Karakter Visual dan Gaya Ilustrasi Naskah Lama di Jawa Periode 1800-1920

The tradition of illustrated writing and drawing was found in the old manuscripts of Indonesia. Some parts of those old manuscripts show unique illustrations depicting local identity of Nusantara. It is thought that the manuscript reflects societal culture of thinking as well as aesthetic achievement of visual art. The illustrations of those old Javanese manuscripts were well documented and represented in various visual styles, drawing methods, themes, and visualized objects; even though their visual concepts practically resembles to each other.  The presented paper discusses the visual character and styles of illustrations found in the old manuscripts of Java within the year of 1800-1920. The illustration in those old Javanese manuscripts shows continuous correlation to the visual style of the past era and the present. Thus, it emboldens the characteristics of Indonesian visual states. It reflects structured illustration and visual style as well as expressive symbols of the Javanese society. Illustration of the old Javanese manuscript in the year 1800-1920 showed some changes and uniqueness in its visuals, comprising interaction between animism in the Pre-Hinduism era, cultural paradigm of Hinduism-Budhism, Islamic beliefs, and Colonialism. Having observed the visual illustration in the old Javanese manuscripts, it can be deduced that their styles are characterized as decorative, naturalistic, realistic, simple, and deformed

Mother (Indung) in Sundanese Myth on Visual Art

Throughout the history of human civilization, the word Mother is found in all languages in the world. Sundanese as one of the ethnic groups in Indonesia who is speaking Sundanese. Mother in Sundanese is indung. In Sundanese culture, indung is not only has the meaning of biological mother, but indung has more meaning. Based on its understanding, the indung have feminine characteristics, such as gentleness, affection, protecting and caring. Referring to the understanding of the indung, the characteristic of the indung in Sundanese culture, is found in Sundanese mythological figures such as Sunan Ambu and Nyi Sri Pohaci (Dewi Sri). The research was conducted using Art based Research methods. The research was conducted through literature data collection aimed to get an overview of the indung figures in Sundanese mythology sourced from carita pantun and ancient manuscripts which then interpreted the meaning of the indung in visual artwork. The result of the study is the characteristics of the indung contained in the mythological figure such as Sunan Ambu ( in this case as Ambu Langit, Ambu tengah and Ambu Bumi) as well as Nyi Sri Pohaci who has the spirit of the indung that is guarding, protecting humans, and providing life for humans and other earth creatures. These characteristics are depicted in the form of two-dimensional display works with traditional visual styles, and the use of video technology with stop motion techniques. Keywords: Goddess, Indung, Mythology, Sundanese, Visual Art. DOI: 10.7176/ADS/92-02 Publication date: April 30th 202

Ngabandungan Banda Indung Interpretasi Kepercayaan Masyarakat Sunda Rancakalong melalui Seni Visual

ABSTRACTIndung (mother) in Sundanese culture is not only meaningful as a mother who gives birth, but has a broadmeaning and contains motherhood. Sundanese people have a tradition of appreciating the indung, seenfrom the mention of the indung in Paribasa, Babasan, Carita Pantun, and mythology. The maternal natureof Sunan Ambu, Dayang Sumbi and Nyi Sri Pohaci, was placed in the highest position as a glorificationof the indung. The results of the study showed that the philosophy contained in the traditional ceremonyof Ngalaksa in Rancakalong, Sumedang, contains the meaning of broad indung, interpreted into the formof visual artwork “Ngabandungan Banda Indung”, based on the problem of interpretation the meaningof the mother in visual artwork has been limited to mothers who give birth. Using the Art Based Researchmethod, the creation of research-based artwork. Aimed at interpretation of the wider meaning of the landin the form of the depiction of the banda indung (mother’s wealth) such as rice plants, honje, Kawung,Kalapa, jagong, with the depiction of batik, using glass painting techniques.Keywords: Art Based Research, Banda Indung, Nyi Sri Pohaci, Rancakalong, Visual ArtABSTRAKIndung (ibu) dalam budaya Sunda tidak hanya bermakna sebagai ibu yang melahirkan, tapimemiliki makna yang luas dan mengandung sifat keibuan. Masyarakat Sunda memiliki tradisilebih menghargai indung, terlihat dari penyebutan indung pada paribasa, babasan, carita pantun,dan mitologi. Sifat keibuan terdapat pada Sunan Ambu, Dayang Sumbi, dan Nyi Sri Pohaci,ditempatkan pada posisi tertinggi sebagai pemuliaan indung. Hasil penelitian menunjukkanfalsafah yang terkandung dalam upacara adat Ngalaksa di Rancakalong, Sumedang,mengandung makna indung yang luas, diinterpretasikan ke dalam bentuk karya seni visualNgabandungan Banda Indung, berdasarkan permasalahan interpretasi terhadap makna ibu dalamkarya seni visual selama ini terbatas pada ibu yang melahirkan. Menggunakan metode ArtBased Research, penciptaan karya seni berbasis penelitian. Bertujuan sebagai interpretasi maknaindung yang lebih luas berupa penggambaran banda indung (kekayaan Ibu) seperti tanamanpadi, honje, kawung, kalapa, jagong, dengan penggambaran batik, menggunakan teknik lukiskaca.Kata Kunci: Art Based Research, Banda Indung, Nyi Sri Pohaci, Rancakalong, Seni Visual

Aesthetic Morphology of Animation

Aesthetic morphology does not judge whether a work is good or bad but is a study of form in art that focuses on description, comparison, and stylistic analysis. Aesthetic morphology emphasizes great attention to the discussion of form, content, and style. However, this theory is still general, and there needs to be more research that explicitly discusses how it applies to animated artworks. This research will use the Comprehensive Literature Review (CLR) method. CLR is a methodological approach for critical and in-depth research activities on a particular topic in several stages of the research process. The CLR research process consists of three phases: exploration, interpretation, and dissemination. The result of this research is that the form consists of aspects of animation design, movement and kinetics, and sound and structural design. The content aspect consists of 2 main elements: story and character. Meanwhile, the style aspect is influenced by two main elements, namely the technology used in the production process and the appearance of the animation. The results of this research are expected to be used to explore the characteristics of animation works of certain creators, countries/locations, or periods in the history of the development of the aesthetic form of animation in the world

Fenomena Intertekstualitas Fashion Karnaval di Nusantara

ABSTRACT Rampant fashion Carnival in Nusantara and various other genres triggered by the presence of Jember Fashion Carnaval. Michael Bahtin refer to this phenomenon as intertextuality, namely the de- pendence of the text with other texts, so that the existence of a text is always influenced by previous texts. This intertextuality theory changed the perception of quoting process and bear criticism of the work that emphasizes authenticity and originality. Research using qualitative interpretative approach by analyzing how the developments have affected similar Carnival in other cities and the rise of art genres positive response take part together. Its consistency has been a magnet for photographers, media, photography exhibition, painting, culinary and local creative industries. The formation of Indonesian Carnival Association, incorpora seven provinces in Indonesian Wonderful Archipelago Carnival and Jember Carnival hosted storefront for Nusantara Carnival. The research interpreting that the process of intertextuality is a positive perspective because of its ability to enable similar or different art genres, creating a conducive terrain Carnival. Keywords: Intertextuality, Jember Fashion Carnival, Carnival Terrain     ABSTRAK Merebaknya fashion karnaval di Nusantara dan berbagai genre lain dipicu oleh keberadaan Jember Fashion Carnaval. Michael Bahtin menyebut fenomena ini sebagai intertekstualitas yaitu ketergantungan satu teks dengan teks lain, sehingga keberadaan sebuah teks selalu dipengaruhi oleh teks sebelumnya. Teori intertekstualitas ini mengubah pandangan orang terhadap proses pengutipan karya dan melahirkan kritik terhadap karya yang mengedepankan otentisitas dan orisinalitas. Penelitian menggunakan pendekatan kualitatif interpretastif dengan menganalisis bagaimana perkembangan Jember Fashion Carnaval mempengaruhi merebaknya karnaval seru- pa di kota lain dan bangkitnya respon positif genre-genre seni untuk berkiprah bersama. Kon- sistensinya telah menjadi magnit bagi fotografer, media, pameran fotografi, lukisan, kuliner dan industri kreatif lokal. Terbentuknya Asosiasi Karnaval Indonesia, tergabungnya tujuh propinsi dalam Wonderful Archipelago Carnival Indonesia  dan Jember menjadi tuan rumah etalase karna- val Nusantara. Hasil penelitian ini menginterpretasikan bahwa proses interteks-tualitas kostum pada karnaval merupakan perspektif yang positif karena kemampuannya mengaktifkan genre seni sejenis maupun berbeda sehingga menciptakan medan karnaval yang kondusif. Kata kunci: Intertekstualitas, Jember Fashion Carnaval, Medan Karnava

Utilization of Tamarind Seeds Extract as a Natural and Sustainable Fabric Dye

This research focuses on the use of tannin components in tamarind seed coats as a mordant and natural dye in cotton fabrics. Tannins were extracted from the tamarind seed coat by boiling method and then the tannin content was determined. The tannin extract was then used as a natural mordant with the addition of metallic copper sulfate (CuSO4) mordant. Tannin extract is also used as a dye on fabrics with the addition of sodium sulfate (NaSO4). The color strength of the tannins in the fabric was analyzed using a spectrophotometer from the rinse water. The results showed that the cloth that had been given the mordant had a stronger color strength than the cloth without the mordant. The use of mordant was varied at concentrations of 5, 10, 15, 20, and 25%-owf. The results of the analysis showed the most optimum tannin concentration at 15%-owf. The concentration of tannin used in the coloring process was also varied at concentrations of 5, 10, 15, 20, and 25%-owf. The results of the analysis show that the concentration of tannin used in the dye does not affect the strength of the color, but only affects the brightness of this color

Cerita Rakyat Indonesia sebagai Alternatif Motif Batik Bercerita Melalui Eksperimentasi Digital

Keunikan negara Indonesia adalah berupa negara kepulauan sehingga budaya Indonesia diwarnai oleh cerita rakyat yang berangkat dari falsafah hidup mengharmonikan sifat geografisnya yang paradoks, tanah-air, gunung-hutan dll. Narasi imajinatif penguasa alam yang mendominasi tanah, gunung dan samudera adalah sesuatu yang mistis sekaligus narasi dan tokoh cerita rakyat yang memesona secara misterius. Tulisan ini membahas penelitian mengenai inspirasi lingkungan pesisir untuk pengembangan motif batik bercerita yang menceritakan cerita rakyat daerah pesisir Jawa.  Batik adalah produk berupa tekstil yang dihiasi dengan beragam motif unik yang khas Indonesia. Batik merupakan produk budaya Indonesia yang orisinal dan telah diakui sebagai kekayaan intelektual yang mewakili dunia.  Metode yang digunakan dalam penelitian ini adalah pendekatan eksperimen, wawancara dan studi inovasi bentuk dengan menafsirkan ulang narasi cerita rakyat pesisir pulau Jawa untuk pengembangan penciptaan motif batik bercerita. Tujuannya adalah untuk memperkaya motif pesisir sambil memperkenalkan kembali narasi cerita rakyat pesisir melalui karya seni batik. Kesimpulan karakteristik seni batik yang menceritakan kisah cerita rakyat pesisir pantai pulau Jawa adalah alternatif bisa diterapkan dan dikembangkan untuk memperkaya motif pesisir batik bercerita

Konfluen Budaya pada Gaya Visual Ilustrasi Naskah Sajarah Banten

Masa Revolusi Industri pada abad ke-18 menyebabkan tumbuhnya lingkungan urban yang terdiri dari berbagai tipe kelompok masyarakat yang saling berinteraksi menjadi kelas-kelas dan kelompok sosial baru. Budaya kelompok baru tersebut selanjutnya membentuk ikatan yang pelik antar berbagai pola pemikiran yang tidak lagi dapat dikatakan ‘turun-temurun’, yang diistilahkan Ulf Hannerz sebagai cultural confluences atau “pertemuan/konfluen budaya”. Pemilihan kata ‘confluence’ merujuk pada sesuatu yang bersifat cair, mengalir dan bercampur, mengisyaratkan bahwa budaya bukan lagi merupakan tradisi yang kaku. Penelitian ini untuk menelaah sejarah fenomena konfluen budaya dalam perkembangan budaya visual Indonesia melalui sampel ilustrasi naskah Sajarah Banten yang dibuat pada abad ke-18 dengan menerapkan metode analisis wacana. Hasil penelitian menunjukkan bahwa gaya estetik yang diterapkan pada ilustrasi tersebut menunjukkan bentuk adaptasi dari gaya tradisional Indonesia dengan gaya luar seperti Barat dan Timur Tengah. Kata kunci:  gaya visual, ilustrasi, konfluen budaya.ABSTRACTThe Industrial Revolution during the 18th century caused the emergence of urban environment consisted of various community types which interacted and turned into new social classes and groups. The culture of those new communities thus shaped some complex bonds of thought patterns which cannot be called ‘hereditary’ anymore, termed by Ulf Hannerz as cultural confluences. The usage of term ‘confluence’ refers to something fluid, flowing, and mixing, as a hint that culture is not a rigid tradition anymore. This research aims to analyse the history of cultural confluences in the development of Indonesia’s visual culture through sampling of Sajarah Banten manuscript’s illustrations made in 18th by using discourse analysis method. The result shows that the aesthetic style used in the illustrations shows adaptations from Indonesia’s traditional style with external influences like from the West or Middle East. In other words, cultural confluences had existed even before the Digital Revolution 4.0 in Indonesia and it is not a threat, instead it can expands the visual vocabularies of Indonesia.Keywords: cultural confluences, illustration, visual style

Wonderful Archipelago As The Result Of Culture Diaspora Through Carnavals In Indonesia

The Fashion Carnaval, which is a phenomenon in district city of Jember, has been held every July to August since 2003. The existence ofthis event has a positive impact for the peopleliving in Jember. It does not only encourage the creativity of young people, but also improves the social life, economy, culture, politics and tourism of Jember. Jember Fashion Carnaval is in the process of becoming an iconic event of Jember, We knew this event from cross-border communication, mass media and its routine roadshow in the country and abroad, as well as its achievements in various international beauty contests, The successful Jember Fashion Carnaval (JFC) has made the city of Jember more internationally recognized and this has a positive impact on other cities in Indonesia in a way that this motivates those cities to create something interesting about them. The other regions are motivated to discover their local potency and make it in such a way that it can become a similar successful fashion carnaval. Indonesian people have been familiar with such art festival that is held on the streets and a part of ritual. This kind of activity has been a strongly rooted tradition since many years ago until now. Changing an art event into a contemporary performing art in the form ofa fashion carnaval is not something contrary to the culture of Indonesian society. Both have visual similarity and use the streets as their venues. Their purpose is the only difference. The Jember Fashion Carnaval, that has successfully become the icon of the city, has encouraged what is known as Wonderful Archipelago, a carnaval culture diaspora phenomenon, which is easily absorbed, spread and becomes fruitful across the country Key Words: Culture Diaspora, Jember Fashion Carnaval, Wonderful Archipelag