Djuli Djatiprambudi
Penulis adalah seorang dosen seni rupa Universitas Negeri Surabaya, kurator independen, kandidat doktor PPs ITB Bandung.

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SPIRITUALITAS ZEN DALAM SENI RUPA KONTEMPORER JEPANG Djatiprambudi, Djuli
Imajinasi Vol 3, No 1 (2007): Imajinasi
Publisher : Jurusan Seni Rupa, Fakultas Bahasa dan Seni, Universitas Negeri Semarang

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Abstract

Seni rupa kontemporer Jepang memiliki watak khas yang bersumber pada peradaban klasik yang didasarkan pada Zen Budhisme. Pengaruh Budhisme yang datang dari Cina dan Korea dan kemudian berasimilasi dengan kepercayaan Shinto di Jepang membuahkan sekte Budha yang kemudian dikenal dengan Zen Budhisme. Prinsip kesederhanaan yang menjadi inti ajaran Budha bertemu dengan inti ajaran Shinto yang melebur dengan alam menjadi inti dasar dari paham estetik Zen, yang lebih cenderung bersifat esoterik. Semua ekspresi seni Jepang mulai periode Nara hingga sekarang tetap menjadi sumber inspirasi dan atruran normatif terhadap berbagai ekspresi seni seperti arsitektur, taman, interior, pakaian, lukisan, patung, dan sebagainya merujuk pada norma-norma estetik Zen Budhisme. Demikian pula spiritualitas Zen Budhisme terdapat pada karya-karya perupa kontemporer Jepang, antara lain Shigeo Toya,Tsuguo Yanai, Kurita Hiroshi, Maeyana Tadashi, dan Yukio Fujimoto. Prinsip-prinsip dasar estetik Zen Budhisme baik secara intuitif maupun formalistik serta simbolik menelusup pada dimensi estetik karya-karya mereka sebagai perupa kontemporer Jepang, sehingga membentuk identitas, karena itu berbeda dengan mainstream seni rupa Barat.Kata Kunci: seni rupa kontemporer, Zen Budhisme, estetik, spiritualitas, identitas.
ROLES AND FUNCTIONS OF ARTIFICIAL GALLERY FOR MODERN ART ARTIFICIAL GROWN IN SURABAYA AT 2000S Arifin, Mohamad; Dharmawanti, Fabiola; Djatiprambudi, Djuli
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Publisher : Universitas Sebelas Maret

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Abstract

Art gallery is one of fine arts infrastructures. Art galleries have important roles and functions in the modern arts development. It also distributes the artwork that is created by artists as the producer and presented to the public as the consumer. Surabaya is one of the big cities that became part of the modern art development. Moreover, the development of modern art is located in urban areas. It is also influenced by infrastructure and superstructure in synergy to form the social arts field. On the decade of 2000 in Surabaya, there are many new galleries that both established by individuals and private institutions. The appearance of the gallery certainly brings impact and influence on the art activities in Surabaya. It can be seen from the increase of exhibition activities that is organized by the gallery. The art gallery as a public space has the obligation to engage in artistic activity and foster the public's appreciation of cultural and commercial values of art.
Ki Hadjar Dewantara’s School of Arts Education: A Study of Philosophy on Arts Education Based on Habermas’ Critical Method Hari Pramono, Koko; Rohendi Rohidi, Tjetjep; Sumaryanto F., Totok; Djatiprambudi, Djuli
The Journal of Educational Development Vol 6 No 1 (2018): February 2018
Publisher : The Journal of Educational Development

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.15294/jed.v6i1.20739

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Ki Hadjar Dewantara’s school of arts education: A study of philosophy on arts education based on Habermas’ critical method. There are six steps of critical methods: the empirical analysis of historical philosophy, language analysis, hermeneutics analysis, analysis of ideology criticism, functional analysis, and construction of historical materialism. The research results and discussion show that in this study: (1) Dewantaras art education is defined as an education that is oriented on a system that liberates and instills moral values through arts. (2) The results of the critical analysis: the philosophy of empirical history, language, ideological criticism, functionalism, and historical materialism, in the field of arts education, contain the meaning of selecting the philosophy of applied arts education based on the consciousness of its own cultural basis. (3) In response to the development of human resources, arts education is capable of directing the nation to be superior in the world of science, technology, and arts, based on the fundamental capital of human creativity and cultural manifestations as a source of knowledge. The scientific contributions of this research are as the following. Firstly, in the form of explanatory and ideological analysis and national education and arts education systems through political-socio-cultural explanations. Secondly, the explanation of the ideology of arts education is based on historical, social, political, and cultural bases as a critical study of national and art education practices. Thirdly, the findings of this study are the implications of arts education based on the concept of Dewantaras arts education.
NEGOSIASI PERMAINAN DIGITAL DALAM REKONTEKSTUALISASI DAN POSISIONING PEMBELAJARAN SENI BUDAYA Dinarti, Fitri; Djatiprambudi, Djuli; Lodra, I Nyoman
Haluan Sastra Budaya Vol 4, No 2 (2020)
Publisher : Universitas Sebelas Maret

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.20961/hsb.v4i2.44849

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Abstrak: Penelitian ini membahas tentang permainan digital dalam rekontekstualisasi dan posisioning pembelajaran seni budaya Indonesia. Lebih lanjut, penelitian ini difokuskan pada sejarah seni rupa Indonesia. Metode dalam penelitian ini menggunakan penelitian kualitatif yang membahas konteks permainan, pendidikan, dan teknologi. Pengumpulan data penelitian menggunakan observasi, wawancara, dan kuesioner yang dilakukan pada Januari 2019 hingga Maret 2020 dengan batasan spasial Sekolah Menengah Atas yang berada di Surabaya, Jawa Timur, Indonesia. Data yang telah diperoleh selanjutnya dikaji dengan sudut pandang konsep pendidikan seni dan kreativitas milik Mihaly Csikszentmihalyi. Hasil penelitian menunjukkan bahwa permainan digital dalam pembelajaran seni budaya di Sekolah Menengah Atas mendorong peserta didik lebih tertantang, dengan harus beralih dari memperlakukan permainan digital dari barang konsumen ke artefak budaya yang dapat memiliki makna, ide, dan pengetahuan. Selain itu, permainan digital dalam pembelajaran seni budaya meningkatkan kreativitas secara kompleks pada guru dan peserta didik. Peningkatan kreativitas didasari pada kemampuan eksploratif dari permainan digital dan kompleksitarsnya sebagai bidang interdisiplin. Lebih lanjut, permainan digital dalam pembelajaran seni budaya dapat memosisikan sebagai agen pelestarian seni dan budaya Indonesia.Kata kunci: permainan digital, rekontekstualisasi, posisioning, pembelajaran seni dan budayaAbstract: This study discusses digital games in the contextualization and positioning of arts and culture education in Indonesia. Furthermore, this research focuses on the history of Indonesian art. The method in this research uses qualitative research that discusses the context of games, education, and technology. Data was collected using observations, interviews, and questionnaires which were conducted from January 2019 to March 2020 with the spatial boundaries of senior high schools in Surabaya, East Java, Indonesia. The data that has been obtained then examined from the point of view of Mihaly Csikszentmihalyi's concept of art education and creativity. The results showed that digital games in arts and culture education in high schools encourage students to be more challenged, by having to switch from treating digital games of consumer goods to cultural artifacts that can have meaning, ideas, and knowledge. In addition, digital games in arts and culture education increase creativity in a complex manner in teachers and students. Increased creativity is based on the exploratory abilities of digital games and their complexity as an interdisciplinary field. Furthermore, digital games in arts and culture education in Indonesia can be positioning themselves as agents of the preservation of Indonesian arts and culture.Keywords: digital games, recontextualization, positioning, arts and culture education 
KAJIAN IKONOGRAFI DAN IKONOLOGI: RAGAM HIAS PADA BANGUNAN BALE RANTE DI KOMPLEKS MAKAM SUNAN DRAJAT Ramadhan, Angga Fajar; Djatiprambudi, Djuli; Lodra, I Nyoman
Jurnal Artefak Vol 8, No 1 (2021): April
Publisher : Program Studi Pendidikan Sejarah

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.25157/ja.v8i1.4725

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Kompleks makam Sunan Drajat merupakan warisan budaya yang memiliki hubungan dekat dengan periode kehiduan Sunan Drajat. Salah satu bangunan yang menarik dan memiliki konsep filosofis di kompleks makamnya yaitu bangunan bale rante. Bale rante digunakan oleh para Wali Songo untuk berkumpul dan bermusyawarah. Bangunan tersebut berbahan material kayu, berbetuk joglo, beratap limas, berhias ukiran ragam hias dan berasal dari kerajaan Majapahit. Bentuk ragam hias yang menghiasi bangunannya unik dan berbeda dengan bentuk ragam hias pada bangunan kompleks makam lainnya. Tujuan: mendeskripsikan makna ragam hias yang ada pada bangunan bale rante. Metode penelitian: penelitian ini menggunakan metode ikonografi dan ikonologi Erwin Panofsky, dengan tahapan: (1) tahap pra ikonografi, dilakukan dengan mengkaji bentuk penyusun ragam hias pada bangunan bale rante berdasarkan makna faktual dan makna ekspresionalnya. (2) Tahap analisis ikonografi, dilakukan dengan mengidentifikasi makna sekunder yang telah dikaji sebelumnya dengan mengaitkan pada tema dan konsep penciptaan sesuai peristiwa atau sejarah ragam hias tersebut diciptakan. (3) Tahap interpreasi ikonologi, melakukan intuisi sintesis untuk mengungkap makna yang terkandung dalam simbol yang ada dalam ragam hias. Hasil penelitian: Bentuk rantai menyimbolkan kesatuan dan pengayoman. Daun ukel menyimbolkan sumber kehidupan dan kebaikan hati. Pohon hayat dan bunga teratai menyimbolkan keabadian dan penyatuan manusia dengan Allah.The grave complex of Sunan Drajat is a cultural heritage that has a close relationship with the life period of Sunan Drajat. One of the interesting buildings and has a philosophical concept in the tomb complex is the Bale Rante building. Bale rante is used by the Wali Songo for gathering and deliberation. The building is made of wood material, in the form of a joglo, with a pyramid roof, decorated with ornate carvings and comes from the Majapahit kingdom. The forms of decoration that decorate the building are unique and different from the decorative forms in other tomb complex buildings. Purpose: to describe the meaning of the existing decorative styles in the bale rante building. Research method: this study uses Erwin Panofsky's iconography and iconology methods, with the following stages: (1) pre-iconography stage, carried out by examining the decorative forms of the bale rante building based on factual and expressive meanings. (2) The iconographic analysis stage is carried out by identifying secondary meanings that have been previously studied by linking to the themes and concepts of creation according to the events or history of the decorative motifs being created. (3) The iconological interpretation stage involves synthesizing intuition to reveal the meaning contained in symbols that exist in decorations. Result of research: The form of a chain symbolizes unity and protection. Ukel leaves symbolize the source of life and kindness. The tree of life and the lotus flower symbolize the immortality and union of man with Allah.
Representasi Identitas di Medan Pasar Seni Lukis Indonesia Djatiprambudi, Djuli
Journal of Visual Art and Design Vol. 1 No. 1 (2007): ITB Journal of Visual Art and Design
Publisher : ITB Journal Publisher, LPPM ITB

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.5614/itbj.vad.2007.1.1.3

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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.
SOCIAL MEDIA INTERDISCIPLINARY IN MULTIMODALITY OF INTERACTIVE ARTS AND CULTURE LEARNING FOR MILLENIALS Fahmi, Yasinda Widya; Djatiprambudi, Djuli; Handayaningrum, Warih
JURNAL PAJAR (Pendidikan dan Pengajaran) Vol 5, No 1 (2021)
Publisher : Laboratorium Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Riau

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33578/pjr.v5i1.8257

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This study aimed to explore the problems in learning interactive art and culture at Junior High School level which was categorized as the millennial generation. The focus of this study laid in the interdisciplinary aspect of social media in multimodality of learning arts and culture. In order to reveal the opportunities and challenges of the use of social media in its development as a medium in interactive art and culture learning, as well as the students’ responses about it. This study used qualitative-analytic method. Data were obtained from observation conducted from January to June 2020 at junior high schools in Surabaya, East Java. The results showed that the learning involvement experienced by students had complexity and multimodality, including collaborative work, observing, and evaluating each other's work, and involvement in finding, identifying, and exploring trends related to delivery in social media as a medium for art and culture learning. This implied that this learning involvement was able to motivate students to be more actively involved in learning with a sense of joy; positioning artwork with others on social media; increasing the contextual and conceptual understanding in the learning materials and applying it as a process of actualizing aesthetic skills; and improving critical thinking and problem-solving skills.
THEORETICAL EXPLORATION OF THE CAFE'S PROXEMICS AS A TRANSITIONAL EDUCATIONAL SPACE Verlista, Sakuntala; Djatiprambudi, Djuli; Lodra, I Nyoman
JURNAL PAJAR (Pendidikan dan Pengajaran) Vol 5, No 5 (2021)
Publisher : Laboratorium Program Studi Pendidikan Guru Sekolah Dasar FKIP Universitas Riau

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33578/pjr.v5i5.8416

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This paper is a theoretical exploration of proxemic discourse and the experience of cafe space as a transitional educational space, based on developing a paradigm in the 21st century that has targeted the cafe sector and provided the potential for converting into an alternative educational space, especially for the millennial generation, which is students. This study explores theoretically based on the phenomena seen at the Yoman Cafe in Surabaya, Indonesia, which is often an alternative learning place for students at the State University of Surabaya. The research was conducted by conducting participatory observations during March 2021, and it was analyzed by carrying out theoretical exploration of proxemics, spatial experiences, and alternative spaces. The results showed that the cafe currently has a dual role that is hybrid. Apart from being a cafe with the traditional definition of being a place to eat, the current cafe also has a role as an alternative space. This is based on the achievement of several aspects to create a sense of comfort as a transitional educational space, namely table settings that provide private space for visitors, comfortable and comprehensive furniture, selection of materials, ambiance entrainment, lighting and acoustics, colors, and use of aesthetic elements
Kajian Proporsi Wajah Wayang Potehi Perempuan di Gudo, Jombang dengan Proporsi Rasio Emas Mangunsong, Hasprita Restiamangastuti Boru; Djatiprambudi, Djuli
Gelar : Jurnal Seni Budaya Vol 19, No 1 (2021)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.33153/glr.v19i1.3410

Abstract

The interaction of Nusantara with various  nations that has occurred since long ago led to the acculturation of local and immigrant cultures and produced a new culture. One of them is Wayang Potehi which comes from China and develops in Java. The purpose of this study is to find and describe the facial proportions of the female character of Wayang Potehi in Gudo, Jombang. The method used is a quantitative research method by measuring the facial proportions of several female characters of Wayang Potehi in Gudo with the golden ratio theory and calculating the average. In addition, this research also applies interviews with the chairman, Toni, and the puppeteer of Hok Ho An (Wayang Potehi Gudo group), Sonny, as well as direct observation. The golden ratio theory is not used to assess the proportion of Wayang Potehi but as a tool to find the average size of the proportion. The result of this study is the acculturation of Chinese and Javanese culture in visuals, language, stories, characters and characteristics as well as the artists behind the Potehi Wayang. The majority of Wayang Potehi are recognized by the symbols on their clothes and accessories, especially for female characters. Some of the female characters of Wayang Potehi created by the sculptor and Toni's team are quite different from the female characters of Wayang Potehi from China. This shows that the background of the artist (Javanese) influences the work of Wayang Potehi production.