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Artworks created by artists or industrial products created by designers, ideally showed the creators’ character. An artist will produced an artwork and a designer will produced a designed to be executed into functional products. A qualified artist or designer will have the ability to create artworks with strong identity and original. Indonesia is called as Nusantara, because Indonesia is an archipelago country, that spread from Sumatera to Papua. Nusantara which is rich in its tradition and culture, has inspired many artists and designers to create artwork based on the tradition. Some artists treated tradition as a valuable art, not something ancient or out-of-date. They executed their contemporary artwork based on tradition. This paper, will share the strong capability of tradition in supporting the contemporary art and its ability to introduce a nation and a county’s identity to global world. Two artists were selected as references, they are the late Hendrawan Ryanto (1959 – 2004) and F.Widayanto (1953). The reason to choose both artists, because they were graduated from the same university and same faculty, and their artworks were tradition based, but very different in execution. Keywords : tradition, contemporary, culture, ritual, nation identity.
1998
[Book chapter:] Pp. 22-23 (+ integrated photo credits, p. 144) in: "Visual Art" ed. by Dr. Hilda Soemantri [vol. 7 in series:] "Indonesian Heritage" (Sian Jay, General Editor). Singapore & Jakarta: Editions Didier Millet. 1998. = = = = = = In traditional societies of Indonesia, there is little or no art for art's sake. Instead, we can say that beauty (aesthetics) follows function, because the aesthetic quality of an object helps it carry out its function. Traditional artists from throughout Indonesia have imbued functional objects - those made for purposes other than being aesthetically pleasing - with aesthetic value. Yet it is difficult to identify any traditional Indonesian object that was made solely as 'art ', that is: to elicit an aesthetic response. Indonesia 's traditional artworks often embody remarkable aesthetic uses and modifications of materials, and today many are recognised as great works of art with high art-market values. Yet, deciding whether particular objects are 'works of art' (let alone separating 'art' from 'craft') is only problematic for art markets or museums. These questions do not correspond to the thinking that originally created the objects, and these distinctions have never been important to the artists. Throughout Indonesia, we find strong emphasis on the divinely regulated or moral aspects of aesthetics and the notion that violation of these canons will negate the social function of the object. Rather than creating a functional object then adding decorations, the maker includes the decorations as fundamental elements of an object - the absence of which would impair its ability to function.
Panggung, 2017
ABSTRACTThis article discusses the concept of creating a work of art within a traditional framework. Therefore we need to understand how a work of art was created in the context of tradition, and the difference with the creation of art in the modern world. This article also a discourse on what is actually called a traditional art, and the distiction between traditional art and modern art. In this case, the example is a tradisional dance of Java. The choice is in the hand of the artist, or an art connoisseur nevertheless, through a deeper understanding of the traditional arts and how it was created, so a person may have perspective about life, and the conjunction with God.Keywords:Art, Traditional Art, Modern Art, Creation Process, Flow, TaksuABSTRAKArtikel ini membahas konsep penciptaan suatu karya seni, dalam lingkup seni tradisional. Persoalan yang diangkat mengenai perlunya kita memahami bagaimana sebuah karya seni itu diciptakan dalam konteks tradisi, dan apa bedanya dengan penc...
2012
There are many ways to approach the theme above proposed by the Conference Conveners. It is possible to focus exclusively on the art side, to try to show for example how modernity appears in Indonesian artworks. But this would be, let us be frank, the easiest and narrowest way. I consider indeed that it is possible to read in the arts not only the state of the society that produces it, but, adopting a broader historical approach, to see in the evolution of the visual art forms a mirror of the evolution of society and, beyond, of civilization in general. This is no novelty. Pierre Frankastel, in his groundbreaking studies of sociology of art, reads in the apparition of perspective and that of modern(ist) art important paradigmatic changes in European civilization.
2019
The influence of the colonisers and the West on the emergence and development of modern Indonesian art is today still the subject of discussion among local historians and critics. Sanento Yuliman, the painter and art critic (1941 – 1992), often emphasised in his works that Indonesian painting was born from the encounter and intercultural relations between Indonesia and Europe. European painting was brought to Nusantara together with the arrival of Dutch colonisers in the early seventeenth century. Among the employees of the Dutch East India Company (Vereenigde Oostindische Compagnie – VOC) were also painters who were primarily engaged in transferring landscapes and scenes of everyday life to canvas. Their paintings, offered mainly up as gifts to the local rulers, were probably the first examples of European painting to reach Indonesia. A similar position is taken by another critic Kusnadi (1921 – 1997), who emphasis that the encounter of local art with the art of colonisers was not ...
1994
"Introduction" (Pp. 1-12) to: P.M. Taylor (editor) "Fragile Traditions: Indonesian Art in Jeopardy" [NOTE: The entire book is available in the "Books" section below.] This volume brings together a unique group of case studies about several endangered forms of Indonesian art. The essays assess the effects on this artistic heritage of certain national and international phenomena, especially the primitive art market and various kinds of private and institutional collecting. The authors, who have extensive experience in Indonesian communities, find that many vibrant art traditions in this region are threatened by these forces. Collections of indigenous art and material culture have always been recognized as sources of information about the people who produced the objects. Increasingly, collections and collecting institutions are also being analyzed as expressions of the cultural presumptions of the societies that are marketing or assembling the collections. This book, by contrast, investigates the effects of the market in collectible art on the small, indigenous communities where traditional artworks are produced. A collection of essays, like a collection of objects, has an origin in a particular historical context and can be examined for evidence of the presumptions held by the contributors and editor. This volume originated in a panel of papers presented at an annual meeting of the Association for Asian Studies in San Francisco. The panel included papers by three of this volume's contributors (Barnes, Crystal, and Taylor) and comments by two others (Kartiwa, Errington). It brought together anthropologists, museum specialists, and art historians concerned particularly with those Indonesian art traditions that had been labeled "primitive art," though no panelists used that label. After the original conference, several other scholars were invited to add important new perspectives to this topic. The additional contributors included people who have significant effects on these same trends and markets, as collectors, museum directors, or "cultural resource" planners and consultants (Barbier, Moss, Heppel), as well as one art historian who brings to the discussion a much longer-term view of transformations within a single indigenous tradition (Feldman). These studies contribute to the growing recent assessment and thoughtful critique of institutions that collect, sell, exhibit, appraise, restore, fake, and study art. As such, this book of perspectives from Indonesian anthropology, art history, market development, tourism consulting, and museology probably constitutes one of the most succinct yet broad-ranging examinations available, for any single country, of the current transformations of indigenous art forms within communities where artworks are created
International Journal of Creative and Arts Studies
Asian Social Science, 2016
The great nation is a nation that is able to uphold the identity of the nation. Indonesia as the country with works of art and culture is no exception in terms of the traditional cultural heritage indeed has tremendous potential. And this potential still seems to be hidden and not used optimally. One of the potential that can be developed for economic development are traditional knowledge (traditional knowledge), including folklore, art, dance, carvings, weavings and other traditional cultural expressions is the result rather than the fruit of human thought both movable and captured by our senses that have either abstract or tangible form. The emergence of issues of injustice felt by developing countries occur because of traditional cultural expressions they do not get the protection and respect for traditional communities as the owners of traditional cultural expressions. Utilization of traditional cultural expressions may be defined as the use of traditional cultural expressions assets commercially and used without any sharing of benefits from the developed countries, therefore we need a protection.
2016
The aim of the paper is to analyse the aesthetic elements of the primitive people of Malaysia. There were several groups of indigenous people of Peninsula Malaysia made of 0.1% of the whole population based on the 1999 survey. There were comprised of thirteen groups of these indigenous people live in several part of Malaysia but among them only two group of the Indigenous people produce artwork that is MahMeri and JahHut. The MahMeris and Jah Hut came from same community but they live separated to each other. The MahMeris live along the shore of the peninsula whilst the Jah Hut lives in the interior of the mainland jungle. Due to the different location the produce different sculpture that need the academic analysis in order to understand the importance to the community and the contemporary art work on the whole. The two indigenous communities produce artwork such as mask and sculpture out of wood. The aim of my paper is to investigate the importance of the wood sculpture to these co...
KnE Social Sciences, 2020
This study focuses on the role of the National Gallery of Indonesia (GNI) in maintaining multiculturalism through the policies implemented, namely initiating the activities of the Pameran Seni Rupa Nusantara (PSRN). The PSRN exhibition is one of the GNI’s most important programs because it gives space to the artists of the archipelago - not just Java and Bali - to present works of modern-contemporary art rooted in local wisdom. As a nation that has the characteristics of pluralism, the spirit of multiculturalism in art has become very significant, especially in the middle of the Disruption era which is ”full of uncertainty”. Earlier studies have suggested that the aesthetic concept of Indonesia was based on Indonesian cultural diversity, but these studies do not specifically address GNI policies. This article uses qualitative research with a historical method approach together with a material culture analysis approach. The results of the study show that GNI as the State Cultural Ins...
Harmonia: Journal of Arts Research and Education
Tamarind (Tamarindus indica L.), a type of tropical plant that grows in Indonesia has various benefits and has been widely studied by various disciplines. The study of Tamarind as a source of ideas for art creation, on the other hand, has not been widely carried out. The aims of this study are: (1) To explain the process of creating Semarang batik motifs using the idea of Tamarind through the stylization of forms; (2) to analyze the shape of the Tamarind batik motif to strengthen the identity of Semarang’s local culture. This study uses a qualitative approach with phenomenological methods to examine phenomena related to the creation process and the uniqueness of locality-based batik motifs on batik artisans in Semarang City. The data collection techniques used were observation, in-depth interviews, and document studies. The data that has been collected was analyzed interactively through data reduction, presentation, and conclusions with the scope of analysis in intra-aesthetic and e...
2016
Balinese known for its unique culture that reflected in the Balinese Hindu culture and the identity of Bali on their cultural products. Bali cultural products are always related to the meaning and cultural value. Bali cultural products in the form of art is a form of expression of beauty. The Balinese art tends to generate its own uniqueness on the aesthetic value of traditions in the forms of performances, installations and others tradition forms. This study look at the development of Balinese art which has developed rapidly in the 90s followed by the rapid development of infrastructure and visual arts events until now. This qualitative research utilize Tjetjep Rohendi’s methodology; intra-aesthetic and extra-aesthetic, which see structural relationships that fundamentally underlie human mind on looking at social interaction as the outward manifestations of cognitive structures that exist on the surface as well as the relation through changes in patterns and cultural systems that ...
Arts and Design Studies, 2019
Art in public spaces is often associated with fine art, sculptures in particular. The association changes along with the development of visual art, as happens in Yogyakarta, Indonesia. There are innumerable artistic and cultural novelties and happenings in Yogyakarta that it is known as the city of culture. One of the novelties is the utilization of craft work as the art in the city's strategic public spaces. Evidently this change incites various reactions since it never happened before. Craft art was associated with the small, practical, functional, and massproduced objects placed indoor. With this significant change, it can be said that craft has highly developed. Therefore, it becomes an interesting object to study. Evidently craft products can exist in Yogyakarta public spaces and it can be an icon as well as the city identity. This is a qualitative research with interdisciplinary approach. This analysis of the craft in Yogyakarta public spaces is based on the craft, aesthetic, public art, expansion theory, and sociology of art. This paper describes the changes in craft that it occupies Yogyakarta public spaces. The phenomenon of such changes provides a new dimension in enhancing knowledge in the craft domain.
The Journal of Asian Studies, 2008
Mudra Jurnal Seni Budaya, 2010
This article examines the representation mode painting like a change parallel to the profound transformation of the technical or theoretical knowledge, and also parallel to changes in the Balinese society values due to the physical evolution and the evolution of the system of values. In fact, within one century of painting it has been like moving from the classical, traditional, standard, homogeneous, local, and collectively turned into a painting that has been varied, heterogeneous, individual, and internationally with a modern twist. These waves of change occurred in the span of time through several stages, and most striking result from cash capitalistic economy and culture, especially tourism. In pre-colonial time the painting is a narrative religious functions until the time of breath commercialism modernist touches to always make innovations or changes. From the sacred space of temples and palaces to moving objects souvenirs, hotel interiors, fash- ion and even interior and ext...
Indonesian Tribal Art, 2015
Illustrated by more than 400 beatifully photographed materpieces from one of the world's largest private collections and published in a large and sumptuous folio, Indonesian Tribal Sculpture promises to be one of the most important books ever published on the subject. The artwork, which was collected by Rodger Dashow of Boston over a period of 30 years, not only includes many unpublished pieces but also types that have been rarely seen. The book also features ground breaking texts including an introduction by Andrew Gurevich and Robert Walker, the president and chairperson of the Joseph Campbell Foundation, concerning the continuing relevance of the work of that seminal philosopher and best selling author in the field of tribal studies. Bruce W. Caprenter, author and co-author of more than twenty titles on Indonesian art, history and culture, provides the main text. Written for the interested layman the book provides a clear overview of the subject and also discusses the significance of the recent scientific discovery that Indonesia is home to some of the oldest art on earth. Every art piece illustrated in the book is accompanied by descriptive captions and measurements.
2015
In this article the author identifies and describes three kinds of traditional arts in Indonesia: the arts of the Great Tradition, of the Little Tradition and of the Tribal Tradition. These kinds of tra-ditional arts need to be preserved and developed since they have a number of functions for the so-cieties, namely: as tourist attractions; identities of their communities/societies; source of inspira-tions for the creation and development of new arts. In Indonesia, the efforts are hindered by several problems, such as the decline of the popularity of the traditional arts, lack of regeneration, lack of institutional support, and lack of grand design for the development. These problems need to be solved to develop the Indonesian traditional arts.
1994
[Chapter 6 (Pp. 71-90) in: "Fragile Traditions: Indonesian Art in Jeopardy" ed. by P.M. Taylor Univ. of Hawaii Press, 1994] [NOTE: The entire book is available in the "Books" section below.] Several chapters in this volume examine changes to Indonesia's art forms, including destruction and loss due to the international primitive art market. Suppose we could prevent the local losses that occur as a result of the international exportation of collectible Indonesian art. What alternative is there to the decontextualization and loss that occur for this and many other local reasons? This essay attempts to consider the viability of Indonesia's fledgling but rapidly growing museum system as an alternative to such loss. A museum has many functions. In Indonesia as elsewhere these include preserving objects, but also publicly presenting them to tell a story. The 1980s and 1990s constitute a period of rapid growth in Indonesia's museum system, with centrally planned regional museums taking shape in every province. To watch this expansion of a centralized museum system throughout the archipelago, and reactions to it, is to watch Indonesia's center and periphery debate their public presentation of themselves.
Gondang: Jurnal Seni dan Budaya
Sundanese culture is a national heritage that must be preserved as an ethnic group feature in Indonesia. However, as time goes on, a growing number of young people are losing their knowledge of the history, culture, and traditions that constitute the foundation of Indonesian identity. The target of this research is the Sundanese people in Cimahi City, West Java. This research intends to raise the awareness of the people in the Cireundeu Community about the preservation of Sundanese art which has the potential to become a richness of tranditions as identity, characteristics, revenue sources and economic productivity, and others. The undertaking consisted of observing the Angklung Buncis and Karinding art activities. In its implementation, this study obtained data from the community and also art figures from West Java. The research was carried out by employing a qualitative method with triangulation techniques. The primary data was obtained from experts in the field of art, while seco...
Almost twelve years have passed since the political reform in 1998 took place. Of course, there have been many changes that have happened over the course of this time in various aspects of social life, especially those pertaining to relations between an individual and the State, or one social group with another. Most significantly, post-1998 has been a prime time for the blossoming of democratic ideas, although the plan and strategy of implementation remains too abstract for the majority of the society.
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