EKSPRESI PHILIP RICARDO BIJI TERHADAP MASYARAKAT DI SABAH MELALUI ARCA ‘TANPA TAJUK’

Kajian ini menjalankan analisis terhadap karya arca Philip Ricardo Biji berjudul ‘Tanpa Tajuk’ untuk menyingkap ekspresi pengarca terhadap masyarakat di Sabah. Data-data pemerhatian terhadap bentuk dan makna arca dianalisis melalui gabungan teori Ikonografi oleh Erwin Panofsky dan teori kritikan psikoanalisis oleh Sigmund Freud. Teori ikonografi terbahagi kepada tiga tahap. Kajian ini mendapati bahawa arca Philip Ricardo Biji mempunyai ekspresi yang menyerap ke dalam perasaan masyarakat di Sabah. Representasi bentuk semula jadi yang dipaparkan adalah imej manusia, sungai dan tahi lalat. Imej-imej tersebut menggambarkan motif pada anyaman dan tatu etnik Murut di Sabah. Motif-motif yang dipaparkan merujuk makna tentang budaya masyarakat Murut yang sedang bermesyuarat, acara minum tapai, aktiviti di sungai dan kepercayaan tentang keselamatan dari serangan buaya. Dari segi kritikan psikoanalisis pula, penghasilan arca seramik lebih menekankan kepada makna tersirat yang menggambarkan pengalamannya sebagai pelukis, pendidik dan ahli kraf serta aktiviti sosialnya bersama masyarakat etnik Murut. Arca ‘Tanpa Tajuk’ oleh Philip Ricardo Biji memaparkan ekspresi dari segi pemikiran, perlakuan dan perasaannya terhadap masyarakat Murut di Sabah. The purpose of this study is to analyze Philip Ricardo Biji’s sculpture entitled ‘Tanpa Tajuk’ in order to ascertain the sculptor’s perception toward the Sabah culture. Observational data on the form and context of sculptures were examined using a combination of Erwin Panofsky’s Iconographic theory and Sigmund Freud’s psychoanalytic criticism theory. Three stages of iconographic theory occur. This research found that Philip Ricardo Biji’s sculpture carries an expression that resonates with the community’s emotions in Sabah. People, rivers and moles are all depicted as natural forms. The illustrations depict motifs found on Murut ethnic weavings and tattoos in Sabah. The motifs depicted are symbolic of the Murut society’s culture, including gatherings, tapai drinking events, river activities and beliefs about crocodile safety. In psychoanalytic critique the development of ceramic sculpture exemplifies the implicit meaning of his experience with the Murut ethnic group as a painter, educator and craftsperson. The sculpture titled ‘Tanpa Tajuk’ by Philip Ricardo Biji expresses his thoughts, behaviour and feelings toward the Murut group in Sabah.

Image Brayut on The Creation of Ceramic Sculpture

Men Brayut is one of the interesting stories of Balinese people since ancient times until present that acts as a source of inspiration in art. This study aimed creating and describing the ceramic sculptures inspired by the Men Brayut story. This research uses qualitative descriptive approach in which the researcher becomes the main instrument. Data collection by observation and documentation. This statue was made using SP Gustami’s creation method namely exploration, improvisation and embodiment. The results show that the creation process of ceramic sculpture featuring Brayut image can be separated into two, they are the process of making the main character of Men Brayut and the process of making Brayut’s children as an ornamental media that can show the image of Brayut on the sculpture. The creation this sculpture was started from the bottom using the combined technique of slab, pinching, and coil. Based on its function, the creation of this statue is functioned as the ornamentation and the practice as well as the ornamentation. This work implemented the green, blue and brown glazes with the combustion temperature was 1200°C. Some of the created works were titled to Joy, Fatigue, Affection, and Affection 2.

The First Pottery Schools in Bulgaria – Foundation of the Contemporary Ceramic Sculpture

The Bulgarian ceramic art has its deep traditions. This paper examines its historical development from the First Bulgarian Kingdom to present. After the Liberation, the ceramic art has passed through various development stages and has been established not only as an utilitarian art, but also as a craftsmanship of clearly defined and proven artistic qualities.