeted goals even further plunges in the destruction of this sector, and also farming in Indonesia is still a lot that mengarap farm with traditional systems. When we look at the lives of farmers villages Taram Harau Sub District Fifty Cities of West Sumatra province rich in natural tones, surrounded by hills are fresh sounds, and also worked on his rice field farmers still use traditional tools. Taram seen from the way farmers work their fields, who are still using tools tradisioanal painstakingly family survival. There appears an impression that inspires the heart to express it in a painting, thus giving special value of the beholder. Painting to be made in this work, starts from the fact that occur in the environment around the residence and family home writer, born of a family of low income farmers. This situation prompted the authors to express their anxieties, pressures, and ketikberdayaan see the reality of what happened. In the work will be made only writer to express anxieties heart to see and feel what is happening within the family. Forms of his paintings are not made ​​of natural background and activities of farmers in general, but only as an expression depicts peasant children with realist style, which is an imitation of a painting depicting the actual object. Keywords: expression of the kids, agriculture, economy. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/361 10.33153/bri.v4i2.361 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/361/363 Copyright (c) 2016 Hanafi - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/365 2025-02-26T07:47:14Z brikolase:ART

Transformasi Kreatif Fobia Pada Karya Seni Lukis Tryamei, Tito Creation of art work “Creative Transformation of Phobia on Painting Art Work” basically is subjective realization or personal expression. It’s a very common thing, because for translate feeling and emotion to visual language supported by experience of using media and technique. Generally, phobia caused having experience of fear, shyness and fault that there are pressed into sub conscious. For me, as artist, fear can be a positive influence, it is source of imagination to create visual objects. I’m use this phenomena fot theme creation of art works, ang I hope it can be treatment or decrease my fear. Keywords: creative, fobia, painting Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/365 10.33153/bri.v4i2.365 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/365/367 Copyright (c) 2016 Tito Tryamei http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/369 2025-02-26T07:47:14Z brikolase:ART

Performance Art Antara Media Penyadaran, Kepentingan Pasar Dan Partisipasi International Isnanta, Satriana Didiek Good performance art is work that managed to amaze the public. Successfully influenced public to observe every detail. Instead, the public will demand the uniqueness of the event that makes it willing to pay attention to the performance, detailed for detailed. From the above explanation affirmation finally appeared a question, when a performance art relies heavily once with the right choice of space and how the public (audience or the audience), thus creating a unique event and can amaze the public. In the video performance, no other consciousness to show more conceptual performance: performance scene that has been designed, presented in video media. May be more readily as experimentation on attempted filmed theater, but completely abandoned the live performance itself, because of the possibility of a repetition of the scene to be there. As an avant-garde art (avant garde) as described above,” originality” and the seriousness of the challenges of performance art gets a modern capitalist society. Performance art that was originally to be agents of change in the value of the community, the are deflected by spearheading the advertising to market interests. keywords : performance art, agent of change, ambient media Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/369 10.33153/bri.v4i2.369 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/369/369 Copyright (c) 2016 Satriana Didiek Isnanta http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/371 2025-02-26T07:47:14Z brikolase:ART

Batu Sebagai Simbol Pribadi Dalam Karya Seni Lukis Rizky, Muhammad Stone is represent object owning interesting characteristic, exotic, and have multifariously of symbol which not yet to exploration, specially will become symbol having the character of personal. Combination between experience of person among social reality, where stone as object at the same time to be subject  which personate symbol of personality ( metaphor). Along with style combination of surrealistic and of minimalistic, created masterpiece make an impression on ' in' and is free.Keywords: stone, symbol, artistic of paint Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/371 10.33153/bri.v4i2.371 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/371/373 Copyright (c) 2016 Muhammad Rizky http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/373 2025-02-26T07:47:14Z brikolase:ART

Digital Graffiti: Ekspresi Kreatif Di Lingkungan Digital Rachman, Anung Digital technology is enabling graffiti art to take on new forms, creating an alternative for the artist in making art work. Few attempts, though, have been made to integrate classical expression of graffiti into virtual space, and digital graffiti artists are still adjusting himself to the Internet and to digital tool. This paper describes a variety of graffiti form movement from the streets to the virtual, from the technology used, classification, until coding. Various advantages presented of digital graffiti, more practical, more diverse, and reach out to all corners of the world. We aim to enrich digital art culture, drawing inspiration from the art form and culture surrounding graffiti, making it visible to mainstream Internet user and creative expression. keyword: digital graffiti, digital environment, technology, internet Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/373 10.33153/bri.v4i2.373 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/373/375 Copyright (c) 2016 Anung Rachman http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/377 2025-02-26T07:47:14Z brikolase:ART

Animasi Kartun 2D Berbasis Seni Pertunjukan Tradisi Sugihartono, Ranang Agung Murtono, Taufik Indonesian animation lack in using the potential of local culture is the basic reality for this artistic research. The animation creation that refering on the characteristics of traditional performing arts is the focus. This study uses an pratice-based research. Research procedures conducted in two phases, namely analysis and development/implementation. Analysis involves identifying and studing the research object (puppet motion as a reference) and the creation of animated cartoon films. The results of this artistic research showed that a) Elements such shadow puppets (Wayang Kulit) and Wayang Beber typical with their decorative can be applied in character and environment visualization, and provide imaginative effects, b) Movement shadow puppets have a body language that can be used as a reference animated cartoon motion c) the philosophy and meaning in shadow puppets movement is applied to the animated film that can make an animated cartoon has special characteristics and different from Western animation principles, and d) Performance of narrative animation that refers to Dalang’s narratives in shadow puppets making movies more typical Indonesian animation.keyword: film, cartoon, animation, tradition Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/377 10.33153/bri.v4i2.377 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 4 No. 2 (2012) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/377/377 Copyright (c) 2016 Ranang Agung Sugihartono, Taufik Murtono http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/379 2025-02-26T07:53:53Z brikolase:ART

Makna Pendhapa Ageng Mangkunegaran Sebagai Bangunan Adat Jawa Adisukma, Wisnu This article analized about themeaning of javanesse building which is represented byPendhapa Ageng Mangkunegaran. Pendhapa Ageng Mangkunegaran in cultural frame is not onlybuilding for conference or ceremony but also has wider role. Although, this building as materialbut still has psychological role meaning. Explicit or implicit meaning in building and ornamentform at Pendhapa Ageng Mangkunegaran has particular meaning, massage and role. As,particular system, the myth is built by second meaning system. In this myth, also signified thathas several signifier. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/379 10.33153/bri.v5i1.379 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/379/381 Copyright (c) 2016 Wisnu Adisukma http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/383 2025-02-26T07:53:53Z brikolase:ART

Peran Riset Dalam Perwujudan Desain -, Sunarmi This paper is to discuss the results of a literature study on the role of research inthe design embodiment . The design has an important role in the formation of thehuman character , can pattern the design of the human mind at work as one of habit .Correspondence between the design of the user is the highest degree on the success ofthe design , the design is good . There are several stages in one embodiment is aresearch design . Research conducted to determine the design work on the designobject . In order to do proper research needs to be an understanding of designobjectives and benefits of the research design . What are the element that must beconsidered in the research design , in order to obtain work on the design of appropriateobjects . To answer these problems need to be addressed on the research design in thedesign process .The results of the research study design required in the design process at every stage .At the formulation stage of the research design required design . Target research toformulation design is ( 1 ) Potential Areas , ( 2 ) The level of competition , ( 3 )Consumer Dynamics , ( 4 ) Opportunity Design , ( 5 ) development of technology . Fouraspects are the basis for the formulation of feasibility or design work on the object .These data can be obtained from various sources including: literature , informants , andsocial facts or data field . The selection of literature on the eligibility or qualificationdidasarakan author and recency literature . Informants were selected based on relevantqualifications in accordance with the purposes of information . Selected for each socialfacts based on relevant qualifications . Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/383 10.33153/bri.v5i1.383 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/383/383 Copyright (c) 2016 Sunarmi - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/385 2025-02-26T07:53:53Z brikolase:ART

Studi Penciptaan Karya Seni Instalasi Berbasis Eksperimen Kreatif Dengan Medium Gembreng Cholis, Henri 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 . Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/385 10.33153/bri.v5i1.385 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/385/393 Copyright (c) 2016 Henri Cholis http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/397 2025-02-26T07:53:53Z brikolase:ART

Seni Dan Desain Sang Primadona, Seni Kriya Sang Penyelamat -, Dharsono As the dichotomy emerged in 1970s art , artists in the tradition of "fine art " artist called ,were the perpetrators in the category of " craft " so-called artisan or craftsman .Especially painting get a superior position , because of the success of the artist paintingthe west in the seat as part of a " liberal art " activities that reflect part of intelegtualitas ,being " craftmanship " merely " mechanical art " Then marginalized craft and fine art ofthe prima donnaFurther development , the emergence of trichotomy of art , design and craft ( the 1980s) , the more visible and tangible . Craft positions below , even debased or diinferiorkanby fine art or design . So the design of the prima donna .But what's the reality ? ! ...... When the Indonesian economic crisis of 1998, the craft isthrown down , the craft is thrown into marginal - hall , in reality it is instrumental tocreating jobs and even contribute significantly in moving the economy in layer " grassroot " . Even with the collapse of capital-intensive , it sparked the birth of entrepreneursto move the craft -based industries such as in Jepara , Cirebon , Surakarta . Kriyabecame the savior . Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/397 10.33153/bri.v5i1.397 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/397/395 Copyright (c) 2016 Dharsono - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/399 2025-02-26T07:53:53Z brikolase:ART

Video: Mainan Dan Bermain Wati, Wahyu Utami  Playing is an expression of human's attempt to make him happy and comfortable. Playhas a broad meaning, but in the process of creating this work of understanding playingis more focused on the activities by the children who use the instrument of playing, ietoys.Toy is re-representated into a videography work that is presented in a video installationforms. To be able to play the video required a response from the audience. Responserequired is pressure on the plate that had been given Force Sensitive Resistor. Thepressure will be captured and linked to the four channel video which will then play thevideo.The purpose of creating the work "Video: Toys and Play" is to explore the toys in theform of video work. This video is presented in the form of interactive work. Interactive isone of the elements of the play. The presentation with interactive techniques is chosento make the audience as an active audience and be part of the videography work. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/399 10.33153/bri.v5i1.399 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/399/397 Copyright (c) 2016 Wahyu Utami Wati http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/401 2025-02-26T07:53:53Z brikolase:ART

Melukis Sebagai Media Pembentukan Kecerdasan Emosional Pada Remaja Shokiyah, Nunuk Nur Positive activities is necessary for teenagers to channel emotions, great . One of theactivities that can be selected is a credible form of painting . Some teens find it easier toexpress what is in themselves through graffiti , through activities such as painting .Painting is a positive activity for youth as an alternative activity to give him the freedomto express all emotions . This activity is very useful for young people to exerciseresponsibility and independence , which in turn is able to recognize her youth and theenvironment , in other words painting can foster emotional intelligence in adolescents.Emotional intelligence is the ability of individuals to recognize their emotions and theemotions of others and have the ability to channel his emotions appropriately , able tomotivate yourself , resilience in the face of failure , delay gratification and able to set themood . Painting could be interpreted as an expression of an expression of a statementof intent aimed feelings or thoughts or communicated to others . Feelings can becommunicated properly it will make teens become more in control of himself and theenvironment dengann able beriinteraksi good way. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/401 10.33153/bri.v5i1.401 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/401/399 Copyright (c) 2016 Nunuk Nur Shokiyah http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/403 2025-02-26T07:53:53Z brikolase:ART

Sakit Mata Refleksi Atas Pengalaman Pribadi Di Indonesia Yngvesson, Finn Books are capable of storing large quantities of information, both written and visual, forthousands of years. A printed book is not like digital information on a hard drive, a website, acompact disc, a photograph or an art exhibit. A printed book will last for a very long time if thematerials are acid free and it is stored properly.Sakit Mata is a project to compile my writings and paintings from the year 2009 until2013. This was a time when I traveled from America to come to graduate school in Indonesia. Ifelt that it was important to combine writing and paintings to help the reader to understand thekinds of experiences and observations about my surroundings that influenced the work. I chosea book format not only because it enabled me to combine writing with images, but also becauseof its permanence and ability to maintain cohesiveness unchanged over time. I saw many of myfriends and classmates display their paintings together in the format of a gallery show thatlasted for a week or two and then was gone. I don't want my experiences to be forgotten and mypaintings scattered in different places after a gallery show is over. I want everything to staytogether unchanged, documenting this time in my life and in the history of Indonesia.This kind of art book containing a wide variety of subjects does not serve a clearpurpose, other than the preservation and documentation of memory and artworks for the future.I hope this book can have an appeal for many kinds of people and I purposely spent a lot of timewriting the book in both Indonesian and English so that more people can understand the writtencontent. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/403 10.33153/bri.v5i1.403 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 1 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/403/403 Copyright (c) 2016 Finn Yngvesson http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/407 2025-02-26T08:14:34Z brikolase:ART

Wheat Paste Di Jalanan Yogyakarta (Seni Cetak Grafis Sebagai Alternatif Media Pop Propaganda) Rahman, Deni When we observe the Indonesian public space, in big cities such as Jakarta, Bandung and Yogyakarta, we can see that the space is now packed with a wide range of consumer imagery, which is offered by the owners of capital, with posters, banners, and billboards . Moreover we can found also the spirit of ‘youth rebellion’ through graffiti, murals, and which is now becoming more popular or well is a wheat paste. Competing for attention with the visual images in the public space, of course, will always be won by those who have capital. The street artist should be smart to choose the media and what is the most appropriate technique to use. Using printmaking with many variety of technical work to make wheat paste of popular propaganda, will be one of smart strategy, because printmaking can be created massive, but still has the artistic power. Keywords: propaganda, printmaking, street art, wheat paste Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/407 10.33153/bri.v5i2.407 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/407/407 Copyright (c) 2016 Deni Rahman http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/411 2025-02-26T08:14:34Z brikolase:ART

Pengembangan Souvenir Berbahan Kertas Koran Berupa Lukisan Wayang Beber Di Surakarta Zarkasi, Much. Sofwan Firstly, the basic idea of this study, is an awareness of the presence of associated opportunities creativity and eksperimentation in the handicraft products made from waste newspapers materil collaburated with artwork tradition, that is wayang beber, as a unique selling point that can increase the sale value  of handicraft products. The novelty in this research is twofold : 1) to study this form of visual materials and techniques used in the manufacture of wayang beber image are different than usually the process of working on image wayang beber is using tradition techniques “sungging” that is painting techniques using natural dyes as well as the manufacturer, so in this study, art works of wayang beber made with collage technique, it is a technique using glue stick and newspapers and without any dye. 2) until now the souvenir or craft art with materials such as newspaper products wayang beber artworks using waste newspaper material on canvas has never existed.Keywords : wayangbeber, souvenir, newspaper Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/411 10.33153/bri.v5i2.411 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/411/411 Copyright (c) 2016 Much. Sofwan Zarkasi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/413 2025-02-26T08:14:34Z brikolase:ART

Visualisasi Banalitas Kejahatan Dalam Seni Lukis Jayanata, Banny According to crimes which happens belong to our lives, crimes always give effects and impacts in our daily life as human being. Despite we have some feelings about crimes as a negative side of life, we should not beingso full-ignorance on it. Crime has its values like some moralities have. Ignore crime only make itmore invisible and undetected, by other name: make it more dangerous. In this project, writer means to bring crime into surface of life, using art for its medium. By art, we can express so many ideas and feelings we have, without being explicit showing or critisyzing. Crimes can be seen in a different way, not always in a dicotomic way: opposite of a goodness and beautiness.Keywords: Crime, banality, violence, art and painting. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/413 10.33153/bri.v5i2.413 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/413/413 Copyright (c) 2016 Banny Jayanata http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/415 2025-02-26T08:14:34Z brikolase:ART

Simbolisme Ragam Hias Sisik Batik Demak Adisukma, Wisnu Sisik ornament on Demak’s Batik is considered as cultural form, artifact that is contains self representation discourse which is framed by cultural ideographic aspect. However, Demak’s Batik vanished for hudred years from Demak society and emerged in 2006. Therefore, there is cultural communication that vanished in Demak society, particularly it is connected to meaning or value system which is contained in sisik ornament Demak’s Batik for life of Demak’s society. Therefore, it is essential to observe about sisik ornament as particular motif of Demak and the symbolism of sisik ornament on Demak’s Batik and the implication to Demak’s life society. The approach that is used is cultural approach. This approach observes sisik ornament on Demak’s Batik as culture and as part that is never divide, even become the cultural center of Demak’s society.Keywords: Demak’s Batik, Sisik Ornament, Simbolism Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/415 10.33153/bri.v5i2.415 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/415/415 Copyright (c) 2016 Wisnu Adisukma http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/417 2025-02-26T08:14:34Z brikolase:ART

Estetika Seni Lukis Kaligrafi Karya Syaiful Adnan Auliya, Aghni Ghofarun Shokiyah, Nunuk Nur 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. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/417 10.33153/bri.v5i2.417 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/417/417 Copyright (c) 2016 Aghni Ghofarun Auliya, Nunuk Nur Shokiyah http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/421 2025-02-26T08:14:34Z brikolase:ART

Dampak Negatif Perusakan Hutan Sebagai Sumber Inspirasi Penciptaan Karya Semi Lukis -, Yulianto The negative impact of forest destruction in nature giving out a deep meaning for the author. One thing that is of concern and disquiet the author is able to provide a source of inspiration in the creation of the work. The exploration process makes an inspiring turn into something even more special is the theme of creation. The theme of this study of the of art is the impact of forest destruction. Background and a strong visual concept could produce visual elements according to the style1 personal authors, ranging from lines, colors, and forms a new metaphor. Deliberately and non deliberately during the process of creation is sometimes able to provide an interesting shape or composition that has not been thought about at the beginning of the work of art (sketches). In the creation of the work, the author tries to create some of the works in the form of works of art in the style and shape according to the character and aesthetic achievement that is owned by the author.Keywords: natural, experimentation, painting Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/421 10.33153/bri.v5i2.421 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/421/421 Copyright (c) 2016 Yulianto - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/425 2025-02-26T08:14:34Z brikolase:ART

Kajian Visual Gambar Beber Karya Soegeng Toekio Tahun 2011-2012 Chaidir, Muhammad This thesis examines the visual images beber from Soegeng Tekio 's art work in 2011-2012. Soegeng Toekio began a cultural approach to explore the myths, legends, folklore and also a source of other lexis, including the history and ritual activities as well as a theme in his work concept. This type of research is descriptive qualitative study using a theoretical approach Monroe Beardsley. Based on the elements of art, we can conclude that Soegeng Toekio has managed to cultivate such a wayang beber beber image into the form of work that characterizes his work. For example Soegeng Toekio using comics in the shape of the face as he explained the picture, but the shape of posture using realistic proportions. In addition Soegeng Toekio also has a strong character lines in sunggingnya concept and the theme of his work is always related to cultural traditions that exist in Indonesia archipelago. Keywords; beber image, the process was working, meaning. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/425 10.33153/bri.v5i2.425 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 5 No. 2 (2013) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/425/425 Copyright (c) 2016 Muhammad Chaidir http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/431 2025-02-26T08:42:55Z brikolase:ART

Kajian Tehnik Menggambar Wayang Beber Gaya Pacitan Joko Sri Yono Gozali, Amir -, Sutriyanto This study aimed to Pacitan style wayang beber, which has the characteristics of a very complicated background and has a very interesting artistic value. Of the two also has a different procedure for the manufacture especially when applying the colors used. This study examines the anatomy of the body found in wayang beber, either the main character or some other supporting cast. Anatomy directed against members of the body found in various types of puppets such as the eyes, nose, mouth, ears, hands, feet up used clothing and accessories. In addition, this study will reveal some of the symbols contained in the background, where the background can be seen from the condition and location that is happening in each scene. In this study, the object is wayang beber with emphasis minitik studies on aspects of the art techniques and media apparently namely the manufacture of Pacitan style wayang beber Sri Yono Joko work. To solve some of the issues raised using a direct approach to the puppeteers, craftsmen and artists who are still there, especially Joko Sri Yono as an artist who holds the grip Pacitan style wayang beber, and a review of the existing literature. By using some of the theoretical approach is expected to answer the problem.Keywords: Wayang Beber, Style, Pacitan Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/431 10.33153/bri.v6i1.431 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 6 No. 1 (2014) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/431/429 Copyright (c) 2016 Amir Gozali, Sutriyanto - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/433 2025-02-26T08:42:55Z brikolase:ART

Pemaknaan Alam Dalam Karya I Made Arya Palguna Suyasa, I Nyoman Interactions between humans and nature around a lot to do with the creation of works of art both in terms of motivation and the creation of the result later. Nature provides its own meaning for each artist to be disclosed into work, Made Arya Palguna are artists who give their own meaning to nature admired to be disclosed into works of art. The relationship between individuals (Palguna) with nature in orbit consciousness as human beings living in the traditional and modern voltage. Palguna familiar and even close to the surrounding nature, but it does not cause admiration closeness to the outward forms, but the essence in it. More interpret nature as a part of the creative process to uncover the hidden meaning in nature.Keywords: nature, meaning, and Palguna Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/433 10.33153/bri.v6i1.433 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 6 No. 1 (2014) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/433/433 Copyright (c) 2016 I Nyoman Suyasa http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/437 2025-02-26T08:42:55Z brikolase:ART

Studi Manajemen Penyelenggaraan Pameran Seni Rupa Di Bentara Budaya Yogyakarta Indratmo, Effy Handayani, Tri Lestyo This study discusses about: Bentara Budaya Yogyakarta, management of art exhibitions and curatorial system organizing art exhibitions in Bentara Budaya Yogyakarta. This type of research is descriptive and qualitative object under study is the process of organizing an art exhibition in 2012, and observing and recording systems curatorial art exhibitions in Bentara Budaya Yogyakarta. Data collection techniques such as literature study, observation, interviews, and documentation. The validity technique used is the triangulation of data by leveraging data sources and methods review informant. Data analysis using flow models of analysis (flow models). To explain the process of the management of art exhibitions and curatorial system organizing art exhibitions using the guidebook written by Mikke Susanto. The results showed that: the process of organizing curatorial art exhibitions in Bentara Budaya Yogyakarta in its implementation is divided into two types, namely the initiative of artists and gallery managers initiative. Observing the results of the exhibition of art based on the typology and periodization of time organizing art exhibitions, visible differences between the initiative of artists and galleries initiatives in terms of time organizing exhibitions and art galleries pemakiaan procedures.Keywords: arts management, curatorial, Bentara Budaya Yogyakarta Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/437 10.33153/bri.v6i1.437 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 6 No. 1 (2014) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/437/439 Copyright (c) 2016 Effy Indratmo, Tri Lestyo Handayani http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/443 2025-02-26T08:42:55Z brikolase:ART

Teater Garasi Seni Rupa Media Naratif Peristiwa Teater “Waktu Batu” Afrianto, Damar Tri Garasi Theater  has a visual awareness and fine art aspect as their language. It seems when Garasi theater  creates visual works from Javanese mythology “Sudamala, Murwakala, Watugunung and the end history of Majapahit as a groundwork. Garasi’s tracking about Javanese mythology and the history of Majapahit in “Waktu Batu” as if looking for cultural and spiritual identity answer of space and time disorientation. The presence of visuality should be able to create new narratio of mythology and history. Art instalation, contemporary sculptures, mix media art and art video are trying to dialogue with another element of theater on stage. Based on creative process and architectural performance can be seen that Teater Garasi are creating a theater which is dominated by visual images.The visuality of Garasi Theater in “Waktu Batu” try to incorporating Javanese ancient spirituality roots through its mythology and history, and still using the lastest contemporary art.Keyword: Art Visual Performance, Garasi Theatre, Waktu Batu Story. Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/443 10.33153/bri.v6i1.443 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 6 No. 1 (2014) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/443/441 Copyright (c) 2016 Damar Tri Afrianto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/445 2025-02-26T08:42:55Z brikolase:ART

Penciptaan Karya Seni Lukis Kaca Dengan Teknik Layer Isnanta, Satriana Didiek Traditional glass painting in Indonesia are all just move the painting of medium canvas / cloth into the medium of glass. This makes traditional glass painting closed character of the medium. With this in mind it is ultimately the writer interested to study the creation of works of art glass to approach contemporary art discourse. Is expected to emerge glass paintings that have novelty or is present in the composition of the exploration areas, symbols, and meanings. In addition, this study also explores the creation of techniques, tools and materials work. Not only use metal paint painting techniques as well as traditional glass painting but using layer technique. This layer techniques to maximize the clarity of glass that had not explored in the practice of traditional glass painting.Keywords: Painting glass, experiment, layer technique Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/445 10.33153/bri.v6i1.445 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 6 No. 1 (2014) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/445/443 Copyright (c) 2016 Satriana Didiek Isnanta http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/447 2025-02-26T08:42:55Z brikolase:ART

Kontemplasi Diri Dalam Lukisan -, Syamsiar Creating works on the theme of contemplation themselves in my paintings come from my series of contemplative experience in life that are particularly religious. That is an afterthought to an essential aspect of my life, that I experienced a wide range of activities, observe and biodiversity during the past and the present are associated with signs of the presence or existence of God in the mystery of life that I live everyday. The formulation of the concept of self-creation is a religious contemplation as a means to achieve harmony, harmony and happiness in life. Creation method using the theory of the creation process LHChapman among others 1). Efforts to find an idea (the inception of an idea) or find a source of ideas, inspiration or inspiration, 2). Enhance, develop, and establish initial ideas (elaboration and refinement), 3) .Visualisasi into the medium (heention in a medium) .Media to be used in the embodiment of the works are oil on kanvas.Subject matter in creating works rooted in reflection of contemplation myself among others: drapery (Inside the cloth) and other subjects such as a series of letters of the Arabic alphabet, clouds, light and so forth as a visual form to affirm the meaning of the painting.Keywords: self-contemplation, the creation of art, paintings Institut Seni Indoensia Surakarta 2016-01-20 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/447 10.33153/bri.v6i1.447 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 6 No. 1 (2014) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/447/447 Copyright (c) 2016 Syamsiar - http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1575 2025-02-26T08:53:35Z brikolase:ART

PERMASALAHAN KEHIDUPAN KAUM URBAN SEBAGAI TEMAKARYA SENI LUKIS Fiyanto, Arif             Laporan penciptaan yang disusun dengan judul “Permasalahan Kehidupan Kaum Urbansebagai TemaKarya Seni Lukis” ini dilatarbelakangi oleh ketertarikan terhadap tema yang diangkat, yaitu permasalahan kaum urbanyang hidup dalam permukiman kumuh dan termarginalkan.Dibalik kehidupan yang tragis, kesedihan dalam kemiskinan yang menghimpit tersebut menjadi rangsangan untuk perenungan dalam pembelajaran hidup, agar menjadi lebih waspada dan prihatin dalam menata pola kehidupan untuk massa depan.Tujuan dari laporan penciptaan ini adalah ,memahami dan mendalami tema kemudian memvisualisasikan  ide dasar tersebutdan menciptakan metafor dalam karya seni lukis terkait dengan judulyang diangkat.Proses penciptaan karyanya menggunakanbeberapatahapan, di antaranya adalah: pra perwujudan,  perwujudan, dan pasca perwujudan. Tahap pra perwujudan dibagibeberapa tahapan yang harusdilewati, yaitu: tahap observasi, tahap perenungan, tahap persiapan, tahap penggunaan teknik. Pada tahap observasi, dilakukan study pustaka, dan pendokumentasian.Setelah malalui tahap pra perwujudan, kemudian beranjak ke tahap perwujudan, yakni menjelaskan beberapa proses antara lain: pembuatan sket bentuk (rancangan), pembuatan background, pewarnaan, improvisasi, penggarapan detail, dan yang terakhir adalah proses finishing. Penciptaan karya yang terprogramakan berjalan lancar dengan hasil yang maksimal, bila terdapat kesatuan yang utuh atau saling mendukung antara pemilihan bahan yang tepat dengan kemampuan teknik garap yang baik. Kata kunci: penciptaankarya, problemasosial, masyarakat urban Institut Seni Indoensia Surakarta 2016-06-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1575 10.33153/bri.v7i1.1575 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 1 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1575/1523 Copyright (c) 2016 Arif Fiyanto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1577 2025-02-26T08:53:35Z brikolase:ART

ANALISIS FORMAL SENI LUKIS KARYA SOEGENG TOEKIO TAHUN 2000-2015 Isnanta, Satriana Didiek This article discusses the formal aesthetic work Soegeng Toekio years 2000-2015. It is based on the understanding that the aesthetic value of a work of art can be formed by the work itself, and standard views deserve is requiring the work itself, rather than coming from outside work which is seen as an extra factor aesthetic.The approach used is the aesthetic approach using aesthetic theory by De Witt H. Parker, in his book The Principles of Aesthetics (1920), quoted by The Lian Gie in the book "Philosophy of Beauty" mentions six principles of aesthetics form, namely: 1). The principle of organic unity, 2). The principle of theme, 3). The variation principle according to themes, 4). The principle of balance, 5). The principle of development, and 6). The principle of hierarchy.The works Soegeng Toekio studied from 2000 to 2015 year. The work can be grouped into two major parts, the first is the search for, where Soegeng Toekio started trying to break away from the grip wayang beber and looking for his own visual style (2000-2004) and the second, are the works that have been able to represent Soegeng Toekio’ visual styles (2005-2015). Keywords: Soegeng Toekio, painting, formal analysis, aesthetics De Witt H. Parker Institut Seni Indoensia Surakarta 2016-06-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1577 10.33153/bri.v7i1.1577 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 1 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1577/1525 Copyright (c) 2016 Satriana Didiek Isnanta http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1579 2025-02-26T08:53:35Z brikolase:ART

FENOMENA KERIS TERHADAP KEHIDUPAN SOSIAL MASYARAKAT JAWA Darmojo, Kuntadi Wasi Keris is a work of art that have aesthetic value and the value of philosophy that can be used as guidance and spectacle, the social life of Java. Kris culture in Indonesia has been known since the 10th century and has continued until now. Kris as objects tradition that has been handed down and there is a change in character bit by bit according the demands of time or the king ( ruler ). When seen his form dagger is an art that has achieved a high level of sophistication and qualifies it has a symbolic meaning, so that the existence of a dagger in the Java community, by most people had believed that the order of the social life of a man is not considered perfect in the achievement of social value if it does not have a keris. The existence of a dagger function in social life has undergone many shifts according to the demands of the times, even in the social and cultural life in contemporary times functions in supporting community has emerged an interesting phenomenon. Kris as non material Cultural Heritage (intangible ) has received recognition from UNESCO as it has among other things: the historical value, aesthetic, social function, philosophy , symbols and mystical . Keywords: Culture, Keris, Function and Society  Institut Seni Indoensia Surakarta 2016-06-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1579 10.33153/bri.v7i1.1579 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 1 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1579/1527 Copyright (c) 2016 Kuntadi Wasi Darmojo http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1583 2025-02-26T08:53:35Z brikolase:ART

SIFAT DAN PERILAKU BURUK MANUSIA SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS Hasan, H., Creation report compiled under the title "The nature and Bad Behavior Humans as a Source of Inspiration Creation of Art Works" is motivated by the problems associated with the bad behavior of human nature and the social life in this country and in the other hemisphere. The purpose of the report is the creation and deepen understanding of the theme and then visualized on the basic idea and created a metaphor in works of art related to the title is lifted. Methods used his creation stages include: pre-creation, creation and post-creation.After going through the pre-stage of creation, then moved to the stage of creation which explains some of the process include: design sketches and shapes composition, manufacture background, the removal of sketches and drafts composition forms on the canvas, coloring, details, improvisation, and finishing. In the creation of this post is a process gives fixatif works made in order to become more maximal and durable.The creation of the work will run smoothly with maximum results when there is a unified whole or mutual support between the selection of appropriate materials and work on good engineering capability in the process of creating the work that has been programmed, so the results are as expected.Keywords: bad behavior, human, creation of works, painting Institut Seni Indoensia Surakarta 2016-06-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1583 10.33153/bri.v7i1.1583 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 1 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1583/1529 Copyright (c) 2016 H., Hasan http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1585 2025-02-26T08:53:35Z brikolase:ART

KAJIAN IKONOGRAFI KARYA DULLAH “PRAKTIK TENTARA PENDUDUKAN ASING” Adisukma, Wisnu The article tittled The Iconography of Dullah’s artwork "Foreign Occupation Soldiers Practice" is intended to seek the textual and contextual meaning of Dullah’s art work. With iconographic approach will be obtained deeper and broader meaning from a work of art. Through this approach, the artwork will be a major concern in reviewing the history of art, nevertheless also necessary to understand the contextual and symbolic aspects. At the time of independence Dullah documentating the events related to the struggle of the Indonesian nation to seize and retain independence in his works. Dullah even led a group of young artists to paint directly of events during the occupation of Yogyakarta as an effort to document the history of the struggle of the nation. One of his very famous is"Foreign Occupation Soldiers Practice". This work depicts the atrocities of the Japanese army against the population Indonesia. It is a very strong art work is the "Foreign Occupation Soldiers Practice" that depicts cruelty colonizers against the indigenous population. In this case the work of "Foreign Occupation Soldiers Practice" finds its context as understood by tracing the socio-cultural history during the years 1930-1940. From the art work we can find out how the socio-historical situation of the community when the colonial era. Keywords :Dullah, Iconography, Praktik Tentara Pendudukan Asing. Institut Seni Indoensia Surakarta 2016-06-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1585 10.33153/bri.v7i1.1585 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 1 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1585/1531 Copyright (c) 2016 Wisnu Adisukma http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1587 2025-02-26T08:53:35Z brikolase:ART

KONSTRUKSI MEDIA Ponco Anggoro, Albertus Rusputranto 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. Institut Seni Indoensia Surakarta 2016-06-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1587 10.33153/bri.v7i1.1587 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 1 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1587/1533 Copyright (c) 2016 Albertus Rusputranto Ponco Anggoro http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1589 2025-02-27T01:29:15Z brikolase:ART

STUDI PEMBUATAN MODEL KERAMIK MOZAIK SEBAGAI ELEMEN ESTETIS DINDING BERNUANSA LOKAL Cholis, Henri Yustana, Prima Seni mozaik sudah berkembang lama, tetapi di Indonesia, seni mozaik ini belum berkembang dan belum ada pengrajin gerabah atau industri keramik yang membuat produk keramik mozaik. Peluang inilah yang ditangkap oleh penulis untuk membuat  sebuah model keramik mozaik sebagai pengembangan varian produk kerajinan gerabah dan industri keramik di Indonesia. Dengan model tersebut diharapkan dapat mempermudah masyarakat untuk membuat mozaik sebagai elemen estetik dinding sekaligus untuk penguatan identitas budaya karena bernuansa lokal. Penelitian ini didesain sebagai penelitian eksperimen yang fokus pada 2 bagian. Pertama ujicoba komposisi bahan pencampur tanah liat, pewarnaan keramik dan pembuatan model keramik mozaik yang presisi serta mudah diaplikasikan oleh siapa saja termasuk orang yang tidak punya jiwa seni. Uji coba yang kedua fokus pada eksplorasi visual sebagai desain visual mozaik bernuansa lokal yang bersumber pada wayang beber, seni lukis kaca Cirebon dan ornamen batik.Luaran tahun pertama dari penelitian ini adalah model desain keramik mozaik yang terinspirasi oleh piksel dalam komputer dan seni kristik dalam bentuk buku panduan gambar, warna, ukuran dan tata letak keramik warna. Model ini diharapkan dapat mempermudah setiap orang untuk membuat karya seni mozaik dari keramik di dinding yang  didaftarkan HAKI. Luaran kedua penelitian ini adalah prototip bahan keramik mozaik yang terdiri dari kotak – kotak keramik sesuai dengan rancangan desainnya. Kata kunci: mozaik, seni, keramik, lokal.Mosaic has developed for a long time but it has not developed well in Indonesia and there is no artisan of earthenware nor ceramics industry producing mosaic of ceramics. This is a good chance the writers have to make a model of mosaic ceramics as the development of a variant product of earthenware handicrafts and ceramics industry in Indonesia. It is hoped that this model can make the society easier to make mosaic as the aesthetic element of a wall as well as to strengthen the cultural identity because the model has local nuance.This research is designed as an experiment focusing on two parts. First, to try out a composition of materials for mixing clay, colouring ceramics, and making a model for mosaic ceramics easily applied by anyone including those who do not have the spirit of art. The second tryout focuses on a visual exploration as a visual design of mosaic with local nuance originating in wayang Beber, Cirebon painting on glass and batik ornaments.The first year output of this research is a model of mosaic ceramics design inspired by pixel in computer and kristikin the form of a book containing guidance to colour, size, and layout of colour ceramics. This model is hoped to be able to make anybody easier to a mosaic work of art from ceramics at the wall and it will be registered to HAKI (Intellectual Property Right). The second output of this research is a prototype of the mosaic ceramic material consisting of ceramic boxes in accordance with the planned design. Key words        : mosaic, art, ceramic, and local Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1589 10.33153/bri.v7i2.1589 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1589/1535 Copyright (c) 2016 Henri Cholis, Prima Yustana http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1591 2025-02-27T01:29:15Z brikolase:ART

PENGEMBANGAN MODEL CINDERAMATA ETNIK DENGAN MUATAN KEARIFAN LOKAL CANDI SUKUH Indratmo NS, Effy Gozali, Amir Saat ini, dunia telah memasuki era industri kreatif. Untuk memenangkan persaingan tak cukup hanya berbekal unik dalam memproduksi sebuah komoditi. Kelokalan harus dieksploitasi secara positif dan Indonesia memiliki keuntungan karena memiliki kekayaan budaya yang bisa diolah. Penelitian ini adalah salah satu bagian dalam mengolah kearifan lokal menjadi sebuah komoditi. Mengolah kearifan lokal Candi Sukuh yang terletak di lereng Gunung Lawu di Karanganyar Jawa Tengah menjadi produk cinderamata.Cinderamata atau souvenir adalah benda yang dibawa pulang oleh wisatawan sebagai kenang-kenangan bagi perjalanannya. Cinderamata merupakan mata pencaharian sebagian masyarakat di sekitar Candi Sukuh. Meskipun demikian penjualan cinderamata dari masyarakat tersebut masih minim dan tidak berkembang. Beberapa penyebabnya adalah ketidakmampuan dari masyarakat untuk memproduksi sendiri, model yang sedikit, dan kualitas yang rendah.Metode yang digunakan adalah pendekatan Research and Development. Dengan metode tersebut, peneliti melakukan serangkaian langkah yaitu tahap studi pendahuluan (studi literatur dan studi lapangan), perencanaan (mengimplementasikan kearifan lokal Candi Sukuh menjadi rancangan bentuk cinderamata), pembangunan (membuat model, mencetak, menuang, dan memproduksi), uji coba kualitas cinderamata dan evaluasi, dan yang terakhir adaalah diseminasi. Kata kunci: candi Sukuh, cinderamata etnik, kearifan lokal.  Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1591 10.33153/bri.v7i2.1591 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1591/1537 Copyright (c) 2016 Effy Indratmo NS, Amir Gozali http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1593 2025-02-27T01:29:15Z brikolase:ART

PERANCANGAN IDENTITAS VISUAL KELURAHAN BALUWARTI SEBAGAI KAMPUNG WISATA BUDAYA DI SURAKARTA Zarkasi, Much. Sofwan Panindias, Asmoro Nurhadi Untuk mencapai tujuan sebagai kampung wisata budaya, dibutuhkan branding agar Baluwarti tertata dan terarah, memiliki satu tujuan, satu gaya, satu visual sehingga memiliki brand image atau citra di benak target konsumen. Tujuan dari kekaryaan seni ini adalah untuk memecahkan masalah dalam merancang destination branding identitas visual Baluwarti sebagai Kampung Wisata Budaya dengan menguatkan image tradisional dan klasik melalui media komunikasi visual. Perancangan ini menggunakan pendekatan A-A Procedure sebagai pentahapan komunikasi persuasif mulai dari usaha membangkitkan perhatian (attention) kemudian berusaha mempengaruhi orang untuk melakukan kegiatan (action) seperti yang diharapkan. Kemudian dalam mendapatkan data karakter kawasan Baluwarti    digunakan teori dari Kevin Lynch yang menyebutkan 5 elemen yang membentuk kawasan yaitu Path (jalur), Edge ( tepian ), District (kawasan), Nodes (simpul), Landmark (Tetenger) dan selain itu juga data dari Consumers journey (pengamatan kunjungan konsumen). Produk perancangan yang dihasilkan, berupa prototype pedoman sistem identitas termasuk eksplorasi dalam perancangan nama, logo, warna, tipografi berupa logo Baluwarti dan nama kampung di kawasan Baluwarti yang menjadi bagian rangkaian sistem identitas. Penguatan image tradisional menjadi acuan utama dalam perancangan ini mengingat Baluwarti masuk dalam kawasan Kraton Kasunanan Surakarta yang masih menjunjung tinggi nilai tradisi, diharapkan akan menunjukan keunikan, kekhasan dan kekuatan dari Baluwarti. Kata kunci : Identitas visual, destination branding, Baluwarti Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1593 10.33153/bri.v7i2.1593 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1593/1539 Copyright (c) 2016 Much. Sofwan Zarkasi, Asmoro Nurhadi Panindias http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1595 2025-02-27T01:29:15Z brikolase:ART

HIASAN WAYANG PADA ATAP RUMAH TRADISIONAL KUDUS DALAM KAJIAN MAKNA DAN SIMBOLIS Afrizal, A., Tujuan penelitian ini adalah mencari jawaban atas pertanyaan mengenai sejarah terbentuknya hiasan wayang pada atap rumah tradisional Kudus. Pertanyaan tersebut meliputi: apa yang dimaksud dengan hiasan wayang; mengapa diciptakan; kapan mulai diciptakan; siapa pemrakarsanya; dan bagai mana arah perkembangannya. Adapun faktor-faktor yang melatarbelakangi penggunaan simbol hiasan wayang pada atap rumah tradisional Kudus merupkan perpaduan antara kepercayaan agama Hindu dengan kepercyaan agama Islam. Faktor internal bahwa masyarakat pada umumnya mereka itu mengenal tokoh- tokoh dalam pewayangan dengan baik dan di antaranya kebanyakan menganggap bahwa Bima sebagai tokoh idola dan legendaris mereka. Faktor eksternal adanya perubahan bentuk pada wayang-wayang yang dilakukan oleh para ulama agar tidak bertentangan dengan ajaran agama Islam. Di antara wayang hasil karya para ulama atau wali tersebut adalah wayang purwa dan wayang kancil. Wayang Purwa yang terbuat dari kulit kerbau itu ditransformasikan menjadi wayang kulit yang bercorak Islami. Para wali penyebar Islam di Jawa pun mengubah cerita wayang dengan menyisipkan ajaran-ajaran dan pesan moral yang sesuai dengan ajaran Islam. Salah satu contoh ajaran moral Islam yang terkandung dalam cerita wayang dapat kita jumpai pada tokoh Bima dalam lakon “Bima Suci”.Ajaran moral Islam yang terkandung dalam lakon “Bima Suci” dibagi ke dalam empat tahapan, yakni syariat, tarekat, hakikat, dan makrifat.Hiasan pada atap rumah tradisonal Ku­dus, merupakan hiasan tiga dimensi, dan sebenarnya merupakan wujud dari sebuah wuwung. Secara umum bentuk hiasan pada atap rumah tradisional Kudus, dapat dikategori­kan menjadi dua macam. Ragam hias pertama oleh masyarakat setempat sering disebut sebagai bentuk hiasan wayangan.dan kedua  bentuk gelung wayang. Kata kunci : Ornamen, Wuwung  Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1595 10.33153/bri.v7i2.1595 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1595/1541 Copyright (c) 2016 A., Afrizal http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1599 2025-02-27T01:29:15Z brikolase:ART

ESTETIKA SENI TATO KOMUNITAS PUNK DI SURAKARTA Suriandari, Dyah Agustin Fokus bahasan artikel ini adalah: estetika tato pada komunitas punk yang memiliki pewarnaan dan pemilihan bentuk yang berbeda dari visual tato pada umumnya. Metode penelitian menggunakan penelitian kualitatif bersifat deskriptif. Teknik pengambilan sampel menggunakan purposive sampling. Objek yang diteliti adalah karya seni tato dengan mengamati estetika yang tekandung pada tato anggota komunitas punk. Validitas data yang digunakan adalah teknik triangulasi data dengan memanfaatkan sumber data dan wawancara narasumber. Proses Penelitian ini berusaha mengungkapkan estetika yang terkandung dalam karya seni tato pada anggota komunitas punk di Surakarta. Penelitian ini menggunakan analisis deskriptif untuk mengkaji estetika bentuk dan makna yang terkandung dalam pada karya seni tato komunitas punk di Surakarta. Hasil penelitian menunjukkan bahwa: Anggota komunitas punk di Surakarta mengekspresikan dirinya dengan menggunakan seni tato. Perwujudan seni tato yang di temukan pada komunitas punk di Surakarta dilatar belakangi oleh apresiasi penghargaan untuk mengabadikan nama anak, rasa sayang kepada ibu dan mencari jati diri dengan mentato tubuh. Karakteristik tato pada komunitas punk di Surakarta, terdapat pada pemilihan bentuk tengkorak, kata against,living free,dan kubus keseluruhannya bertema kritik sosial. Estetika seni tato komunitas punk di Surakarta yaitu pada pencapaian karakter bentuk, gradasi warna, garis, letak penempatan pada media tubuh yang sesuai dengan visual gambar. Kata kunci: Estetika, punk, tato Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1599 10.33153/bri.v7i2.1599 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1599/1543 Copyright (c) 2016 Dyah Agustin Suriandari http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1601 2025-02-27T01:29:15Z brikolase:ART

KAJIAN ESTETIKA SENI LUKIS OBJEK ALAM KARYA ARFIAL ARSAD HAKIM Asmoro, Yudo Apri Artikel ini membahas tentang proses penciptaan karya seni lukis yang dilakukan oleh Arfial Arsad Hakim. Fokus permasalahan yang menjadi pokok bahasan skripsi ini adalah: Estetika Seni lukis Objek Alam Arfial Arsad Hakim. Metode penelitian ini adalah penelitian kualitatif yang bersifat deskriptif. Kajian estetika seni lukis objek alam karya Arfial Arsad Hakim menggunakan teori dari Weits Mooris. Sumber data dalam penelitian ini diperoleh dari berbagai nara sumber, sumber tertulis dan foto guna memperoleh data yang diperlukan. Penulis menggunakan teknik pengumpulan data melalui observasi, wawancara, studi pustaka, dan pendokumentasian. Proses analisis data interpretasi dan interaksi denganpendekatan teori Weitz Moris dilaksanakan melalui beberapa tahapan, yaitu: pengumpulan data, reduksi, sajian data, serta kesimpulan. Hasil penelitian dari Kajian Estetika Seni Lukis Objek Alam Karya Arfial Arsad Hakim adalah, pencarian jati diri merupakan sesuatu yang berat bagi Arfial Arsad Hakim, pengaruh seni abstrak yang merubah gaya seni lukis Arfial Arsad Hakim untuk meninggalkan objek alam namun tetap beraliran naturalis, objek alam dbuat dengan mendistorsi bentuk sehingga lebih sederhana namun tetap harmonis dan menyederhanakan warna. Bentuk visual seni lukis karya Arfial Arsad Hakim mengalami penyederhanaan bentuk dan warna, bentuk divisualkan lebih sederhana namun tetap harmonis dengan sapuan kuas yang halus, menggunakan warna yang teduh dan tidak kontras, sapuan yang halus menghasilkan garis yang lembut. Sedangkan menurut Pendapat pengamat seni mengenai lukisan karya Arfial Arsad Hakim melukiskan alam yang berbeda dengan pelukis alam lainya melainkan alam yang telah mengalami perubahan dari segi objek dan komposisi dan memberikan kesan ketenangan dan kelembutan walaupun Arfial Arsad Hakim adalah seorang yang teguh dan keras akan tetapi Arfial Arsad Hakim senang berdialog dengan ketenangan dan kelembutan.Kata kunci: Estetika, Objek, Seni Lukis Arfial Arsad Hakim  Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1601 10.33153/bri.v7i2.1601 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1601/1545 Copyright (c) 2016 Yudo Apri Asmoro http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1603 2025-02-27T01:29:15Z brikolase:ART

BATU NISAN ITU BERNAMA “IDENTITAS” Problem “Refleksivitas” dalam Pemikiran filsafat “Post-Modernisme” terhadap masyarakat multikultural Dharsono, D., Post-Modern merupakan fenomena baru yang berkembang di dunia belahan barat. Sekelompok filosuf Perancis yang terlibat dalam upaya menjelaskan hal-hal yang berkaitan dengan kebenaran, makna dan subyektivitas: Foucault, Derrida, lyotard, Lacan dan Deleuze. Kaum Post-Strukturalis dan akhir-akhir ini sering disebut sebagai pemikir post-modernis mengajukan gugatan dan menentang pandangan dunia universal yang menyeluruh, tunggal dan mencakup; baik yang bercorak politik, religius maupun sosial seperti marxisme, kristianitas, kapitalisme, demokrasi liberal, humanisme, islam, fiminisme dan sains modern.Kaum post-modern juga mempertanyakan gagasan tentang kemajuan (progress) serta keunggulan masa kini atas masa lampau. Mereka tidak mengakui adanya batas yang tegas antara ilmu alam, humaniora, ilmu sosial, seni dan sastra, antara budaya dan kehidupan, fiksi dan teori, citra dan realitas. Mereka juga menolak gaya ‘discourse’ akademis yang konvensional (pemikiran modern). Penilaian yang negatif ini berasal dari kesalahan memposisikan pemikiran tradisi filsafat Barat secara umum. Pertama, pemikiran pukul-rata dan dimasukan ke dalam satu kotak dengan sesuatu yang jamak disebut “post-modernisme”. Kedua yaitu Dengan menyamaratakan dekonstruksi dengan post-modernisme, orang-orang cenderung memberikan label nihilis, relativis dan anarkis terhadap dekonstruksi. Ruang Fleksibilitas: mediasi musikal dalam konsep post-modernitas merupakan ruang inter-refleksitas terhadap masyarakat multikultur. Apabila di dalam konsep modern dalam mediasi kesenian  terikat oleh konvensi-konvensi yang beku maka di dalam pemikiran pos-modern secara konsepsi kembali ke konteknya walau dalam situasi yang berbeda oleh pranata sosial masyarakat Kunci: modern, dekontruksi, post-modern, ruang fleksibelitas Institut Seni Indoensia Surakarta 2016-06-14 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1603 10.33153/bri.v7i2.1603 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 7 No. 2 (2015) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1603/1547 Copyright (c) 2016 D., Dharsono http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1797 2025-02-27T01:28:55Z brikolase:ART

KAJIAN SENI LUKIS KARYA SUATMADJI TEMA SAVE THE CHILDREN PERIODE 2004-2013 Wulandari, Diyah Eka Pokok bahasan artikel ini adalah: perjalanan seni lukis karya Suatmadji, dengan tema "Save The Children",  periode 2004-2013, proses penciptaan seni lukis karya Suatmadji, dan estetika seni lukis karya Suatmadji dengan tema "Save The Children",  periode 2004-2013. Pendekatan penelitian menggunakan teori estetika dari Teori Monroe Beardsley untuk menganalisis bentuk lukisan. Pendekatan penelitian lainnya dengan menggunakan aspek teknis dengan analisis interpretatif. Hasil penelitian menunjukkan bahwa Suatmadji adalah seniman yang memiliki gaya seni lukis kontemporer dengan teknik mixed media, menggunakan medium readymade (barang jadi). Bagi Suatmadji, kontemporer adalah sarana komunikasi. Selain itu, Suatmadji tetap memasukan elemen-elemen tradisional berupa aksen-aksen Jawa yang kental. Semua karya Suatmadji mengharapkan kesederhanaan, kejujuran kedamaian, bagi kehidupan masyarakat dengan konsep jawa sebagai pendidikan budi pekertinya. Lewat metode analisis Interpretasi pada lukisan Suatmadji dapat mengetahui bahwa karya Suatmadji tema Save The Children periode 2004-2013 menggunakan asas informal (tidak simetris) untuk menggekspresikan makna agar dapat mudah dipahami dan dimengerti oleh penikmat. Kata kunci : Seni lukis, Suatmadji, Save The Children periode 2004-2013 Institut Seni Indoensia Surakarta 2017-04-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1797 10.33153/bri.v8i1.1797 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1797/1723 Copyright (c) 2017 Diyah Eka Wulandari http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1799 2025-02-27T01:28:55Z brikolase:ART

KARYA SENI LUKIS BIBIT WALUYA PADA PAMERAN TEMACULTUUR=TANDUR DI BENTARA BUDAYA JAKARTA TAHUN 2012 Firdausi, Findha Dwi Laila 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 Institut Seni Indoensia Surakarta 2017-04-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1799 10.33153/bri.v8i1.1799 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1799/1725 Copyright (c) 2017 Findha Dwi Laila Firdausi http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1801 2025-02-27T01:28:55Z brikolase:ART

SIMBOL NAGA CINA SEBAGAI RANGSANG CIPTA STUDI PENCIPTAAN KARYA ACTION PAINTING Djaka S, Tegus Gagasan isi karya dalam studi penciptaan karya action painting ini yaitu untuk membuat karya seni rupa berdasarkan hasil riset tetang figur naga sebagai lambang, dan simbol ekspresi dalam kebudayaan Cina.Citra visual yang dihadirkan dalam studi penciptaan karya action painting ini menggunakan konsep brikolase, yaitu penataan ulang dan pemaduan objek-objek penanda yang sebelumnya tidak saling terkait untuk menghasilkan makna-makna baru dalam konteks yang baru. Dalam brikolase sebuah objek yang telah mempunyai endapan makna simbolik tertentu dimaknai kembali dalam hubungannya dengan artefak lain dan dalam konteks yang baru. Dalam hal ini tentu saja yang dimaksud dengan tanda-tanda kultural yang sudah punya makna mapan, adalah figur naga dalam kebudayaan Cina.Selain itu, studi penciptaan karya action painting ini berbasis riset yang fokus pada penelusuran simbol naga Cina sebagai rangsang penciptaan karya dan teori “gerak” Issac Newton untuk mengeksplorasi pantulan bola yang menjadi salah satu elemen dalam action painting.Simbol naga dalam kebudayaan Cina tersebut dipinjam sebagai bahasa metafora dalam penciptaan karya seni action painting dengan ekpresi personal dan kultural. Kata Kunci: simbol. naga Cina, brikolase, ekspresi personal, action painting. Institut Seni Indoensia Surakarta 2017-04-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1801 10.33153/bri.v8i1.1801 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1801/1727 Copyright (c) 2017 Tegus Djaka S http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1803 2025-02-27T01:28:55Z brikolase:ART

KEBERADAAN SENI LUKIS DAMAR KURUNG MASMUNDARI Utama, M. Wahyu Putra Damar Kurung sebagai aset budaya yang memiliki sejarah Abouti sejarah dan keberadaan Walisanga sebagai agama Islam penyebar dan budaya sebagai alat untuk membuat atau media sebagai penyebaran Islam. Pengembangan dan keberadaan Damar Kurung Masmundari dalam proses menciptakan sebuah lukisan dipengaruhi oleh gejala yang ada di sekitar Masmundari tinggal. Masmundari catatan peristiwa dalam kehidupan sosial dan dituangkan ke dalam pekerjaan. Faktor-faktor yang mempengaruhi Masmundari dalam menciptakan lukisan adalah fenomena yang terjadi di masyarakat di mana tempat tinggal pada waktu tertentu, yang menyebabkan perubahan dalam masyarakat Gresik. Perubahan-perubahan yang terjadi secara bertahap sehingga menimbulkan budaya baru yang merupakan hasil dari kondisi penyesuaian masyarakat. Sebuah budaya baru dalam perubahan berarti dalam kebiasaan orang di luar hal-hal yang harus dilakukan setiap hari. Masmundari kehidupan masyarakat mendongeng Gresik yang meliputi segi agama, budaya, seni, kehidupan sosial, dan teknologi melalui lukisan. Proses kreativitas dalam memvisualisasikan menjadi karya seni yang dibuat untuk latar belakang Masmundari pengalaman estetis, membuat lukisan Masmundari memiliki karakter yang khas dari visual. Penggunaan simbol-simbol sederhana dalam penggambaran, Masmundari ingin menyampaikan bahwa masyarakat Gresik keragaman dan kekayaan budaya yang khas dari pengaruh nuansa Islam.Keyword: Damar Kurung, Eksistensi, Masmundari Institut Seni Indoensia Surakarta 2017-04-21 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1803 10.33153/bri.v8i1.1803 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1803/1729 Copyright (c) 2017 M. Wahyu Putra Utama http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1805 2025-02-27T01:28:55Z brikolase:ART

SARANG BURUNG MANYAR SEBAGAI IDE PENCIPTAAN KARYA SENI RUPA Dardiri, Achmad Bahari, Nooryan Ardianto, Deny Try Penciptaan Karya Seni dengan mengangkat Judul Sarang Burung Manyar sebagai Ide Penciptaan Karya Seni Rupa ini bertujuan untuk : (1). Menggali nilai Artistik  dan simbolik dari Sarang Burung Manyar (2). Mengeskpresikan kegelisahan akan permasalahan kondisi ekologi burung akibat berkurang habitat bagi burung, dengan harapan mampu memberikan kesadaran kepada masyarakat akan pentingnya perlindungan akan alam.  (3). Mengaplikasikan Medium plat besi Janur recycle yang memiliki karakter sebagaimana medium dalam sarang burung Manyar kedalam karya seni (4)Penerapan teknik Anyam Acak dari medium Limbah Besi Janur menjadi karya seni.Hasil karya dalam penciptaan karya ini ada 6 buah karya dengan media utama limbah besi janur dengan didukung  plat besi dan besi Hollow. 6 karya tersebut antara lain: 1.Egg Shadow (120 X 50 X 152 cm), 2. Beda Bolehkan ?(Sarang Thick Billed) (170 X 50 X 195 cm), 3. The Apartemen (70 X 70 X 205 cm), 4. Home of The Explorer (60 X 90 X 60 cm), 5. Calon Generasi Penganyam ( 60X120X100 cm) , 6. Maaf Aku Mengambil Makananmu ( 40X40X140 cm). Ke enam karya mencoba mengkomunikasikan tentang sarang burung Manyar.Kata Kunci : Karya seni rupa, sarang burung Manyar Institut Seni Indoensia Surakarta 2017-04-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1805 10.33153/bri.v8i1.1805 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1805/1731 Copyright (c) 2017 Achmad Dardiri, Nooryan Bahari, Deny Try Ardianto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1807 2025-02-27T01:28:55Z brikolase:ART

PROSES KREATIF SUATMAJI Rosita, Chori Bagi Suatmadji, melukis adalah menampakkan jiwa, oleh sebab itu melukis harus bebas dari kekangan-kekangan yang berwujud perspektif, anatomi, teori-teori juga kekangan moral, politik dan tradisi. Lukisanya kontemporer, berisi pesan dan penuh makna secara tersirat. Semua gaya dan aliran ada dalam lukisan-lukisannya. Dan ia tidak pernah takut dicemooh karena kreativitasnya sering disebut sebagai sesuatu yang aneh bagi orang lain karena cara melukisnya tidak konvensional. Tidak sesuai dengan yang mereka anggap sebagai standart umum. Suatmadji adalah seniman yang gigih memperjuangkan jiwa kesenimananya. Tidak pernah merasa takut menjadi berbeda dan tidak takut untuk mengawali sesuatu yang belum pernah dilakukan oleh orang lain. Suatmadji konsisten melukis dengan teknik mixed media, memadukan berbagai bahan yang sengaja ia bentuk maupun benda-benda remeh yang jarang dimanfaatkan oleh orang lain bahkan biasanya dibuang begitu saja. Di tangan Suatmadji, benda-benda tersebut menjadi sebuah material yang penting dalam karya-karyanya yang akan tersusun di atas media lukis beserta goresan garis-garis dengan warna-warna yang menyolok, kontras tetapi harmoni. Berbagai penghargaan tingkat Nasional maupun Internasional pernah diperolehnya. Suatmadji sangat mencintai seni tradisi terutama wayang. Ia aplikasikan wayang ke dalam lukisan-lukisannya sebagai padu padan yang harmoni, dalam karyanya wayang mempunyai makna baru, tanpa membawa makna wayang tersebut secara substansional. Galeri Nasional Indonesia menganugerahi Suatmadji gelar maestro seni rupa dan dua buah karyanya yaitu “wayang topeng” dan “Ki Narto Sabdo”  dikoleksi oleh Galeri Nasional Indonesia melalui proses akuisisi mewakili angkatan 1970. Suatmadji tidak pernah membatasi penggunaan alat dan bahan dalam berkarya, bebas dalam gaya, aliran maupun teknik. Ia tidak suka stereotip, kemajuan teknologi dimanfaatkannya dalam berkarya seni rupa mixed media. Sebagai pelukis dan pendidik, Suatmadji merasa bertanggungjawab akan tercapainya tujuan untuk menumbuhkan kreativitas para siswa dan orang-orang yang berada di sekitarnya. Bakat bisa diasah dan ditumbuhkan, melukispun bisa dipelajari, tidak mahir melukis realis bisa melukis abstrak, bisa melukis poster, bisa futurism, ataupun kolase. Semua kreativitas harus tersalurkan karena melukis tidak harus konvensional menggunakan kanvas, cat air, cat minyak ataupun pensil berwarna. Media untuk melukis adalah tak terbatas, juga gaya, aliran, alat maupun tempat. Yang diutamakan adalah setiap orang mempunyai kesempatan untuk berkreativitas tanpa terkendala karena merasa terbatas, tidak bebas, merasa tidak bisa melukis dan pada akhirnya diam saja tanpa melakukan apa-apa. Bukankah melukis tidak harus realis dan konvensional karena tidak ada batasan untuk kreativitas.Kata kunci: Suatmadji, kreativitas, stereotip, konvensional,  mixed media Institut Seni Indoensia Surakarta 2017-04-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1807 10.33153/bri.v8i1.1807 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1807/1733 Copyright (c) 2017 Chori Rosita http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1809 2025-02-27T01:28:55Z brikolase:ART

DALAM PERSAINGAN SENI RUPA MURNIANTAR NEGARA Nurata, IGN Artikel ini membahas tentang definisi, makna dan filosofi seni rupa murni beserta proses penciptaan karyanya yang dihubungkan dengan nilai eknik nusantara dalam persaingan seni rupa murni antar negara. Karya seni rupa murni relatif (selaras dengan tingkat kedewasaan pengalaman, kemampuan dan kemapanan perupa murni) bermuatan  nilai artistika, nilai estetika, nilai etika penciptaan, nilai filosofi, nilai “makna dalam” dan nilai pesan moral. Karya seni rupa murni Indonesia yang bermuatan nilai etnik Nusantara berperan penting dalam persaingan seni rupa murni antar negara, terutama dalam pameran selektif dan kompetitif internasional, untuk: “Menunjukkan karya seni rupa murni yang berkepribadian bangsa Indonesia (bukan berkepribadian bangsa lain)”, “Menjadikan karya seni rupa murni yang berkepribadian bangsa Indonesia sebagai pusat perhatian, karena memiliki kekuatan karakteristik ke-Nusantara-an yang berbeda jauh dengan karya-karya perupa bangsa lain”, “Mencitramuliakan, memposisikan di tempat terhormat dan mengharumkan nama bangsa dan negara di mata dunia”.Kata kunci: seni rupa murni, nilai etnik nusantara Institut Seni Indoensia Surakarta 2017-04-25 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1809 10.33153/bri.v8i1.1809 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 1 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1809/1735 Copyright (c) 2017 IGN Nurata http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1811 2025-02-27T01:36:50Z brikolase:ART

VISUALISASI ILUSTRASI DI DALAM BABAD SINDUJOYO Utama, M. Wahyu Putra Ilustrasi di dalam babad Sindujoyo merupakan hasil kebudayaan masyarakat Jawa yang memiliki karakteristik visual dalam perwujudannya.Visual di dalam ilustrasi dapat diidentifikasi dari unsure senirupa (warna dan bidang) dan penggambaran figure meliputi:interior rumah, arsitektur bangunan, peralatan dan perlengkapan, senjata yang digunakan, busana yang dikenakan tokoh. Identifikasi penggambaran ilustrasi di dalam babad Sindujoyo menunjukkan karakteristik penggambaran Jawa-Kolonial yang memperlihatkan perpaduan kebudayaan antara Jawa, pengaruh pada masa Kolonial dan pengaruh Islam sebagai agama yang berkembang pada masa kemunculan karya ilustrasi di dalam babad. Ilustrasi di dalam Babad Sindujoyo memiliki ciri-ciri visual sebagai berikut; penggambaran menyerupai wayang, penyederhanaan bentuk dan menjauhi bentuk seperti asli yang divisualisaikan kedalam bentuk dwimatra dan menghadap kesamping dengan latar polos, sifat naratif, stilasi gambar dengan bentuk yang deformasi yang naif, penggambaran yang tidak mengenal perspektif dan ekspresif.Nilai yang dimuat di dalam ilustrasi cerita babad Sindujoyo memperlihatkan relasi dan refleksi kehidupan masyarakat Gresik mengenai pandangan masyarakat Jawa yang tersirat melalui nilai ajaran tuntunan hidup di dalamnya.Kata kunci: Babad Sindujoyo, Ilustrasi, Visualisasi Institut Seni Indoensia Surakarta 2017-04-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1811 10.33153/bri.v8i2.1811 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1811/1737 Copyright (c) 2017 M. Wahyu Putra Utama http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1813 2025-02-27T01:36:50Z brikolase:ART

ESTETIKA BATIK KHAS SEMARANGAN MOTIF “WARAK NGENDOG” Handayani, Sarah Rum Bahari, Nooryan Mursidah, M., Batik Semarangan memiliki motif khas yang cukup beragam. Antara lain motif arsitektural (Lawang Sewu, Tugu Muda, Sam Po Kong, dan lain-lain) dan motif flora fauna (asem, sulur-sulur, ikan, dan lain-lain). Salah satu motif batik Semarangan yang unik dan menarik adalah motif Warak Ngendog. Visualisasi motif Warak Ngendog dibuat dengan merujuk pada hewan mitologi kepercayaan warga Semarang. Jurnal ini akan mendiskusikan visual motif Warak Ngendog melalui sudut pandang estetika Wilfried Van Damme.Pengkajian estetika terhadap karya motif batik Warak Ngendog bertujuan untuk mengetahui kandungan nilai-nilai keindahan universal dari karya tersebut.Kata Kunci: Batik Semarang, Estetika, WarakNgendog.  Institut Seni Indoensia Surakarta 2017-04-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1813 10.33153/bri.v8i2.1813 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1813/1739 Copyright (c) 2017 Sarah Rum Handayani, Nooryan Bahari, M., Mursidah http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1815 2025-02-27T01:36:50Z brikolase:ART

PENGARUH INTENSITAS KEGIATAN MEMBATIK TERHADAP KECERDASAN EMOSIONAL REMAJA Shokiyah, Nunuk Nur Penelitian ini bertujuan untuk mengetahui pengaruh Intensitas kegiatan membatik terhadap kecerdasan emosional remaja. Ada dua variabel dalam penelitian ini yaitu Intensitas kegiatan membatik sebagai variabel bebas dan kecerdasan emotional sebagai variabel tergantung. Uji Hipotesa untuk mengetahui pengaruh antara Intensitas kegiatan membatik dengan kecerdasan emotional  remaja menggunakan analisis simple linear regression, sedangkan penghitungannya dilakukan dengan bantuan program komputer SPSS 16. for windows release.Subjek dalam penelitian ini adalalah seluruh mahasiswa Seni Batik Institut Seni Indonesia Surakarta yang masih aktif. Data yang terkumpul dalam ada 47 Subjek. Alat ukur yang digunakan adalah skala intensitas kegiatan melukis dan skala kecerdasan emotional.  Hasil penelitian Berdasarkan analisis regresi yang dilakukan antara Intensitas kegiatan membatik dengan kecerdasan emotional remaja maka diperoleh, R = 0,552 (positif) dengan p = 0.000 (p<0,05). Hasil ini menunjukkan ada hubungan positif yang sangat signifikan antara intensitas kegiatan membatik dengan kecerdasan emotional pada remaja. SeorangRemajasemakinbanyakmeluangkan waktunya untuk melakukan kegiatan membatik semakin menumbuhkan kecerdasan emosionalnya. Karena dalam melakukan kegiatan membatik, remaja dilatih kesabaran dan ketelitian untuk mendapatkan hasil yang bagus, hal ini yang mampu menumbuhkan kecerdasan remaja. Sedangkan R2 = 0.305 artinya sumbangan efektif intensitas kegiatan membatik terhadap kecerdasan emotional remaja sebesar 30,5 %.  Uji linearitas menunjukkan kedua variabel linear dengan F = 19,733 Nilai F hitung > 4, dan p = 0,000 dan hasil ini juga diartikan bahwa model cukup baik yaitu pemilihan variabel intensitas kegiatan membatik sudah tepat Kata Kunci : Kecerdasan Emosional Remaja, Intensitas Kegiatan Membatik Institut Seni Indoensia Surakarta 2017-04-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1815 10.33153/bri.v8i2.1815 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1815/1741 Copyright (c) 2017 Nunuk Nur Shokiyah http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1817 2025-02-27T01:36:50Z brikolase:ART

PERAN TEKNOLOGI DIGITAL DAN VISUAL (BATIK) FRAKTAL DALAM PERKEMBANGAN BATIK NUSANTARA DAN INDUSTRI KREATIF Cahyo, Andri Nur Rizali, Nanang Bahari, Nooryan 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. Institut Seni Indoensia Surakarta 2017-04-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1817 10.33153/bri.v8i2.1817 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1817/1743 Copyright (c) 2017 Andri Nur Cahyo, Nanang Rizali, Nooryan Bahari http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1819 2025-02-27T01:36:50Z brikolase:ART

TINJAUAN SEMIOTIKA TERHADAPEKSISTENSI KERIS DALAM BUDAYA JAWA Darmojo, Kuntadi Wasi Keris sebagai produk budaya bangsa Indonesia yang memiliki nilai seni adiluhung dan  penuh makna simbolik yang perlu dilestarikan di satu sisi, dan dikembangkan di sisi lain. Oleh karena keberadaan keris yang sarat makna simbolik tersebut, baik sebagai tanda, ikon dan lambang, akan sangat menarik untuk dijadikan bahan kajian ilmiah dengan pendekatan semiotika.Eksistensi benda budaya keris selain dilakukan proses kreativitas, ternyata dalam kehidupan masyarakat Jawa sejak dahulu hingga sekarang masih memiliki peran yang penting, walaupun mungkin secara subtansi sedikit sudah terjadi perubahan alih fungsi. Mengenai bentuk keris secara tafsir cultural terhadap makna simboliknya, yang  sejak dahulu terutama sejak jaman Mataram selalu diajarkan kepada masyarakat oleh para pujangga atau lurahing empu. Hal ini sejalan dengan definisi kebudayaan yang secara semiotic adalah merupakan reaksi dari competence yang dimiliki bersama oleh anggota-anggota suatu masyarakat untuk mengenal lambing-lambang, untuk menginterpretasi dan untuk menghasilkan sesuatu, kebudayaan dalam batasan ini akan mengejawantahkan terutama sebagai performance sebagai bentuk keseluruhan dari kebiasaan-kebiasaan tingkah-laku dan hasil-hasil darinya.Kata kunci : Eksistensi, keris, semiotik, dan budaya Institut Seni Indoensia Surakarta 2017-04-27 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1819 10.33153/bri.v8i2.1819 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1819/1745 Copyright (c) 2017 Kuntadi Wasi Darmojo http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1823 2025-02-27T01:36:50Z brikolase:ART

HUBUNGAN ANTARSPESIES: VISUALISASI ANJING SETIA DALAM SENI PATUNG Mirwa, Tetty Tujuan penelitian dan penciptaan ini adalah untuk membangun kesadaran manusia akan pentingnya hubungan harmonis antara manusia dengan alam.Target khusus yang akan dicapai dalam penelitian penciptaan ini adalah menciptakan karya yang mencerminkan hubungan antarspesies khususnya anjing dan manusia.Untuk membedah kisah hubungan manusia dengan anjing ini diperlukan pendekatan ilmu budaya. Anjing sebagai binatang yang setia kadangkala mendapat nilai yang kurang baik dalam persahabatannya dengan manusia, hal ini menimbulkan ketidakharmonisan hubungan antara manusia dengan anjing dalam lingkup hubungan antarspesies.Anjing diketahui sebagai binatang setia dalam huhungannya dengan manusia merupakan suatu keindahan tersendiri dalam membentuk ide dasar atau konsep penciptaan ini.Proses penciptaan karya ini terdiri dari: tahap eksplorasi, perancangan, dan perwujudan, yang menguraikan tentang visualisai gagasan, bentuk, media, dan pesan moral yang terkandung.Hasil penciptaan ini diharapkan dapat berkontribusi bagi kemajuan berpikir manusia dalam berinteraksi dengan dalam hubungan antarspesies di kehidupan modern sekarang ini. Kata kunci: Karya seni, hubungan antarspesies, anjing. Institut Seni Indoensia Surakarta 2017-05-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1823 10.33153/bri.v8i2.1823 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1823/1747 Copyright (c) 2017 Tetty Mirwa http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/1825 2025-02-27T01:36:50Z brikolase:ART

KAJIAN BENTUK SENI LUKIS LORO BLONYO KARYA KOEBOE SARAWAN Yulianto, Y., Seni lukis merupakan salah satu bentuk ekspresi dari cabang seni rupa murni.Seiring perkembangan zaman eksistensi seorang pelukis kian teruji.Sehingga kreativiatas seorang pelukis menjadi suatu hal penting untuk diperhatikan.Salah satu pelukis Indonesia yang diyakini memiliki kreativitas tingi adalah Koeboe Sarawan. Kajian Bentuk seni lukis loro blonyo karya Koboe Sarawan difokuskan untukmengungkapkarakteristikdannilai-nilai kreativitas seniman dalam menciptakan karya seni lukis.Terdapat dua hal yang diuraikan dalam kajian ini, yakni; 1) latar belakang munculnya karya seni lukis loro blonyo Koeboe Sarawan, 2) struktur karya karya seni lukis loro blonyo Koeboe Sarawan. Kajian ini merupakan kajian kualitatif dengan menggunakan analisis interaksi. Sumber data kajian diperoleh melalui sumber utama, yakni Koeboe Sarawan dan selebihnya diperoleh melalui narasumber yang terkait, kajian pustaka dan informasi melalui internet. Hasil kajian ini adalah seni lukis loroblonyo karya Koeboe Sarawan, secara artistika memiliki nilai yang tinggi, di mana unsur cipta (tema, bentuk, isi) dipengaruhi oleh budaya lokal yang melekat pada jati diri seorang seniman. Struktur seni lukis loroblonyo karya Koeboe Sarawan, secara konseptual bernuansa surealis dan menghadirkan kembali bentuk ikon budaya local dengan ekspresi personal.Kata kunci: Senilukis, loroblonyo, KoeboeSarawan, struktur Institut Seni Indoensia Surakarta 2017-05-02 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1825 10.33153/bri.v8i2.1825 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 8 No. 2 (2016) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/1825/1749 Copyright (c) 2017 Y., Yulianto http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/2107 2025-02-27T02:10:16Z brikolase:ART

IDIOM ESTETIKA DALAM HIPEREALITAS IKLAN ROKOK Alfian, Tristan Pembuatan iklan rokok bertujuan untuk menyampaikan pesan dan wacana citra atau brand produk rokok. Bukan hal mudah untuk memunculkan ide kreatif dalam sebuah iklan rokok mengingat peraturan iklan rokok semakin ketat. Idiom estetika yaitu Pastiche, Parodi, Kitsch, Camp, dan Skizofrenia yang terkandung dalam iklan rokok menimbulkan konsep-konsep estetik sebagai model pemuatan makna-makna pada pesan iklan yang disampaikan. Hasil dari penelitian menunjukkan bahwa masyarakat Indonesia pada masyarakat menengah bawah lebih tertarik pada iklan rokok yang mengandung idiom parodi dibandingkan dengan idiom-idiom yang lain. Parodi merupakan fenomena sederhana yang diangkat dari kehidupan masyarakat, sehingga menghibur dan mudah dipahami. Sedangkan untuk masyarakat kelas menengah atas lebih tertarik pada iklan yang mengekploitasi objek laki-laki yang berwibawa, gagah, dan elegan. Analisis yang digunakan adalah teori estetika dan semiotika Roland Barthes. Iklan rokok merupakan wacana hiperealitas yang mereproduksi objek-objek tidak nyata. Penampakan objek-objek dalam iklan rokok berbaur dan melebur dengan fantasi, fiksi, dan  halusinasi. Idiom-idiom estetika dalam iklan rokok tersebut mengakibatkan keindahan konsep visual yang mempunyai implikasi kepada masyarakat sebagai konsumen.Kata kunci: iklan, idiom estetika, hiperealias, rokokCigarette advertising aims to convey the message and the discourse of the image or brand of cigarette products. It is not an easy thing to come up with a creative idea in a cigarette advertisement considering that cigarette advertising rules are getting tougher. The five aesthetic idioms, namely Pastiche, Parody, Kitsch, Camp, and Schizophrenia contained in cigarette advertisements give rise to aesthetic concepts as models of loading meanings on advertised advertising messages. The results of the study show that Indonesian in lower-middle-class society is more interested in cigarette advertisement containing parody idiom compared to other idioms. Parody is a simple phenomenon that is lifted from the life of society, so it is entertaining and easy to understand. Meanwhile, the upper middle class society is more interested in advertisement that exploits the object of men who are authoritative, handsome, and elegant. The analysis used in this research is the theory of aesthetics and semiotics Roland Barthes. Cigarette advertisement is a discourse of hyperreality that reproduces unreal objects. The appearance of objects in cigarette advertisements blends in with fantasy, fiction, and hallucinations. The aesthetic idioms in cigarette advertisements result in the beauty of visual concepts that have implications for society as consumers.Keywords: advertising, aesthetic idiom, hyper reality, cigarettes Institut Seni Indoensia Surakarta 2018-07-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2107 10.33153/bri.v9i1.2107 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 9 No. 1 (2017) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2107/1983 Copyright (c) 2018 Tristan Alfian http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/2110 2025-02-27T02:10:16Z brikolase:ART

MURAL SEBAGAI MEDIA BRANDING TAMAN SATWA TARU JURUG Sukirno, S., Objek wisata Taman Satwa Taru Jurug (TSTJ) merupakan salah satu tempat wisata dengan konsep wisata alam yang menjadi salah satu objek wisata andalan di Kota Surakarta. Sebagai penyumbang PAD terbesar dari sector pariwisata, Taman Satwa Taru Jurug mempunyai banyak persoalan. Jumlah pengunjung TSTJ dari tahun 2003 mengalami penurunan. Kondisi fisik dan fasilitas yang tidak terawatt merupakan salah satu penyebab menurunnya jumlah wisatawan. Oleh karena itu penting kiranya melakukan PPM yang mengangkat citra TSTJ menjadi taman wisata yang bersih, yaitu dengan membuat mural di tempat-tempat yang terbengkalai agar tidak terkesan kumuh.Studi pendahuluan dalam PPM ini dilakukan dengan cara pengumpulan data melalui observasi lapangan, studi pustaka/ dokumen dan wawancara kepada pihak terkait. Setelah data terkumpul kemudian di analisis menggunakan metode SWOT.Hasil dari analisis tersebut yang menjadi dasar program kegiatan dalam PPM ini, yaitu mural sebagai media branding Taman Satwa Taru Jurug”. Kata kunci: TSTJ, SWOT, Mural Institut Seni Indoensia Surakarta 2018-07-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2110 10.33153/bri.v9i1.2110 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 9 No. 1 (2017) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2110/1984 Copyright (c) 2018 S., Sukirno http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/2112 2025-02-27T02:10:16Z brikolase:ART

FENOMENA MARITIM INDONESIA SEBAGAI SUMBER INSPIRASI PENCIPTAAN KARYA SENI LUKIS Dardiri, Thoriq Bidar Gozali, Amir ABSTRAKBerbagai fenomena maritim Indonesia akhir-akhir ini cukup menarik perhatian untuk dibicarakan, hingga diangkat menjadi tema penciptaan karya seni lukis. Hal-hal tentang kemerosotan dunia maritim Indonesia sebenarnya harus menjadi kegelisahan bersama bangsa ini. Berangkat dari pemikiran tersebut, diciptakanlah karya-karya seni lukis dengan tema Fenomena Maritim Indonesia, dengan harapan bahwa pewacanaan persoalan kemaritiman Indonesia dewasa ini dengan media seni lukis  dapat menjadi salah satu bentuk peran serta dalam pencarian solusi masah terkait. Wujud media wacana seni lukis ini dikemas dengan menggunakan kaidah-kaidah penciptaan karya seni lukis pada umumnya yang dieksplorasi dengan karakter dan teknik pribadi.Kata kunci: maritim, Indonesia, seni lukis ABSTRACTVarious maritime phenomena of Indonesia lately enough to attract attention to be discussed, until it was appointed as the theme of the creation of painting. Things about the decline of the Indonesian maritime world should actually be anxiety with this nation. Departing from that thought, created works of art painting with the theme of Maritime Phenomenon of Indonesia, with the hope that the present maritime issues magazine with the media of painting can be one form of participation in the search for related solutions. The form of media of painting discourse is packed by using the rules of creation of paintings in general are explored with character and personal techniques.Keywords: maritime, Indonesia, painting Institut Seni Indoensia Surakarta 2018-07-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2112 10.33153/bri.v9i1.2112 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 9 No. 1 (2017) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2112/1986 Copyright (c) 2018 Thoriq Bidar Dardiri, Amir Gozali http://creativecommons.org/licenses/by/4.0

oai:ojs.pkp.sfu.ca:article/2113 2025-02-27T02:10:16Z brikolase:ART

STUDI PENCIPTAAN LAMPION ROTAN LORO BLONYO SEBAGAI ELEMEN ESTETIK INTERIOR Syamsiar, S., Isnanta, Satriana Didiek ABSTRAKStudi penciptaan, lampion rotan Loro blonyo sebagai elemen estetik interior ini merupakan penelitian terapan. Peneltian ini dilakukan berdasarkan pada perkembangan aplikasi lampion dan patung loro blonyo yang telah berubah fungsi dari sakral menjadi profan. Lampion dan Patung Loro Blonyo yang pada awalnya digunakan sebagai elemen ritual telah terkomodifikasi menjadi benda bernilai estetis dan ekonomis.Pemilihan materi rotan sebagai medium pembuat lampion dipilih dalam penelitian ini karena karakter lampion yang sangat luwis sehingga mudah dalam proses pembentukkannya, sedangkan pemilihan patung loro blonyo karena salah satu produk budaya Jawa yang sampai sekarang masih dikenal masyarakat.Metode penelitian yang digunakan adalah riset etik dan emik yang menjadi dasar penbuatan produk lampion rotan loro blonyo.Luaran studi penciptaan ini direncanakan dalam bentuk artikel untuk jurnal ilmiah dan prototype lampion rotan loro blonyo dan akan dipamerkan ke public sebagai bentuk pertanggung jawaban atas hasil penelitian yang telah dilakukan. Kata kunci: lampion, rotan, loro blonyo, elemen interior.  ABSTRACTStudies creation, wicker lanterns Loroblonyo as interior aesthetic element is an applied research. This study is based on the development of applications Loroblonyo lanterns and sculptures that have changed the function of the sacred into the profane. Lanterns and sculpture Loroblonyo that was originally used as a ritual element has been commodified into valuable objects aesthetically and economically.Selection of rattan material as medium lantern maker chosen in this study because of the character of the lanterns very luwis so easy in the process pembentukkannya, while the statue Loroblonyo election for one of the products of Javanese culture, which is still known to the public.The method used is research ethics and EMIC the basis penbuatan lanterns rattan products Loroblonyo.Outcome studies of this creation is planned in the form of articles for scientific journals and wicker lanterns Loroblonyo prototype and will be exhibited to the public as a form of accountability for the results of research that has been done. Keywords: lantern, rattan, Loroblonyo interior elements. Institut Seni Indoensia Surakarta 2018-07-03 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Peer-reviewed Article application/pdf https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2113 10.33153/bri.v9i1.2113 Brikolase : Jurnal Kajian Teori, Praktik dan Wacana Seni Budaya Rupa; Vol. 9 No. 1 (2017) 2622-0652 2087-0795 eng https://jurnal.isi-ska.ac.id/index.php/brikolase/article/view/2113/1987 Copyright (c) 2018 S., Syamsiar, Satriana Didiek Isnanta http://creativecommons.org/licenses/by/4.0 e0e5be82da50766bc25f876e40f8e584