The Scene of a Woman Grabbing a Horse’s Tail in Yeh Pulu Relief, and Its Connection to Panji Narrative: The Basis of Contemporary Painting Creation *

Cultura ◽  
2020 ◽  
Vol 17 (1) ◽  
pp. 159-172
Author(s):  
I Wayan ADNYANA
Keyword(s):  
Love Story ◽  
Three Stages ◽  
The Creation ◽  
Crown Prince ◽  
Contemporary Painting

Abstract: The study of the scene of a woman grabbing the tail of a horse ridden by a male figure in Yeh Pulu relief is the author’s basis of concept in the creation of contemporary painting. Before the concept was discovered, a study was conducted of the scenes in the relief based on Panofsky’s iconological theory and three stages of analysis, namely pre-iconography, iconography, and iconology. The attempt to connect the Panji narrative with the scene of a woman pulling a horse’s tail aims to enrich the analysis of the interpretation. Both the narration and the scene revolve around a love story of two people separated by distance and time. The Panji narrative tells about a love story between Raden Galuh (Rangkesari), a princess of Daha Kingdom and Prince Panji, the crown prince of Kahuripan Kingdom, who have long been separated before they finally reunite at the end of the story. The scenes in the Yeh Pulu relief revolve around everyday heroism (which includes a love story). This connection is framed as a post-iconological interpretation, which results in three concepts of art creation: reframing, recasting, and globalizing.

scholarly journals Multinarasi Relief Yeh Pulu Basis Penciptaan Seni Lukis Kontemporer

2018 ◽  
Vol 33 (2) ◽  
pp. 249
Author(s):  
I Wayan Adnyana ◽  
A.A Rai Remawa ◽  
Ni Luh Desi In Diana Sari
Keyword(s):  
Field Research ◽  
Visual Language ◽  
Art Practice ◽  
Data Collector ◽  
Everyday World ◽  
Relevant Context ◽  
Three Stages ◽  
The Creation ◽  
Contemporary Painting ◽  
Two Stages

Kajian ini merupakan skema penelitian terapan, yang bertujuan untuk mengungkap konsep multinarasi relief Yeh Pulu, Bedulu, Gianyar, Bali, sebagai basis penciptaan seni lukis kontemporer. Secara metodologis penelitian ini dilakukan dalam dua tahapan: penelitian lapangan (kajian atas narasi relief) berdasar perspektif ikonologi Panofsky (1971), dan berikutnya penelitian eksperimen terkait penciptaan seni lukis kontemporer berdasar perspektif ‘art practice as a research’ (Sullivan, 2005) yang menunjuk pada tiga tahapan: eksperimen medium, bahasa visual, dan penyusunan konteks yang relevan. Berdasar kajian ikonologi, terutama tahap analisis ikonografi, ditemukan bahwa narasi relief Yeh Pulu bersifat multinarasi, yakni pahatan relief yang memiliki beragam jenis tema cerita, seperti praktik pertanian, berburu, meditasi, pesta, asmara, dan lain-lain. Kemudian konsep multinarasi dalam penciptaan seni lukis kontemporer, menjadi: (a) secara medium menggunakan multiteknik dan medium; (b) bahasa visual, menghadirkan berbagai adegan secara berulang, terpadu dan bahkan terkesan saling berlawanan; (c) konteks yang relevan, dengan memasukan ikon tokok-toko pahlawan dunia pop, seperti superman, superwomen, dan lain-lain. Secara ikonologis, bangunan visual yang mempertemukan adegan multinarasi relief Yeh Pulu dengan narasi kepahlawanan dunia pop, menjadi semakin menguatkan konsep multinarasi dalam membangun pesan kepahlawanan dunia sehari-hari dalam karya seni lukis kontemporer semakin berhasil. Penelitian ini melibatkan: Anak Agung Rai Remawa (pengumpul data), dan  Ni Luh Desi In Diana Sari (fotografi dan layout).This paper serves as an applied research scheme which aims to reveal the concept of multiple narratives of Yeh Pulu Relief, located in Bedulu, Bali, as the basis for the creation of contemporary painting. Methodologically speaking, this study was conducted in two stages: a field research (a field study on the relief narratives) based on Panofsky’s perspective on iconology (1971), and an experimental research on the creation of contemporary painting based on the perspective of ‘art practice as a research’ (Sullivan, 2005) which consists of three stages: medium experimentation, visual language depiction, and relevant context preparation. Based on the study of iconology, particularly the stage of iconographic analysis, it was found that Yeh Pulu relief contains multiple narratives in that the sculptural relief has various narrative themes, such as farming, hunting, meditation, feast, romance, and others. The concept of multiple narratives in the creation of contemporary painting has led to: (a) the use of multiple techniques and media; (b) visual language depiction by presenting the scenes repeatedly, where they are clashed one against another and create a contradictory impression; (c) presentation of relevant contexts by incorporating iconic superheroes of the popular world, such as Superman, Superwoman, and others. In terms of the iconology, the visual build that brings together the Yeh Pulu relief’s multiple-narrative scenes with the narratives of the popular superheroes reinforces the notion that the concept of multiple narratives in constructing the message of everyday-world heroism in contemporary painting will achieve more success. The contributors of this research also include Anak Agung Rai Remawa (as a data collector) and Ni Luh Desi In Diana Sari (as a photographer and layout designer).

The Problematic Text of Athenagoras of Athens’s Leg. 12.3: A Proposed Emendation

2016 ◽  
Vol 70 (3) ◽  
pp. 319-334
Author(s):  
Devin L. White
Keyword(s):  
Religious Epistemology ◽  
History Of Interpretation ◽  
History Of ◽  
Three Stages ◽  
The Creation ◽  
Argument Proceeds ◽  
Text Context

This study argues that Athenagoras of Athens’s Leg. 12.3 contains a lacuna. A vital clause should be emended to read ὑπὸ µόνου δὲ παραπεµπόµενοι τοῦ τὸν ὄντως θεὸν καὶ τὸν παρ’αὐτοῦ λόγον [πνεύµατος] εἰδέναι. The argument proceeds in three stages. First, an overview of the text, context, and history of interpretation of Leg. 12.3 will demonstrate that the text contains a lacuna. Second, a brief survey of Athenagoras’s religious epistemology will argue that πνεύµατος was the most likely original word. Finally, an analysis of the Spirit’s role in Leg. 7.2-3 will demonstrate that the reconstructed text of Leg. 12.3 is consistent with Athenagoras’s pneumatology, which relied upon traditional Jewish exegesis of the creation narratives.

scholarly journals KERTAS SEBAGAI BAHAN PEMBUATAN KOSTUM PERTUNJUKAN NASKAH THE PIRAMUS AND TISBI KARYA SHAKESPEARE TERJEMAHAN SUYATNA ANIRUN

2019 ◽  
Vol 16 (2) ◽  
Author(s):  
Hidayah Kartikasari
Keyword(s):  
William Shakespeare ◽  
Key Words ◽  
Aesthetic Theory ◽  
Creation Process ◽  
Love Story ◽  
The Creation

Abstrak: Piramus dan Tisbi adalah kisah cinta tragis yang populer pada 331 SM di Babilonia. Pada 1590-an William Shakespeare menulis drama berjudul Mid Summer Night's Dream di akhir cerita, yang memasukkan kisah-kisah Piramus dan Tisbi. Tahun 1960-an kemudian diadaptasi oleh Suyatna Anirun sebagai drama pendek Piramus dan Tisbi dalam bentuk komedi. Pencipta kostum menggunakan naskah tersebut untuk mewujudkan penciptaan kostum teater. Pencipta kostum perlu memahami karakter sehingga tercapai hubungan harmonis antara karakter dengan kostum yang dikenakannya. Teori estetika digunakan untuk menghadirkan estetika dalam penciptaan kostum kertas yang akan digunakan dalam pertunjukan. Hasil proses penciptaan karya busana dalam naskah Piramus dan Tisbi dengan material kertas ini mengalami banyak kendala dan beberapa kali perubahan, hingga mencapai bentuk yang menyesuaikan kebutuhan pementasan. Kata kunci: Piramus and Tisbi, kostum teater, estetika, kostum kertas Abstract: Piramus and Tisbi is a tragic love story popular in 331 BC Babylon. In the 1590s William Shakespeare wrote a drama called Mid Summer Night's Dream that by the end of the story, it included the story of Piramus and Tisbi. The story was later adapted by Suyatna Anirun as a short drama of Piramus and Tisbi in the form of comedy in 1960s. The costume creator uses the script to realize the creation of the theater costume. The costume creator needs to understand the character to create a fitting costume for the characters. Aesthetic theory is used to present aesthetics in the creation of paper costumes that will be used in performances. The result of the costume creation process in the Piramus and Tisbi play with paper materials, has experienced many obstacles and has been revised for several times, to reach a form that matches the stage needs. Key words: Piramus and Tisbi, theater costume, aesthetics, paper costume

External Knowledge Integration

2011 ◽  
pp. 264-273
Author(s):  
Jeroen Kraaijenbrink ◽  
Fons Wijnhoven
Keyword(s):  
Knowledge Management ◽  
Process Model ◽  
Knowledge Integration ◽  
Organizational Processes ◽  
Holistic View ◽  
Academic Field ◽  
External Knowledge ◽  
Three Stages ◽  
The Creation

As an academic field, knowledge management has concentrated on the creation, storage, retrieval, transfer, and application of knowledge within organizations, while underexposing external knowledge (e.g., Alavi & Leidner, 2001). Although the importance of external knowledge is well recognized (e.g., Cohen & Levinthal, 1990), there remains a need for a better understanding of the organizational processes through which external knowledge is integrated (Grant, 1996; Ranft & Lord, 2002). In particular, we believe that a holistic view on knowledge integration (KI) is both important and lacking. In this article, we address this lacuna in the literature by proposing a process model of KI consisting of three stages¾identification, acquisition, and utilization of external knowledge. Our objective is to propose a model consisting of modular subprocesses that parsimoniously reflect the variety of KI concepts in the literature. This model is useful to scholars and practitioners because it provides a better understanding of the various KI subprocesses by putting them together in a coherent way. Such understanding serves as bedrock for solving KI problems and for designing KI solutions (cf. Markus, Majchrzak, & Gasser, 2002).

8. Formal Methods of Acquisition: Contracts, Deeds, and Registration

2021 ◽  
pp. 247-293
Author(s):  
Ben McFarlane ◽  
Nicholas Hopkins ◽  
Sarah Nield
Keyword(s):  
Formal Methods ◽  
Legal Rights ◽  
Three Stages ◽  
The Creation ◽  
The Law ◽  
Academic Debate

All books in this flagship series contain carefully selected substantial extracts from key cases, legislation, and academic debate, providing able students with a stand-alone resource. This chapter describes the formality requirements that must be complied with for the creation or transfer of legal estates and interests in land. The three stages of creating and transferring legal rights are contract, creation or transfer, and registration. The Law of Property (Miscellaneous Provisions) Act 1989 increased the formality requirements for contracts and made more severe the consequences of non-compliance. Under s 2 of the 1989 Act, a contract may take the form of a single document signed by both parties or an exchange of documents, each of which has been signed by one of the parties. The chapter considers the requirements of s 2 and the consequences of non-compliance, including concepts which may assist a party to acquire a right, even if the agreement does not seem to comply with s 2. The operation of proprietary estoppel and of constructive trusts is thus examined. The requirement of registration is considered, along with the problems that arise from the ‘registration gap’ and the possible effects of e-conveyancing.

scholarly journals Experience and sexuality education in creation of audiovisual installation

2021 ◽  
Vol 10 (6) ◽  
pp. e39610615627
Author(s):  
Alif Sukma Muclisin
Keyword(s):  
Sexuality Education ◽  
Installation Art ◽  
Educational Structure ◽  
Sex And Sexuality ◽  
The Media ◽  
Three Stages ◽  
The Creation

Experience and education on sexuality is a unity of things / events experienced by individuals / groups regarding sex and sexuality which are then reduced to an informal educational structure. The purpose of this research is to explain  the concept of artwork that underlies the creation of the audiovisual installation and the process of visualization of artwork on the creation of audiovisual installation. The media for creating works that are applied is an audiovisual installation art. Inspired by the previous works of Julian Rosefeldt (Manifesto), Gerda Wegener (Solitaire), Mella Jaarsma (Potong Waktu) and Halsey (Album Manic). The method of creation is based on Laura H. Chapman's theory with three stages, namely Inception of Idea, Elaboration and Refinement, and Execution in a Medium.

scholarly journals Images of Stars and their Significance in Japanese Esoteric Art of the Heian Period

2006 ◽  
Vol 10 (1 and 2) ◽  
pp. 145-193
Author(s):  
Tsuda Tetsuei
Keyword(s):  
Heian Period ◽  
Historical Significance ◽  
The Third ◽  
Esoteric Buddhism ◽  
Third Stage ◽  
Three Stages ◽  
The Creation

This essay considers the significance of images of stars within the framework of Esoteric Buddhism in the Heian Period. Firstly, it outlines the development of Heian Esoteric Art in three stages, and points at the appearance of star icons in the third stage. Secondly, it examines some representative examples of this iconography as developed by competing schools of Esoteric Buddhism: the rectangular star mandala created by the Shingon Ninna-ji school; the Sonjōō mandala created by the Tendai Jimon school; and the circular star mandala created by the Tendai Sanmon school. I discuss the similarities that occur in these representations, for example the position of stars, and reconsider the historical significance of the creation of such icons in the area of the capital from the late tenth to the early eleventh centuries. In addition, I introduce one example of unique star imagery created at the same time in the provinces.

scholarly journals About new perception of A. S. Pushkin`s poem “Poltava”

2021 ◽  
Vol 60 ◽  
pp. 139-149
Author(s):  
Olga V. Bogdanova
Keyword(s):  
Historical Events ◽  
Central Idea ◽  
Love Story ◽  
The Third ◽  
Three Stages ◽  
Part Structure ◽  
New Interpretation

The paper provides a new interpretation of A. S. Pushkin’s poem “Poltava” offering a broader view of its idea. Whereas, according to critics, the Battle of Poltava is only “an episode from the love story of Mazepa” and is “asymmetrically” located in the poem (V. G. Belinsky), the paper shows that Pushkin’s poem is distinguished by a harmonious and thoughtful composition, associated not only with the image of events of the victorious Battle of Poltava, but also with memories of Poltava (Poltava region), linked by Pushkin with the addressee of the poem’s dedication — M. N. Raevskaya-Volkonskaya. The poem is formed by a three-part structure, each stage of which is connected with one of the passions that capture the characters and are subordinate to Pushkin’s special hierarchy. If the first part embodies the passion of love (images of Mary and Mazepa), the second explicates the passion of revenge (Kochubey and Mazepa) and then the third — the highest, according to Pushkin — the passion of serving the Fatherland, the desire to give it all the heart (Peter, Karl, Mazepa). Three stages of compositional construction embody axiological difference of the protagonist passion and, as a result, reflect stadiality of maturing of a central idea of the poem. Its final meaning is to depict not so much the victory of Peter’s army at Poltava, as the struggle of human passions (love, revenge, Motherland) and their commensurability with the grandiosity of historical events involving the main characters.

History of the Creation of the Tobolsk Diocese in the Official Correspondence of the 17th century

2019 ◽  
Vol 5 (3) ◽  
pp. 146-160
Author(s):  
Sophia N. Shcherbich
Keyword(s):  
Communication Channels ◽  
17Th Century ◽  
Interpersonal Interaction ◽  
Managerial Decisions ◽  
Russian State ◽  
History Of ◽  
Three Stages ◽  
Anthropological Approach ◽  
The Creation ◽  
Behavioral Culture

This article studies the correspondence of the 17th century on the creation of the Tobolsk diocese in Siberia. The documentary complex has been preserved in the book of the Siberian Prikaz, published in 1994. It consists of two types of documents (letters by tsar, patriarch and archbishop, as well as the replies of the voivodes), which allow determining the mechanism for making managerial decisions and the circumstances of their implementation. Based on the historical and anthropological approach, the author considers the process of creating diocese from the perspective of its participants, focuses on interpersonal interaction, a behavioral culture that has been consolidated in documents. The embodiment of the tsarist plan into reality is a challenge that each of the participants overcomes independently, setting priorities between state interests and personal ones. The dating of the letters allows identifying three stages of documenting the tsar’s decisions on the creation of the Tobolsk bishopric, which allowed revealing the specifics of the communication channels of the center and periphery in the Russian state in the 17th century. Based on the sources, the author tries to answer question: what could be the reason that prompted the first archbishop of Cyprian to agree with the tsar’s decision and to head the new diocese created (according to the documents) in September 1620? Analyzing the correspondence, the author draws attention to the difficulties that the head of the new diocese faced on his way to Siberia and upon arriving in Tobolsk, as well as the details of the ceremonial that the Tobolsk voivodes had to observe during the construction of the bishop’s house and the organization of the meeting of the Siberian archbishop.

scholarly journals TRANSFORMATION OF TENGKULUK TANDUK WITH WEAVING TECHNIQUES

2021 ◽  
Vol 2 (1) ◽  
pp. 42-51
Author(s):  
Lidia Purnama Sari ◽  
Ahmad Akmal ◽  
Dharsono Dharsono
Keyword(s):  
Everyday Life ◽  
Daily Lives ◽  
New Creation ◽  
Leaf Material ◽  
Biological Mother ◽  
Three Stages ◽  
The Creation ◽  
Head Cover

Tengkuluk is one of the traditional clothing equipment (head cover) of a Bundo Kanduang (biological mother) in the Minangkabau tribe. Currently tengkuluk is rarely used in everyday life, only used in traditional events or other official activities. This reality encourages the creation of this tengkuluk work to be carried out. The method of creating works used consists of three stages, namely experimentation, reflection, and formation. The result of the creation of this work shows that the tengkuluk made with woven techniques and pandan leaf material and decorated with Swarovski looks practical and flexible when used by mothers and teenagers in their daily lives. This new creation in the form of the Koto Gadang tengkuluk expresses the meaning of philosophical values, namely the responsibility of women when they have married.

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