Art And Design

Authors

Ariani; Atridia Wilastrina; Kelvin Febrian; Ariesa Pandanwangi; Arleti M. Apin; Atridia Wilastrina; Ariani; Dieta Maulia Rizkiana; Cama Juli Rianingrum; Dewi Isma Aryani; Nuning Yanti Damayanti; Nurul Primayanti; Fontika Salsabila; Monica Hartanti; Berti Alia Bahaduri; Irena V Gunawan; Karna Mustaqim; Nurfitrianah Octavianingrum Raharjo Putri

Keywords:

Cultural, social construct, art, design

Synopsis

Culture is the whole system of ideas and feelings, actions, and works produced by humans in a social construct, which are made their own by learning. The word culture comes from the Sanskrit word "buddhayah”, the plural form of buddhi which means mind or intellect (Koentjaraningrat, 2005). J.J. Honingmann in his book The World of Man (1959) distinguishes the existence of three "cultural phenomena", namely ideas, activities, and artifacts. This is then confirmed by the opinion of Koentjaraningrat (2009) which states that there are three forms of culture, namely; (1) the form of culture as a complex of ideas, values, norms, rules and so on. (2) the form of culture as a complex of patterned activities and actions from humans in society. (3) the form of culture as objects created by humans. The first form is the ideal form of culture. It is abstract, cannot be touched or photographed, its location is in the head, or in other words, in the minds of the people in the community where the culture resides. The second form of culture is called a social system, regarding the patterned actions of humans themselves. This social system consists of human activities that interact, relate and associate with each other in every second, day and year, accordingly to certain patterns based on customary behavior. The third form of culture is called physical culture, taking the form of all physical products and activities, actions and works of all humans in society. They are most concrete in nature and are in the form of objects or things that can be made, seen, and photographed.

Chapters

  • UNDERSTANDING NOKEN: A SUBSTANTIAL IDENTITY OF PAPUAN PEOPLE
    Ariani, Atridia Wilastrina, Kelvin Febrian
  • THE JAKARTA ICON : STORIES, LIFE, AND VISUAL NARRATIVE ON BETAWI BATIK
    Ariesa Pandanwangi
  • THE ROLE OF THE DESIGNER IN FACING THE TRADITIONAL ART AND BATIK INDUSTRY
    Arleti M. Apin
  • APPLICATION OF NUSANTARA DECORATIVE VARIETIES IN THE HOTEL INTERIOR: A CASE STUDY OF THE HOTEL EMERSIA, BATUSANGKAR, WEST SUMATERA
    Atridia Wilastrina, Ariani, Dieta Maulia Rizkiana
  • THE SHIFT IN MEANING OF BATIK KAUMAN PATTERNS
    Cama Juli Rianingrum
  • DUGDERAN TRADITION AS A FOLK’S EVENT AND THE IMPLEMENTATION OF WARAK NGENDOG MASCOT IN BATIK SEMARANG MOTIFS
    Dewi Isma Aryani
  • THE ILLUSTRATION ON THE JAVANESE OLD MANUSCRIPT BECOMES AS INSPIRATION FOR THE STORYTELLING BATIK KOMPENI PATTERN
    Nuning Yanti Damayanti
  • IMPLEMENTATION FORM FOLLOWS FUNCTION THEORY IN PRODUCT DESIGN
    Nurul Primayanti
  • COMPOSITION AND COLOR INNOVATION OF SENTANI PAPUA BATIK PATTERN
    Fontika Salsabila, Monica Hartanti, Berti Alia Bahaduri
  • APPLICATION OF SIDOMUKTI BATIK AS INTERIOR ELEMENTS IN AN EXECUTIVE OFFICE OF A STATE OWNED BANK
    Irena V Gunawan
  • THE ART OF DRAWING ASEMIC WRITING
    Karna Mustaqim, Nurfitrianah Octavianingrum Raharjo Putri
Art and Design

Published

December 31, 2020

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