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Journal of Visual Art and Design
ISSN : 23375795     EISSN : 23385480     DOI : -
Core Subject : Humanities, Art,
Journal of Visual Art and Design welcomes full research articles in the area of Visual Art and Design from the following subject areas: Design History, Art History, Visual Culture, Design Methodology, Design Process, Design Discourse, Design and Culture, Sociology Design, Design Management, Art Critism, Anthropology of Art, Artifact Design, Industrial Design, Visual Communication Design, Photography, Interior Design, Craft, Architecture, Film, Multimedia, Creative Industry, Design Policy, and other historical, critical, cultural, psychological, educational and conceptual research in visual art and design. Publication History Formerly known as: ITB Journal of Visual Art and Design (2007 – 2012)
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Articles 9 Documents
Search results for , issue " Vol 1, No 1 (2007)" : 9 Documents clear
Artifak Purba Pasemah: Analisis Ungkap Rupa Patung Megalitik di Pasemah Suryanegara, Erwan; Damayanti, Nuning; Yudoseputro, Wiyoso
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (990.765 KB) | DOI: 10.5614/itbj.vad.2007.1.1.9

Abstract

Prehistoric relics, especially those of megalithic traditions, were found many in the plateau of Pasemah. From several types of megalithic artefacts, megalithic idols are the one that excessively found in Pasemah. Unfortunately, scientific information about these ancient artefacts in Pasemah is still scarcely to be found, especially in the form of visual data and reports. Based upon this notion, this research conducted a study to investigate, document and describes the existence, depiction, the object, expression style, symbol, and attribute of the megalithic idols of Pasemah; using the approach of ungkap rupa. The study discovers that the proponent society of megalithic culture in Pasemah had used and applied bronze. They had good ability in chiseling idols from big stones of andesit, formed it in sharp corners and created accurate forms. The depicted idols show that its form has a dynamic pictorial postures and shapes, although some are also made in the style of realistic expression. The idols are formed in a leaning forwards posture, its head or face tilted upward, and its feet usually visualized in the bended forms, depicting austronesoid man and animals complete with its attribute and symbols. Further, the study indicates that these megalithic idols were representations of symbolic-mystical beliefs of a Pasemah’s society which were based on cosmology of the past. Accordingly, these idols were inseparable parts of Pasemah’s ancestor veneration rituals. The distinctiveness of these idols is found in their dynamics—both in pictorial and realistic depiction— that seem to be the masterpiece of megalithic idols of Pasemah at that time. The idols visualize the complete body part of austronesoid man and/or animals (head, body, foot/feet, and hand), which indicates that the megalithic idols of Pasemah represents a mystical culture of a society that whorshiped the spirit of their ancestors, live as an agrarist society of farmer (peladang) system, and encourages the patriotic characteristic of man.
Motif Naga pada Hinggi Sumba Timur Sebuah Metamorfosa Estetik Anas, Biranul
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (563.671 KB) | DOI: 10.5614/itbj.vad.2007.1.1.5

Abstract

Hinggi, a traditional ikat cloth, is one of East Sumba’s foremost material culture. As a component of the East Sumbanese traditional man’s dress, hinggi is visually impressive. Its patterns display attractive motives, decorative and symbolic, that depict religious conviction, power, wealth, status, honor and gender prestige, based on local and foreign sources that comply to traditional standards of quality. Intrinsically it indicates hinggi’s central role in social and ritual context, making it a highly prized item among the East Sumbanese, a matter that has been taken place since ancient days, and the international audience as well. Throughout its long history, the making of the hinggi came in contact with outside powers i.e. through trade, colonialism, education, and industrialization, including today’s international tourism. From a cloth that functioned to serve the internal culture of its producers, hinggi became a commodity for outsiders that consequently affected its aesthetical aspects. Hinggi’s patterning went through changes towards new forms adjusting to external demand, especially for the past 30 years, resulting in salient differences between hinggis made for sale and those made for internal use. Significant visual changes are that of the introduction of secular designs depicting local cultural themes such as ceremonies and mock battles, conveyed in realistic expressions with  smooth lines in a coinciding asymmetric configuration within a narrative set up, replacing traditional spiritual iconography which is relatively stylistic, abstract and stiff, in a diametrical symmetric setting with no expository relation. New hinggi designs principally sprung up from three main themes i.e. the papanggang, a spectacular burial ceremony carried out for personalities of high social status; the pasola, a ceremonial (in the past real) battle between opposing parties; and the palai ngandi, a folk tale about the groom’s kidnapping of his bride. The three themes are presented in numerous variations, partly in combination with traditional symbolic motives, which now play a minor role in the overall configuration, besides the many more without them. However, the new designs have no role in East Sumba’s tradition. Traditionally designed hinggis continue to exist due to their importance in the East Sumbanese internal culture.
Looking into the Credibility of Appearance: Exploring the Role of Color in Interface Aesthetics and How it Affects our Perception on System’s Credibility Syarief, Achmad; Hibino, Haruo
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (175.011 KB) | DOI: 10.5614/itbj.vad.2007.1.1.1

Abstract

Dalam penelitian  ini dikaji hasil tiga eksperimen sebagai kelanjutan studi yang pernah dilakukan oleh Kurosu-Kashimura [1] dan Noam Tractinsky [2] tentang  relasi antara persepsi pengguna dengan kualitas estetik dan usability tampilan interface. Berdasar dua premis utama yaitu bahwa persepsi estetik dipengaruhi latar belakang kultural serta tampilan yang atraktif dapat mempengaruhi persepsi kehandalan sebuah produk., Dalam penelitian ini dievaluasi bagaimana persepsi pengguna migran (:orang Indonesia yang berada di Jepang) terhadap relasi antara tampilan estetik  dan apparent usability pada sebuah interface produk. Dalam eksperimen dilakukan investigasi efek tampilan warna pada sebuah interface produk terhadap persepsi trustworthy (tingkat kepercayaan) dan credibility (tingkat kredibilitas) produk secara umum. Sebagai stimulus, digunakan tampilan  layout-utama (hasil modifikasi) layar ATM bank di Jepang. Hasil eksperimen menunjukkan bahwa nilai estetik tampilan interface mempengaruhi persepsi user atas credibility (tingkat kredibilitas) dan trustworthy (tingkat kepercayaan) sebuah objek. Latar belakang budaya pengguna tidak memiliki pengaruh signifikan terhadap persepsi estetik tampilan interface apabila pengguna telah melakukan adaptasi eksperiential  atau memiliki pengalaman interaksi dengan produk dengan komposisi layout sejenis. Lebih lanjut hasil penelitian menunjukkan bahwa warna memiliki pengaruh penting dalam meningkatkan kualitas ke-atraktif-an, persepsi kredibiltas (credibility), dan tingkat penerimaan (acceptability) pengguna (user). Eksperimen lebih lanjut perlu dilakukan untuk mengetahui bagaimana dan seperti apa sebuah kombinasi warna pada sebuah tampilan interface, dapat memiliki pengaruh yang bermakna  pada keterpakaian sebuah  produk.
Ragam dan Unsur Spiritualitas pada Ilustrasi Naskah Nusantara 1800-1900-an Damayanti, Nuning; Suadi, Haryadi
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1067.971 KB) | DOI: 10.5614/itbj.vad.2007.1.1.6

Abstract

A civilized society is a society who respects the culture of its predecessors and their philosophy of life, including the inherited artifacts that represent cultural values. Accordingly, the cultural development of a society can be traced and valued from its traditional artifact, such as an ancient drawing/old illustration that passed from the older generation. Aside of its economical values, ancient drawing/old illustration is a cultural product that serves as an object of visual language or visual communication. Before script and writing were established, drawings were used by people from thousands years ago to establish communication. The discovery of pictures in the prehistoric caves is considered as the beginning of drawing tradition towards modern illustration. Yet, the discovery of scripts and writing devalue the tradition of drawing, although it is believed that pictures worth to be the simplest and the most effective communication among human. This research tried to identify how an ancient illustration/drawing is used as a mean to communicate, as well as understanding the society who created it. A hermeneutic reasoning was employed to explain the visuals of ancient illustration/ pictures. Illustrations/pictures from the old Java and Bali traditional visual arts until the first year of the 20th century were used as object of analyses. It was assumed that the selected objects carry visual communication means and spiritualism content that could be elaborated more, and thus provide rich understandings to learn from.
Nilai Estetis Pada Kemasan Makanan Tradisional Yogyakarta Sabana, Setiawan
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (621.937 KB) | DOI: 10.5614/itbj.vad.2007.1.1.2

Abstract

This research is focused on investigating the aesthetical and philosophical values of traditional food packaging in Yogyakarta, whereas much of traditional values are still applied and existed in the daily life. It is thought that the philosophical value of traditional food packaging is related to its use in the traditional ceremonies of the Yogyakarta Palace, such as Garebeg Mulud (Sekaten), Garebeg Syawal, Garebeg Idhul Adha, Tumplak Wajik, and Labuhan. Although some of traditional food packaging are also used in the people’s ceremony, such as birth, wedding, and funeral ceremonies. Accordingly, traditional food packagings are mostly used to represent symbols that link to the life of the people of Yogyakarta. The aesthetical value of traditional food packaging can be identified from its visual elements, such as shapes, lines, textures, colors, masses (volumes), spaces, and the composition of those elements using natural materials such banana leaf and young coconut leaf. The intertwined of each element carry on meanings and therefore when modern materials (papers and plastics) are applied, most of traditional food packaging degrades their actual and symbolical meanings.
Pergeseran Gaya Estetis Mebel di Keraton Ngayogyakarta Hadiningrat Septi, Indah; Sachari, Agus
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (1518.432 KB) | DOI: 10.5614/itbj.vad.2007.1.1.7

Abstract

The Kraton Ngayogyakarta Hadiningrat has been the center for the development of ideas, traditions, and cultural artifacts, giving it a unique status among Indonesia diverse cultures. Understanding the richness of Yogya’s inherited artifacts, this research tried to investigate the existing styles of furniture in the Keraton Ngayogyakarta Hadiningrat during 1755 to 1988. The span period was chosen because during that time the Keraton endured several cultural transformations, from the period where Hindu-Buddha was very much influential to the era of colonialism. Sources for this research were gained through direct observation, interview and documentation, amplifying descriptive qualitative method using historical approach for analysis. The study indicates that there exist visual data, left by Sri Sultan Hamengku Buwono VIth to IXth, in form of symbolic mean that could be seen on the furniture (ornaments) in the Keraton Ngayogyakarta Hadiningrat. It shows that the most frequent used ornaments are geometric shape, flora-fauna, and imaginary creatures. The ornaments are usually placed at the top, center and lower parts of the furniture. Aside to fulfill aesthetical decoration, those ornaments, which also have symbolic mean, are used as a medium to express the social norms of the Kraton Ngayogyakarta Hadiningrat.
Representasi Identitas di Medan Pasar Seni Lukis Indonesia Djatiprambudi, Djuli
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (161.678 KB) | DOI: 10.5614/itbj.vad.2007.1.1.3

Abstract

Since the middle of 1980s, Indonesian arts show striking growth, due to the dynamic appearance of painting market which was often referred as the boom of paintings. This phenomenon is triggered by the change of social-political-economical conditions of Asia, which are also influencing the infrastructure and suprastructure changes of the social-politics-and economy of Indonesia. It leads to the dialectical rise of the class of economical elite in Indonesia, which is dominated by the Chinese ethnic group. This group, which was politically pressurized during New Order regime, has built a tantalous room in economy. Their involvement in the arts market can bee seen as the starting point to comprehend the economical-capitalism of Indonesian Arts. It is expected that by constructing the role of Chinese ethnic group in art market, we will obtain a complete understandings of the social history of arts in Indonesia.
Kajian Estetika dan Unsur Pendukungnya pada Keraton Surakarta Santosa, Imam
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (415.081 KB) | DOI: 10.5614/itbj.vad.2007.1.1.8

Abstract

In Javanese culture, the Keraton of Surakarta Hadiningrat (Surakarta Hadiningrat Palace) is classified as one of the highly valued Javanese historical objects. It is due to the fact that the history of the Palace’s construction has a close connection with the history of the previous Javanese kingdoms, especially those belong to the Mataram Rajakula (dynasty) which was established in the year 1508 of Javanese calendar (Saka) or 1582 AD. The word “keraton” originates from the word ‘ke-ratu-an, a manifestation of highly valued  creation or ‘Pamesu Budi’ (in Javanese language) of a king, his men of letters, and his artists, the creation that caters the Javanese life values and norms. From its meaning, the design of the Surakarta palace–in Javanese language--characterizes the following: nyipati wewangun toto lahir, sinartan dhamang dumateng pagedhong pikajeng, manunggaling kang agal lan alus, whose translation says that the merger between physical and metaphysical thing, between logic and non-logic, between the soft and hard, and between wadaq and thought.
Perempuan Perupa Cina dalam Perubahan Politik di Cina Winarno, Ira Adriati
Journal of Visual Art and Design Vol 1, No 1 (2007)
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (332.91 KB) | DOI: 10.5614/itbj.vad.2007.1.1.4

Abstract

China has experienced several political changes. The latest change is the emerging of capital-liberalism, which cause their openness to the foreign culture and visitors. This openness has influenced their art work too. The Chinese’s Art work is no longer made for propaganda purpose, but shifting to the aspiring of personal expression or for the purpose of social criticism. Yet, seeking the “freedom” of this capital-liberalism era, do not certainly brings equal opportunity to the woman artists of China. It was after the 1995 International Women Conference in Beijing that Chinese women artists began to realize their aspirations. Since then, many works by Chinese woman artists’ take woman issues as their object and showing a new expression of aesthetics.

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