scholarly journals Kaligrafi Islam Dalam Perspektif Filsafat Seni

2020 ◽  
Vol 20 (1) ◽  
pp. 55
Author(s):  
Syahrul Kirom ◽  
Alif Lukmanul Hakim
Keyword(s):  
Symbolic Meaning ◽  
Material Object ◽  
Philosophy Of Art ◽  
Islamic Culture ◽  
Spiritual Meaning ◽  
Art Philosophy ◽  
Aesthetic Values ◽  
Arabic Calligraphy

This article discusses Islamic calligraphy from the perspective of art philosophy. Islamic calligraphy (the art of letter painting) turns out to have values of beauty, uniqueness and spiritual value and has symbolic meaning for Islamic culture. Calligraphy art has religious spiritual meaning and value that causes a person to experience eschatology. Therefore, in this article the author is interested in analyzing Islamic calligraphy with an art philosophy approach. The method used is descriptiveanalytical. This Arabic calligraphy art writer studies by analyzing through its formal object is the philosophy of art. While the material object is to study the meaning of religious-spiritualism which is more philosophical in understanding Islamic calligraphy. The results of this study found that the fact that the art of Islamic calligraphy has beautiful aesthetic values is full of faith and devotion. The existence of Islamic calligraphy art provides meaning and understanding of the process of achieving a very transcendental idea to God.

scholarly journals ANALYSIS OF PHILOSOPHY OF ART FROM ISLAMIC PHILOSOPHERS’ PERSPECTIVE

2013 ◽  
Vol 4 (4) ◽  
pp. 87-115
Author(s):  
Kasra Rahbaripour
Keyword(s):  
Qualitative Research ◽  
Quantitative Research ◽  
Deep Understanding ◽  
Philosophy Of Art ◽  
Islamic Art ◽  
Islamic Culture ◽  
Cross Sectional Survey ◽  
Cross Sectional ◽  
Art Philosophy

The western philosophers’ perspective of art is quite different from the Islamic philosophers’ philosophy of art because western philosophers repeatedly employed their western criteria and norms in evaluation of Islamic art. Consequently, this research analyzes art philosophy from Islamic philosophers’ perspective so as to have a deep understanding of art, its forms and values. The main objectives were o analyze the philosophy of art based on Islamic philosophers’ perspective, to determine what influences Islamic philosophers’ perspective of art and to understand the important role of art in Islamic culture. Methodology used was a cross sectional survey that was descriptive with qualitative research and quantitative research being employed. Specifically, research participants only included Islamic philosophers derived from different regions. Findings reveal that Islamic philosophers exteriorize and visualize what hidden inwardly in metaphysics and revelation art is. Moreover, it was revealed that majority of the Islamic philosophers believed that western philosophers misunderstand their perspective of art. In addition, the Islamic philosophers strongly agreed that Art should mainly express submission to God and that artwork that is nonconforming to Islamic worldview is unsuccessful artistically. Another philosophy of artwork is that it should reflect Divine Unity and consideration of beauty was of great importance in art according to Islamic philosophers. It wasconcluded that art and what constitutes art significantly depend on the culture and believes of individual groups or religious affiliations. Islamic philosophers have a radical different perspective of art philosophy where man is considered as divinity instrument created by Supreme Allah.

Introduction

2018 ◽  
Author(s):  
Nicholas Wolterstorff
Keyword(s):  
Political Philosophy ◽  
Philosophy Of Language ◽  
Mental Activity ◽  
Philosophy Of Art ◽  
Liturgical Theology ◽  
Ritual Studies ◽  
Subsequent Discussion ◽  
Art Philosophy ◽  
Almost All ◽  
The Mind

This chapter considers why contemporary analytic philosophers of religion have neglected liturgy and focused almost all of their attention on religious belief. Following Descartes, reflections on mental activity and the mind have been central in modern philosophy. But that has not prevented the emergence of philosophy of art, philosophy of language, and political philosophy, none of which deal with mental activity or the mind. So why not philosophy of liturgy? Several explanations are considered; but none is found to be fully satisfactory. The Introduction concludes with an explanation of how the subsequent discussion relates to liturgical theology and to anthropological ritual studies.

Abdelkébir Khatibi

2020 ◽  
Keyword(s):  
Postcolonial Studies ◽  
Modern Theory ◽  
Transnational Studies ◽  
Islamic Culture ◽  
Abdelkebir Khatibi ◽  
Early Twenty ◽  
The Future ◽  
Late Twentieth ◽  
Arabic Calligraphy

Abdelkébir Khatibi (1938–2009) is one of the greatest Moroccan thinkers, and one of the most important theorists of both postcolonialism and Islamic culture of the late twentieth and early twenty-first centuries. This book introduces his works to Anglophone readers, tracing his development from the early work on sociology in Morocco to his literary and aesthetic works championing transnationalism and multilingualism. The essays here both offer close analyses of Khatibi’s engagements with a range of issues, from Moroccan politics to Arabic calligraphy and from decolonisation to interculturality, and highlights the important contribution of his thinking to the development of Western postcolonial and modern theory. The book acknowledges the legacy of one of the greatest African thinkers of the last century, and addresses the lack of attention to his work in the field of postcolonial studies. More than a writer, a sociologist or a thinker, Khatibi was a leading figure and an eclectic intellectual whose erudite works can still inform and enrich current reflections on the future of postcolonialism and the development of intercultural and transnational studies. The book also includes translated excerpts from Khatibi’s works, thus offering a multilingual perspective on his writing.

scholarly journals "Seni Teks" Dalam Prespektif Dunia Virtual

2021 ◽  
Vol 4 (2) ◽  
pp. 258-268
Author(s):  
Rahmat Jabbaril
Keyword(s):  
Two Dimensions ◽  
Basic Theory ◽  
Philosophy Of Art ◽  
Artistic Value ◽  
The Core ◽  
The Mind ◽  
Aesthetic Values ◽  
The Universe

If that is the priority in weighing the mind and exploring the core of the perspective of thinking, of course, will move on to a "statement". Where the platform of thought will be the entrance and open a gap for other thoughts, because the thinking perspective finds the value of "abstract". The context of thinking is more about extracting the essence of thinking, so the value of art becomes abstract. The reality of the meaning of art is not only a question of form, but more than that, art will play freely about form. The basic theory of writing, using a qualitative frame of mind, using a curatorial approach. The form of virtue in art is actually not based on purely aesthetic values, but the depth of ideas as a way of "enlightenment" to determine the direction where we should be oriented. The result of this thought is, the continuity of artistic value is certainly constructed by; Awareness of the value of intensity, ethics-technique, psychology and full awareness of the essence of ideas (philosophy of art). So the perspective of virtue in art is the awareness of thinking about the abstraction of the universe itself, which is manifested in the form of works, namely the work of two dimensions of Text Art.

ON RECENT PUBLICATIONS OF THE STATE INSTITUTE FOR ART STUDIES

2021 ◽  
Vol 1 (4) ◽  
pp. 119-128
Author(s):  
G. U. Lukina ◽  
Keyword(s):  
Integrated Approach ◽  
The State ◽  
Philosophy Of Art ◽  
State Institute ◽  
The Third ◽  
Art Economics ◽  
History Of ◽  
Fundamental Research ◽  
Art Philosophy

The article presents an overview of publications of the State Institute for Art Studies (Moscow, Russia), whose activities involve the organisation of extensive scientific research in the theory and history of art, philosophy of art, economics of art and cultural studies. The author pays special attention to the major projects of the last two years, the content and scope of which demonstrate the exceptional role of the Institute in preserving Russia's cultural heritage in all types of art, conducting fundamental research and supervising interinstitutional projects. The first section of the article outlines the main publications of the Institute focusing on the study and promotion of Russian culture in the world artistic space. The second section, titled "In Memory of Deceased Teachers", is devoted to the legacy of renowned art historians who worked at the Institute. The third section deals with publications that contain new or previously unknown facts about the life and creative pursuits of representatives of art, discovered by the authors while analysing their epistolary works, memories, diaries and manuscripts. The section "On the Interweaving of Cultures and the Languages of Art" reviews published monographs, joint scientific works and conference proceedings that demonstrate an integrated approach to the study of art.

scholarly journals I own, therefore I am? The role of material possession for consumers’ selfperception and attitude towards non-ownership consumption modes

2019 ◽  
Author(s):  
Ulrike Wolf ◽  
Carolin Schuster
Keyword(s):  
Online Survey ◽  
Social Trust ◽  
Sense Of Self ◽  
Symbolic Meaning ◽  
Material Object ◽  
Willingness To Participate ◽  
Extended Self ◽  
Realistic Assessment ◽  
Category Comparison

In reference to Belk’s theory of the extended self this thesis investigates how and to what extent the link between an object and one’s sense of self can affect consumption mode preferences. Two hypotheses are proposed: First, the level of self-extension into a material object correlates negatively with consumers’ willingness to participate in consumption modes that value access over ownership. And second, feelings of non-generosity and possessiveness have a mediating function in this relationship. Based on the premise that ownership-substituting consumption modes promise a more sustainable lifestyle the aim of this thesis is to contribute to a better knowledge on the effect of the symbolic meaning of object on and consumer preference.To empirically test the proposed theoretical model, an online survey with 130 German participants was conducted. In a correlative research design respondents were asked to evaluate a total of eight different objects in terms of personal attachment, feelings of possessiveness and non-generosity, and to state their willingness to access the objects through ownership-substituting consumption modes. Additionally, social trust and materialism were measured on a general level.The findings support the claim that the extent to which consumers perceive an object as integral to their extended self has an effect on their willingness to forsake ownership and rather access this object through renting- or sharing-offerings. Evidence is found that this effect can be mediated by possession-linked feelings such as possessiveness and non-generosity. A general model to answer the proposed hypothesis is not supported. Rather the findings raise awareness on the object-specific nature and complexity of these effects. It becomes clear that a realistic assessment of the symbolic meaning of ownership and possession requires further experimental research and multi-category comparison.

scholarly journals EXPLORING PHILOSOPHY OF ART IN INDIAN APPROACH

2017 ◽  
Vol 5 (9) ◽  
pp. 217-223
Author(s):  
P.K. Rejimon
Keyword(s):  
Human Activity ◽  
Aesthetic Experience ◽  
Second Century ◽  
Philosophy Of Art ◽  
Cultural Activities ◽  
The World ◽  
Indian Aesthetics ◽  
Aesthetic Cognition ◽  
The Rich ◽  
Art Philosophy

Art is one of the cultural activities of man through which he reaches his ideas, values, feelings, aspirations and reactions to life. The generic purpose of art is to provide aesthetic experience and enjoyment to the recipient. Art give outlet to the artist himself to reveal and express his innermost aspirations, feelings, sentiments and also the impressions of life. Aesthetics, the branch of philosophy devoted to conceptual and theoretical enquiry into art. Philosophy of Indian art is concerned with the nature of art and the concepts in terms of which individual work of art interpreted and evaluated. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning of philosophy both in the East and West and it continues to the present. In India, philosophy of art is designated as saundaryasastra, which is evolved with an emphasis on inducing special spiritual or philosophical states in the audience or with representing them symbolically. It deals with most of the general principles of aesthetic cognition of the world through any human activity. The human concern for art and beauty had been expressed at the very beginning. The rich tradition of Indian aesthetics can be traced back to the second century BC with Bharata’s Natyasastra, the foundation text on Saundaryasastra. Indian aesthetics is evolved with an emphasis on inducing special spiritual or philosophical states in the audience.

scholarly journals SORONG SERAH AJI KRAMA TRADITION OF LOMBOK SASAK MARRIAGE TO REVIVE ISLAMIC CULTURE

2019 ◽  
Vol 21 (2) ◽  
pp. 255
Author(s):  
Ahyar Ahyar ◽  
Subhan Abdullah
Keyword(s):  
Qualitative Research ◽  
Self Esteem ◽  
The Self ◽  
Symbolic Meaning ◽  
Human Being ◽  
Islamic Culture ◽  
Descriptive Qualitative

<p><em>Sorong serah aji krama is a tradition of Lombok Sasak tribe community and as a symbol of appreciation in the marriage process of the Sasak tribe community. The symbol of this award is marked by the presence of aji krama. It does not merely have the symbolic meaning of the prospective groom to the bride but implied the symbolic meta meaning. That is, there is a profound meaning of the process of sorong serah aji krama that must be understood, internalized, and implemented in the marriage life of the prospective couple. To that end, this study wants to find the symbolic meta meaning of the tradition of sorong serah aji krama of the Sasak tribe community. This research used descriptive qualitative research. The result shows that the tradition of sorong serah aji krama is not only interpreted as mere preservation of a symbolic material tradition, namely the giving of dowry but also as a meta symbolic of the self-esteem as a human being in the life of the household. The Sasak tribe community views this tradition as the honor and respect of the groom to the bride.</em></p><p><br /><em>Tradisi sorong serah aji krama merupakan tradisi masyarakat suku Sasak Lombok dan sebagai simbol penghargaan dalam proses perkawinan masyarakat suku Sasak. Simbol penghargaan ini ditandai dengan adanya aji krama. Aji krama tidak semata-mata memiliki makna simbolik dari calon mempelai laki-laki kepada mempelai perempuan melainkan tersirat makna meta simbolik. Yakni, ada makna yang mendalam atas proses sorong serah aji krama yang harus dipahami, diinternalisasikan, dan dilaksanakan dalam kehidupan berumah tangga calon mempelai. Untuk itu, penelitian ini ingin menemukan makna meta simbolik tradisi sorong serah aji krama pada masyarakat suku Sasak. Penelitian ini menggunakan penelitian kualitatif deskriptif. Hasil penelitian menemukan bahwa tradisi sorong serah aji krama tidak hanya dimaknai sekedar mempertahankan tradisi yang bersifat material simbolik, yakni pemberian maskawin semata, melainkan dimaknai sebagai meta sombolik akan harga diri sebagai manusia dalam menjalankan kehidupan rumah tangga. Masyarakat suku Sasak memandang tradisi ini sebagai penghargaan dan penghormatan calon mempelai laki-laki kepada mempelai perempuan.</em></p>

scholarly journals NILAI-NILAI PENDIDIKAN KARAKTER PADA MAKNA LUKISAN PETRUK DADI RATU, SEMARE KALING-KALINGAN MEGA KARYA SUBANDI GIYANTO

2020 ◽  
Vol 10 (1) ◽  
Author(s):  
Hanung Bramantyo Yuniawan ◽  
Marzuki Marzuki
Keyword(s):  
Qualitative Research ◽  
Data Analysis ◽  
Intellectual Property ◽  
Character Education ◽  
Data Interpretation ◽  
Research Data ◽  
Symbolic Meaning ◽  
Material Object ◽  
Main Subject ◽  
Symbolic Meanings

Wayang yang merupakan salah satu kekayaan intelektual menyatu dan menjadi bagian dari kehidupan masyarakat Jawa. Wayang juga menjadi sumber inspirasi sehingga masyarakat mengapresiasinya dalam bentuk lukisan wayang Penelitian ini bertujuan untuk mendeskripsikan makna lukisan wayang karya Subandi Giyanto berjudul Petruk Dadi Ratu, Semare Kaling-Kalingan Mega terkait dengan pendidikan karakter. Penelitian ini merupakan penelitian kualitatif. Interpretasi data menggunakan metode semiotika Pierce. Objek material penelitian yaitu lukisan Petruk Dadi Ratu, Semare Kaling-Kalingan Mega. Objek formalnya berupa makna simbolik dan pendidikan karakter. Data penelitian diperoleh dengan teknik observasi, wawancara, dan dokumentasi. Analisis data menggunakan teknik interaktif model Miles dan Huberman. Hasil penelitian menunjukkan bentuk lukisan yang menghadirkan Petruk sebagai subjek utama yang dikelilingi figur Petruk, Gareng, Togog, Bilung, Semar, Emban Ayu, dan Bagong yang memperlihatkan ketidakadilan, suap-menyuap, korupsi, kemiskinan, dan pencitraan serta objek-objek wuku Pahang. Selain itu dalam lukisan terdapat awan berkepala Sengkuni yang menutup beberapa objek termasuk menutup kepala Semar. Makna lukisan menggambarkan negara Petruk yang terlihat baik namun banyak kesedihan di dalamnya, karena kondisi sosial yang kacau termasuk diam dan dilupakannya sang pamomong. Nilai-nilai pendidikan karakter yang ada pada makna lukisan yaitu integritas, nasionalis, dan mandiri. Kata kunci: lukisan wayang, makna simbolik, nilai-nilai pendidikan karakter. CHARACTER EDUCATION VALUES IN THE MEANINGS OF PETRUK DADI RATU, SEMARE KALING-KALINGAN MEGA PAINTING BY SUBANDI GIYANTOAbstract: Puppet that is one of the intellectual property and has become a part of the Javanese society life. Puppet is also a source of inspiration so that people appreciate it in the form of puppet paintings. This research aimed to describe the meaning of puppet painting by Subandi Giyanto entitled Petruk Dadi Ratu, Semare Kaling-Kalingan Mega related to character education. This was a qualitative research. Data interpretation used Pierce's semiotics method. The material object of research was the painting entitled Petruk Dadi Ratu, Semare Kaling-Kalingan Mega. The formal objects were symbolic meanings and character education. The data were obtained by observation, interview, and documentation techniques. Data analysis used interactive technique of the Miles and Huberman model. The results showed that the form of paintings presented Petruk as the main subject surrounded by figures of Petruk, Gareng, Togog, Bilung, Semar, Emban Ayu, and Bagong which showed injustice, bribery, corruption, poverty, imaging, and objects of wuku Pahang. In addition, there was a Sengkuni-headed cloud that covered several objects including covering Semar's head. The meaning of the painting was to reflect the state of Petruk that looks good but full of sadness due to chaotic social problems including silence and the forgotten pamomong (caregiver). The values of character education that exist in the meaning of painting was integrity, nationality, and independently. Keywords: Puppet painting, symbolic meaning, character education values

Aesthetics in the Context of New Media Art and Knowledge Visualization

2014 ◽  
pp. 66-98
Keyword(s):  
New Media ◽  
Philosophy Of Art ◽  
Aesthetic Perception ◽  
New Media Art ◽  
The Arts ◽  
Essential Question ◽  
Art Works ◽  
Aesthetic Computing ◽  
Aesthetic Values

This chapter discusses aesthetic values in mathematics, science, and computing including aesthetic computing and aesthetic issues related to digital environment. A study of aesthetics has always been related to the arts, philosophy of art, and our judgments about sensory or emotional values of specific art works; they are in the focus of neuroaesthetics. The objectives of aesthetic studies have been changing following the developments in computing technology, shifting the stress on usability and efficiency of projects and visualizations. Challenges and demands in aesthetics and art are then discussed, starting from an essential question (What is an artwork and what is not an artwork?), and including art definitions, art manifestos, opinions on the role of art, beauty, and aesthetic perception of art. Aesthetic education and ways of looking at art complete the chapter.

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